Terminal West feel like an arena, swallowed by the melodic structure that is a Kiwanuka show. Yet, no intimacy was lost. I stood front and center as Kiwanuka hit the stage in a space that held likely around 400 people. The sounds vibrated across the room as if a listening experience on your headphones only left you satiated, but you were about to experience a full body show. The live experience caused me to zero in on his incredible vocal ability in a way I hadn’t digitally. He didn’t lose a beat, but also didn’t miss a note.

The show opened with the melodic album’s first track, Cold Little Heart. Though we were taken through songs from both of Kiwanuka’s albums, there were no transitions or pauses that created separation. Everything flowed seamlessly, transitioning smoothly his sounds from both his freshman and sophmore album. Further proving my last post’s prose, Kiwanuka's intention, tone, message, and musical maturity remains consistent and centered.

“Kiwanuka’s intention, tone, message, & musical maturity remains consistent & centered.”

Kiwanuka’s entire band held their own. The bassist’s mellow vibes coupled with the percussionist’s intuitive nature to pull just about every percussion instrument out at the perfect time was quite magical. I wondered if this was Graham who he mentioned on the Song Exploder podcast (post note insider). The lead guitarist was actually Kiwanuka for most of the night, but his second-hand guy managed to take the audience away in moments. Though together, they were harmonized.

Truly, I have no complaints. Beautiful music, no pushing concert goers, and my friend and I were easily among the youngest in the room which made me proud. The sound was peak perfectionism. Kiwanuka even said he would love to play for us for the whole week if he could- the love was mutual. Imagine, Kiwanuka live on your car ride to work, in your shower, playing you to sleep, dreamy.

image by Andy Paradise, May 2017 for the Southwest Londoner

There was however a point in the night were sadness began to loom. One by one, band members played out and left the stage. Love and Hate was not yet on the table, nor had he performed Bones. I peeped the set list. I was immediate angry at myself for doing so though, because I could see myself leaving then feeling the show was incomplete.

I started rationalizing with myself that it was still a good show and maybe he just wasn’t feeling it, or time ran out, or that person who yelled his name threw him off. Before I could set my feelings on such thoughts, he reappeared ready to complete the set. Rejoicing flooded the room. I reveled in those last two songs that much more, happy to have experienced a Kiwanuka show for two and a half hours that easily felt like a fifth of the time.

Michael Kiwanuka is my Michael Jackson. Fight me. Obviously I don’t say this to knock Jackson off his pedestal, nor do I say this to draw meaningless comparisons. I say this to emphasize the magnitude of musicality I beleive Kiwanuka possesses and his potential to be a true pinnacle artist of this time. I mean, you can still fight me but it won’t count for nothing.©

images by Andy Paradise for the SWLondoner • special thank you to Tunespeak and Michael Kiwanuka

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Despite the deep soul that ricochets through any given melody of a Michael Kiwanuka tune, Love & Hate is a breath of fresh air. I am writing this for three reasons: I am a fan, I recently won free tickets to an upcoming show of his, and Pitchfork's whopping 6.8 grading of this album is simply unwarranted. Additionally, though despair is there in notes throughout the album, it certainly isn’t how I’d summate Love & Hate.

Kiwanuka’s second album release opens with an almost ten minute long beautiful musical composition. Instantly, I am immersed. Cold Little Heart is grief, though not fully. “I can live or I can die.” He is realizing it’s choice. Ridding himself of despair over and over again, he sings what feels like a daily reminder that mercies are new. As if to encourage a new way to channel our minds for life and its many challenges.

“Kiwanuka’s second album release opens with an almost ten minute long beautiful musical composition. Instantly, I am immersed.”

Black Man in White World was the first video release, and arguably the album’s hit record. Realizing who he is, Kiwanuka knows what his body means in this world. The visuals only help propel the song forward. Video director Hiro Murai does an immaculate job communicating powerfully, the limits and limitlessness of Blackness simultaneously. Particularly our main character, a young black boy who seems set smack in the middle of the twentieth century, dances continuously across the screen. Despite a cop car crashing into a black oncoming car just feet ahead of him, he is dancing. So many subtle complexities. He continues to dance to elevation, only to questionably then be falling from the sky by the end. Though not really too questionable as the song to follow this is titled “Falling.”

As the album's titled song, Love and Hate is a complete anthem. It is a complete melody, a complete affirmation that despite despair, he will not be broken. It is a declaration. The melody that rings, opens, closes, and permeates the song is self healing, naturally. It reminds me of the simplicity of a good reggae composition, the repetition has a power to drown out noise and send you into a meditative state, a beautiful trance of invisibility.

I really believe these songs serve as pinnacles of the album. Each song brings us through different stages of self-realization and shifting expressions of rejoicing. I do not beleive this album is about wallowing in despair, but rather about shedding the layers of despair that keep us bound mentally, physically, emotionally. It is not simplistic, but rather expansive in how it carries its message of healing. There's lots of hope here, but not without a grounding of the difficulties that come with hope. It is a choice to fight for hope.

“You can’t steal the things that God has given me.”

— Michael Kiwanuka

This album ebbs and flows. It’s not a clean answer to overcoming, but its songs provide answers to many stages of the process. It desires to overcome, to move beyond the realities of who we are, and become who we believe we can be. To trust the creator, to be more aware of what we might be feeling and to stay true to our heart in honesty and love. From the lyrics, to the musical composition, and accompanying visuals, this album seals Kiwanuka as a very deliberate and intentional artist. He is true to his sound and message through and through. Everything is right there on the album, loudly, clearly, sincerely.©

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michael kiwanuka [live]

'love & hate' by michael kiwanuka