Michael Kiwanuka + La Force @ MTelus▪

The last time Michael Kiwanuka was in Montreal, we had a huge snowstorm, and I couldn’t make it to the Corona Theatre. So when I heard he was coming to MTelus on September 26th, I couldn’t wait. His new album, Small Changes, will be released November 15, and the latest single, Floating Parade, has been on repeat on my playlist. He is probably one of the best singer-songwriters and musicians of his generation, with vocals as rich and full of conviction as Richie Havens, guitar playing as soulful and dynamic as Jimi Hendrix, and lyrics that would make Paul Simon jealous.

I arrived early and was disappointed to find out that the only seating was some type of VIP numbered access, which I’ve never seen done before at that venue. Usually, it’s first come, first serve. So, I sat in the bar until the supporting act, La Force, came on at 8:00. (I’m getting too old to stand in a crowd for long hours, but for Michael Kiwanuka, I made an exception.)

She started off sweet and soft, then slowly picked up steam, showcasing her powerful vocal range. I found La Force to be an odd fit, as her style is quite eclectic and experimental, but she was entertaining, and the audience seemed enamoured with her aura. Her creative costume change mid-performance—from an odd red, caterpillar-like, bulky dress to a black, sheer, sexy bodysuit—was a highlight. However, there’s a fine line between self-indulgence and authenticity, and I was not in the mood for songs about death. Brittany Howard will be playing with him on the U.S. tour, which makes more sense and would have made me a lot happier.

Michael Kiwanuka (and his full band) appeared on the dimly lit stage at nine. With no guitar in hand, he firmly gripped the microphone, letting the power of his voice fill the room. A single spotlight shone on his face, exposing a vulnerability that intensified with the weight of his words. He opened with The Rest of Me, the first song off his new album. We were all hooked.

Picking up the pace with his second song, You Ain’t the Problem, he grabbed his guitar, and the entire room began to sway and sing along. After a brief “How you feeling, Montreal?” Kiwanuka kept the momentum building with Rolling. There were no gaps between songs. Apart from introducing the band and praising his two phenomenal backup singers, there wasn’t much else to talk about. Every single second was accounted for, and it was probably the tightest show I’ve ever seen.

Each song was delivered perfectly, sounding even better than the recording. At one point during Black Man in a White World, I looked around at all the smiling fans who were clapping and shouting out the chorus, especially a very tall, white, blonde woman who was pumping her fist and exclaiming, “I’m a black man in a white world!” with such passion that I truly wondered how one could be so connected to a song yet disconnected from reality. Once again, I was the darkest-skinned person among the all-white and mostly Francophone crowd.

Before singing Light, Kiwanuka said that when he makes music, he doesn’t know how it will connect with others, but “this one’s for you.” He performed it as he did all his other songs—with an honesty and depth that allowed us not only to feel his journey but to feel connected to our own.

He ended the set with his two greatest hits, Cold Little Heart and Love & Hate, which everyone was eagerly waiting for. I don’t think there was a single person there who didn’t know all the words to either song. At first, I didn’t understand why he chose Lowdown (Part I) for the encore, as it felt somewhat anticlimactic. Then I realized MK wanted to leave us wanting more. He was sharing a preview of his unreleased music—like a good friend entrusting us with something sacred.

“Whilst making this album, I was really thinking about my motives for making music and records. Of course, it’s a way of expression, but what is my reason to continue putting records and myself out there? I never started writing music for anything other than a way to connect to myself and others, but what am I trying to say now? I realized near the end of making this record that even if the reason is just to express the changes I’m going through, that could be enough. The changes to my music, voice, or whatever. And living for me is just that—remaining as true as possible, despite all the changes around us, and how, as humans, we have the ability to adapt. Just to commit and stay on the path could be enough. To stand for something. That’s why this album, No. 4, the fourth time around, I wanted to call Small Changes. I can’t wait to share this with you. I’m humbled and honoured that my music means something to people. That, too, is reason enough for me to keep sharing and connecting.”
—MK

Setlist

The Rest of Me
You Ain’t the Problem
Rolling
Father’s Child
Black Man in a White World
Rule the World
Hero (Intro)
Hero
Floating Parade
Light
Home Again
Final Days
Solid Ground
Cold Little Heart
Love & Hate
Encore: Lowdown (Part I)