Tawiah at The Albany | Review | The House That Soul Built

October 20, 2018

Tawiah at The Albany (Review)

Author: Editor No Comments

Introspective, absorbing performances from an independent artist with fresh, contemporary vision.

–

At a sold-out show at The Albany – an arts centre in Deptford, South-East London – 191 audience members were privileged to witness some powerful singing and songwriting. It was the finest vindication that independent artists in small, non-central venues are worthy of both one’s time and money. The artist? Tawiah – a singer-songwriter of Ghanaian origin born in South-West London.

For those in the audience unfamiliar with Taiwah, all were given the ‘need to know’ executive summary. In between her live performances, pre-recorded segments were played of Tawiah narrating her musical journey. Often with humour, she walked the audience through her debut self-released EP In Jodi’s Bedroom, wild times touring internationally as Mark Ronson’s main female vocalist, and an ill-fated record deal with Warner Bros. Having been told by record executives that there are ‘no fat black girls on the market’, Tawiah was forced to pursue her creative vision without major label backing.

She performs a hazy, atmospheric style of alternative soul. Donning her electric guitar, she began her set with ‘Every Step’, a track off In Jodi’s Bedroom. Referencing her time with Mark Ronson, she then delivered a (brief but warming) verse and chorus of Marvin Gaye and Tammi Terrell’s ‘You’re All I Need To Get By’ with just keys and glockenspiel accompaniment. Though usually singing light and breathy (think Meshell Ndegeocello), she has a thick gospel-trained voice with a light squall at the top end. She would often break up phrases with jazz scats and let her South London accent and cadence come through.

There is an incisive, melancholic honesty to Tawiah’s writing. Take ‘Knock Down Ginger’ as an example – where she reflects on innocent days of childhood mischief with three friends who have since descended into drug addiction, crime, and domestic abuse respectively. With dirgey beats, layered harmonies, and a rap section from her brother Dezert Eagle, the song operates as wider commentary on community and youth dysfunction.

Songs from her upcoming debut album led to some of the standout performances. ‘Borders’, about coping with a long-distance relationship, began as solemn reflection on the pressures of distance and separation. However, the mood suddenly switched to a rejoicing Bill Withers-style soul jam with the anthemic refrain of ‘gotta see your face again’. Fuelled by audience cheering, Tawiah sunk into her gospel chops.

The final song, ‘Mother’s Prayer’, explored the tension between Tawiah and her strict Pentecostal mother – concerned about her daughter’s likelihood of entering heaven. Featuring an audio clip of Tawiah’s great-grandmother singing her favourite hymn in Ga (a Ghanaian language), Tawiah implored her mother to have faith in who she is, rather than her mother’s idealised image of who she should be. An exposed, vulnerable, and ethereal performance.