Guaranteed entertainment.
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It takes a degree of star power to repeatedly, and consistently, sell out a venue. Natalie Williams and her cadre of vocalists and musicians – the Soul Family – have been doing just that for twelve years.
In particular, Williams’ Motown-themed Christmas shows at Ronnie Scott’s have become a regular fixture for London’s jazz-club patrons. When the audience was asked by Ms Williams for a show of hands of previous attendees, several shot up. It’s a tried-and-tested formula: crowd-pleasing Motown and soul classics, powerhouse vocalists, and a live band – underpinned by feverish excitement for the holidays.
An hour and a quarter in duration, the set packs in just short of thirty songs. Most belong to Motown Records, but several fall into the ‘and more’ category – largely the Atlantic and Stax catalogues. Specific medleys were dedicated to iconic soul artists Stevie Wonder, Smokey Robinson, Aretha Franklin, and the Jackson 5.
Having reviewed Soul Family back in June, I knew to expect strong vocals and tight musicianship. Having seen a previous iteration of ‘Motown and More’ four years ago when I first moved to London, I also knew I would leave with some quibbles about pandering song choices. True, there is certainly no need for yet another rendition of ‘Ain’t No Mountain High Enough’. But even the most orthodox of Motown purists would struggle to deny the vigour of the performances. The Atlantic Horns (Mark Brown on sax and Ben Edwards on trumpet) are particularly impressive.
All with distinct identities, the Soul Family vocalists are consummate professionals. Williams’ voice evokes the high-pitched, belty tones of the late Tina Marie. With girlish charm, she powered through a rendition of Martha Reeves and the Vandellas’ ‘Heatwave’, and a chipper cover of ‘Why Do Fools Fall in Love’.
Brendan Reilly sung the first verse and chorus of ‘Until You Come Back To Me’ in a disarmingly strong low register, before flipping into his falsetto. Vula Malinga, who recently sold-out a solo concert during the London Jazz Festival, tends to play and dot about in her high range. Though notable for her vivacious personality, which she demonstrated on a spunky rendition of the Jackson 5’s ‘ABC’, she performed ‘I’ll Be There’ with touching honesty. Sharlene Hector is the hearty soulstress of the group.
Breaking somewhat from the trend of crowd pleasers, the Aretha Franklin medley took an unexpected turn with a rendering of emotional ballad ‘Ain’t No Way’. While Williams executed the operatic backing vocals (sung by Cissy Houston on the record), Hector took the lead, singing with finesse and sensitive phrasing.
The show needs no help selling out. Effortlessly charismatic, Williams has the audience wrapped around her little finger. Thus, the Soul Family can afford to venture into some deeper Motown/soul cuts from outside the canon. How about Laura Lee’s ‘Crumbs Off the Table’? Or Honey Cone’s ‘Sunday Morning People’?
But as it stands, this is guaranteed entertainment.
