Gregory Porter is no stranger to the Royal Albert Hall. In 2018, he released a live album recorded at the esteemed venue – a tribute to his idol Nat King Cole. Porter was due to return to the Hall in May 2020 for a residency which, of course, was halted in its tracks by the coronavirus pandemic.
In the midst of the pandemic, Porter released his seventh studio album, the Grammy-nominated All Rise (2020). Speaking to this writer last year, Porter expressed his frustration at being unable to tour the album. “I feel like live performances are part of a record in a way. Part of that musical experience is handed live as well,” he said. Last week, Porter was finally able to bring the album full-circle to British fans with a four show residency that looked largely sold-out.
Porter’s voice, equal parts gravel and velvet, was the star attraction. Whether crooning calmly or perching on his toes when reaching for a high note, Porter’s sings with unwavering conviction and warmth. In the evening’s most poignant moment, he dedicated a touching performance of ‘No Love Dying’, from his Liquid Spirit (2013) album, to his late brother who sadly died of COVID-19.
Though deservedly admired for his mastery of finesse – as underscored by an exquisite vocal on ‘Modern Day Apprentice’ (with the auditorium illuminated by phone lights at his request) – Porter has a rambunctious side too. Tapping into his church upbringing, Porter lifted the energy of the evening with organ-fuelled performances of ‘Liquid Spirit’ (high-fiving audience members in the process) and the bittersweet ‘Dad Gone Thing’, where Porter sings of his absentee father while acknowledging the musical talents he inherited from him.
Porter was in good company with arranger and conductor Troy Miller (Laura Mvula, Jamie Cullum), the City of London Sinfonia, backing vocalist trio LaSharVu, and his own five-star band. Saxophonist Tivon Pennicott received particular ovation from the audience (“I’ll keep hold of him ’till his wheels fall off,” Porter joked).
Miller’s arrangements were shaped beautifully around Porter’s honeyed baritone. ‘Mister Holland’, Porter’s ode to a former girlfriend’s liberal-minded and accepting father, was rendered acoustically for the first verses, giving the song a more intimate and conversational address. A rendition of ‘Everything You Touch is Gold’, laced with LaSharVu’s silky backing vocals, bettered the studio version. ‘You Can Join My Band’ saw all the orchestral elements chime magnificently in a swirling finale number that invited a rapturous standing ovation from the audience.
Photography Credit: Ami Sioux
