The Queen of British Soul releases a much needed live album

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Beverley Knight is a joy to experience live. Her milestone concert at the Royal Festival Hall back in May – preserved on this album alongside three studio tracks – was a breathtaking display of vocal stamina as she surveyed her 25 years in music.

In fact, a live album from Knight feels long overdue. Perhaps it’s the adrenaline – or the removal of any restrictions imposed by the studio – but Knight thrives off a live audience, marrying rawness with technical proficiency. (For example, BK25‘s first track ‘Made It Back’ kicks off with a roof-raising vocal lick.) It is telling that one of the least impressive moments of the album happens to be a studio track: lead single ‘Now or Never’ – a serviceable groove but lacking the dynamite found elsewhere on the record. ‘Wild River’ (a Guy Chambers co-write) and ‘Never Like This’, a duet with a marvellous-sounding Jocelyn Brown, fare better. But this album will be remembered for archiving Knight’s live performance above anything else.

Leo Green and his orchestra work wonders when paired with Knight’s uninhibited vocal. ‘Keep This Fire Burning’ – a poppy tune from Robyn given the R&B treatment by Knight on her Affirmation (2004) album – is turned into scorching 1970s funk-soul. The rendition of ‘Black Butta’ (co-written by Knight) is pure joy. Knight roars at the chorus, her growl never feeling forced or affected. ‘Flavour of the Old School’ is irrepressibly funky with skillful work from her cadre of backing vocalists.

There is some excellent balladry too: a sombre take on Stevie Wonder’s ‘Lately’, a version of Heatwave’s ‘Always and Forever’ where Knight soars magnificently at the chorus, and a rendering of Knight’s empowerment anthem ‘Gold’ with flashes of brass from the orchestra. Knight gives a visceral vocal performance on ‘Sista Sista’ (from her sophomore album Prodigal Sista), scaling her upper range against the backdrop of dark strings.

Disappointingly, some highlights from the concert are absent here. The omissions include a beautiful orchestral overture, a searing take on Prince’s ‘The Cross’, and the Rod Temperton-penned ‘The Beat of You’ (although one assumes this will be given an official studio release at some point). I would have included any of the above over ‘I’m Every Woman’, a regular staple of Knight’s sets following her stint in The Bodyguard musical. The song functions as a crowd-pleaser – everyone in the room was on their feet – but makes little artistic impression, nor is it one of Knight’s standout vocals.

But with almost 90 minutes of music, BK25 is a bumper offering of scintillating live singing. Knight’s aching performance of her signature song ‘Shoulda Woulda Coulda’ feels like a lap of victory for a singer committed to giving it all to her audience. Here’s to the next 25 years.

(Image copyright: Warner Music UK)