Gregory Porter at The Sugar Club | Review

Ggregory Porter at The Sugar Club by Colm Kelly

Gregory Porter at the Sugar Club, Dublin, 15th March 2014

It is clear from the outset that jazz vocalist Gregory Porter is in great demand. The Sugar Club has a habit of packing the venue to the gills but this particular evening was more of a tight squeeze than usual as people flocked to see the Grammy winner perform. Several ticket holders even preferred to reside in the sidebar, to watch the performance through a window, than brave the heat of the main room.

At half eight the concert kicks off with keys, drums and double bass players assuming positions before Porter sets foot on the stage.

The set begins with Painted on Canvas from his second album ‘Be Good’. Mr Porter has a gentlemanly stance on stage; with broad shoulders pulled back and a protruding chest he gently aids his story telling with subtle arm movements, possibly a feature he learned from his time on Broadway.

The fusion of his warm, rich voice with his talented, likeable band is simply magical. The light tinkle of keys layered over the bass line is complemented by the artful alto sax solos of Yosuke Sato.

“Even I’m going to have a pint tonight, after all I am Irish,” Gregory says. “You think I’m joking? I’m more Irish than any of these cats up here”. He will tell us the connection after the next song, once everyone helps him out by clapping on the two and the four. “Unreroute the rivers,” he sings strongly and confidently as the audience begin to dance and clap along to the title track from the new album ‘Liquid Spirit’.

As the energetic number ends he informs us that his great grandmother was Irish which prompts a verse and chorus of Danny Boy. On My Way To Harlem an upbeat tune with shimmering cymbals, is preceded by another anecdote, this time it’s the story of how Porter and his band met in ‘Nick’s Pub’ in Harlem.

Aside from Gregory’s warm, charming vocals No Love Dying and Work Song both feature notable solos from the band. The first is an enchanting, calming number with a sax solo that is unexpected and sly, and the latter shines a spotlight on the drummer’s skills.

The teasing intro for Lonesome Lover is led by piano and sax over which Gregory powerfully croons “Take me back where I belong”.

Hey Laura is a graceful, mesmerising song about a love that is drawing to a close. At times throughout this tune Gregory’s voice is raspy and has a slight crackle reminiscent of Ray Charles.

Water Under Bridges is the runner for highlight of the evening. The universal appeal of the subject resounds in particular with an audience member who sings from the back of the Sugar Club and gives Gregory a run for his money. For this song Porter is only accompanied by his pianist, Chip Crawford. The vocals and lyrics are simple yet to-the-point and have a mesmerising, wistful effect on the listener.

There is something old school about the performance and, for a tiny moment, it’s almost as if we’ve been transported to a smoky jazz bar in New York. Grammy winner Gregory Porter has created a truly captivating show with a group of skilled, energetic and talented players. Porter and his band are revitalising mainstream jazz and it is infectious. Make sure you catch him the next time he comes to town.