When Chaka Khan curated this year’s Meltdown Festival lineup, Lady Blackbird, also known as Marley Munroe, must have been a standout choice. Omitting an artist often compared to Billie Holiday and Nina Simone, and dubbed the ‘Grace Jones of jazz,’ would have been unthinkable. Following an impressive two-hour performance by Incognito the previous night, expectations were sky-high for Lady Blackbird’s set.
The stage went dark, and as visibility waned, Lady Blackbird’s four-piece band began with the instrumental track “Black Acid Soul” from her debut LP of the same name. The haunting jazz piano intro, paired with deft guitar and basslines, created a surreal dreamscape at the Royal Festival Hall. “Collage” followed, maintaining the ethereal atmosphere while infusing elements of psychedelic mysticism. As “Collage” progressed, the lighting revealed the band members and showcased Lady Blackbird’s stylish, original, and elegant presence.
Nina Simone’s 1963 release “Blackbird” became a civil rights anthem, and Lady Blackbird’s rendition, released two days after George Floyd’s murder, brought a poignant relevance. Her version, featuring an acoustic double bass and piano trills, resonated deeply with the Royal Festival Hall audience. Shifting from such a powerful song, she showcased a lighter side with “Five Feet Tall,” a timeless, easy-listening piece reminiscent of Patsy Cline and Nat King Cole.
Lady Blackbird’s ability to transport the audience into surreal, unnerving, yet ecstatic dreamscapes transitioned seamlessly into upbeat, rhythmic funk. “Reborn” served as a dance anthem with a poignant message of renewal, while “Feel It Comin’” merged sounds reminiscent of Amy Winehouse’s “Tears Dry on Their Own” and Jamiroquai’s “Seven Days in Sunny June,” uniquely making them her own.
Opening the show with a powerful, mystifying ambience, Lady Blackbird captivated the audience with songs like “Blackbird,” highlighting humanity’s flaws and evoking deep emotions. She concluded with a tribute to the LGBT community through an emotive rendition of Jerry Herman’s “I Am What I Am,” leaving the Royal Festival Hall in awe.
With a new album, Slang Spirituals, on the horizon, fans eagerly anticipate the evolution of Lady Blackbird’s “Black Acid Soul” sound. Those fortunate enough to witness her performance at Meltdown will undoubtedly cherish the experience.
Whilst not disagreeing for a moment with the overall thrust of this review, I cannot help but point out that “I Am What I Am” is not a Noel Coward song; it was written by Jerry Herman for his Broadway musical “La Cage aux Folles”.
Hi Bryan, Thanks for pointing the mistake out. It will be amended.