It was a warm night at the Greek Theater in Berkeley under a full moon — a serene setting for a soulfully charged musical journey.
Co-headliner Brittany Howard (formerly of Alabama Shakes) and her 9 piece band took the stage with a powerful presence and her voice ranged from deep and soulful, high and intense, to smooth and gentle. Opener Yasmin Williams joined Howard on the stage with a cerebral, melodious guitar, deepening my regret for not arriving promptly at show time, to see her full set, not to be missed again.
Howard’s setlist was as eclectic as it was powerful, blending blues, gospel, R&B, rock, and even electronica in a way that felt uniquely hers. Her track “Prove It To You” from her 2024 album What Now transformed the amphitheater into a soulful dance floor—a much-needed antidote for my Portola Festival withdrawals.
“To Be Still,” a track from the same album, basked the audience in an ultra-slow beat, its meditative calm harmoniously amplified by backup vocals that filled the amphitheater. Howard tenderly sang, “I daydream to be a flower in your garden… I wonder how delicate is your touch, / For something you love so much?”
At one point Howard took a moment to humbly express her gratitude, reminiscing about her past as a postal worker in the South, working through snow, tornadoes, and intense heat—far from the stage life she now leads.
Diving into songs from her 2019 album Jaime, Howard introduced “Baby” with a reflection on a past heartbreak: “I didn’t know, that’s how I thought it was supposed to be… but now I got a microphone. I can say whatever I want,” to which the crowd erupted in cheers. Later on, what began as a trippy melding of sounds solidified into the pulsating drumbeat of “13th Century Metal,” infused with spiritually powerful spoken word.
That alone made for a special night, and yet during intermission, I was entranced as a team of over 20 stagehands worked their magic—setting up two full drum sets, a grand piano, multiple keyboards, hand drums, a large disco ball, and a massive white fabric backdrop.
The stage lit up, covered in vibrant red light as the band emerged. The vocalists began singing and the band set the rhythm as a smiling Michael Kiwanuka stepped onto the stage. The music softened to let Kiwanuka’s acoustic guitar and voice take center stage—soulful, smooth, velvety, and deeply emotional. When “You Ain’t the Problem” began, a video projection on the backdrop showed a close-up of a baby’s face, capturing the baby looking around, blinking, and breathing—conveying a gentle appreciation for life that harmonized beautifully with the lyrics: “I lived a dream, I hope to be, Who I believe in.”
The projector was a super cool setup throughout the night, showing simple yet powerful, true-to-life visuals that complemented rather than overshadowed the musical performance. Scenes included a couple gazing into each other’s eyes, parents kissing a baby, a diptych of hands counting rosary beads beside burning incense, and a child’s hands playing with toy soldiers and tanks, portraying the vulnerable realities and warfare in our world.
Kiwanuka played several gems from his repertoire: Cold Little Heart, Hero, and Love & Hate. His singing, accompanied by the harmonizing backup vocals, was so incredibly beautiful that I had a good cry when he played “Solid Ground,” a song that helped me get through the pandemic like no other.
Floating Parade and The Rest of Me, both soulfully smooth with an R&B feel, featuring gentle percussion and warm bass, are from Kiwanuka’s upcoming fourth studio album, Small Changes, leaving me excited for the November 22 release.
Ever since attending this show, I find myself tearing up more when I listen to Kiwanuka’s music. Something shifted in me that night, allowing me to better recognize the true power of music, especially when experienced live and directly from the source.
Review and photos by Slava Starikov
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