Sampha Is Masterful on Night One at Webster Hall
Sampha – Webster Hall – November 7, 2023
Midway into the set on Tuesday night at Webster Hall, the lights went down, the band cleared out and Sampha took a seat at the upright. He played the first notes of “Too Much,” once, twice, as if to wake the piano from sleep, then deftly wove them into the single’s seesawing melody. The song, a kind of reverse engineering of the original — a Drake track with Sampha’s vocals and an 808 — is bare and a departure from the multilayered sound that has won the artist fame. But hearing it live, I realized quite the opposite: It’s not only of a kind with that sound, but in many ways it’s a blueprint for it.
For “Too Much,” as in so many of his songs, Sampha is in constant conversation with the instrumentation. On Lahai, his recently released, highly anticipated sophomore album, the production serves to heighten that singular quality — a call-and-response that twists, warps and dances through his music. Even on “Spirit 2.0,” a single from the album, he sings: “Next thing I’m drifting into open sky / And I don’t feel so scared.” Sampha’s voice rises like a proclamation, and a flourish of strings rise to meet him there, like a chorus. And the chorus itself, like a pop-laden prayer, is peppered with vocal responses, too, sung by his incredibly skillful band who performed in the round — themselves an intimate circle of connection.
In all of this, of course, is a beat. On Lahai, and in much of his work with Drake, Kendrick Lamar and others, Sampha makes the body move with percussive drum fills, breakbeats and time signatures. At Webster Hall, the bodies were moving, as was his. On “Dancing Circles” (Lahai), he stepped to the edge of the stage and moved, rocking, swaying, hoofing it, to a richer, drum-forward version of the song. It was a moment of unabashed optimism, even if the track is sweetly longing: “Dancin’, come close (close) / Hold me, hold me so much so we both let go.”
Sampha holds all the cards and plays them just right: How he can transition from the balladic “(No One Knows Me) Like the Piano” (Process, 2017) to the pulsating, glittery, “Can’t Go Back” (Lahai) is evidence of his command. The song slips into drum and bass, as Sampha repeatedly rang out: “Can’t go back, you can move forward slower.” Perhaps most special, though, was “Without,” a 2013 single, where he and his band came to the very lip of stage left to gather around a small set of snares. They started in together, with clear-as-day, synchronized kicks. A wavering, breezy loop played in, and Sampha crooned soulfully: “See, I don’t wanna say you’ve got me / I’m just glad that you’re here, here, here.”
The crowd’s unrelenting roar, after the band played the final notes of the all-out banger “Blood on Me” (Process), was enough to bring Sampha out for one last song, “Happens,” the partner track to “Too Much” on the 2013 single. As he wound down, Sampha placed his hand on his heart to a still-roaring crowd, and thanked the city and the venue for the energy. It was a masterful, ranging set from a musician who handles the intricacies of music so expertly that it can almost feel, deceivingly, simple. —Rachel Brody | @RachelCBrody
(Sampha plays Webster Hall again tonight and tomorrow.)
(Sampha plays Franklin Music Hall in Philadelphia on Monday.)
Photos courtesy of Ken Grand-Pierre | www.kenamiphoto.com
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Like all of Burns’ films, “The U.S. and the Holocaust” makes for riveting television and provides plenty of fodder for serious thought. For those who know little about the history of American anti-Semitism and the basics of the Holocaust, it provides an introduction to these subjects.
Yet contrary to the film’s conclusion, the Holocaust tells us nothing about what to do about America’s contemporary immigration debates. The fact that a CNN interview with Burns led to a discussion in which efforts by Florida Gov. Ron DeSantis to ship illegal immigrants to Martha’s Vineyard, whose liberal residents advocate for open borders, were compared to the actions of the Nazis shows just how misleading the filmmaker’s efforts to frame the issue along these lines are. Nor should it help fuel efforts to falsely label those political opponents whom the liberal establishment is trying to smear as fascists and Nazis threatening democracy.
The Holocaust was a chapter of history marked by American failure. But as much as the documentary is told through the prism of what it meant to America, the responsibility for the murder of 6 million Jews belongs to the Nazis and their collaborators. It was a crime that the United States may not have had the power to deter, but it could have done more to stop once it began had its political leadership been willing to do so. That is bad enough. But those who want to apply that lesson to complicated 21st-century political debates while ignoring actual genocides going on in real-time now or seeking to render Israel defenseless in the face of those who are actively plotting another Holocaust, shouldn’t pretend they’ve learned anything from the past.
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