“This is a concert of stories,” so Daniel Bartholomew-Poyser, conductor of the BBC Concert Orchestra for the latest Sunday night Proms at the Royal Albert Hall, describes the Soul Revolution setlist. And that comes just before Beverley Knight gets back on stage for Respect, by Aretha Franklin.
Even those not so familiar with the genre – or the rich discography that it has produced – would not find difficulty in recognising a good number of the songs played this evening. The pioneers of soul, celebrated in this programme, more often than not started in churches: so, the roots go deep into gospel, hymns that developed into manifestos of a growing movement for civil rights. Their enthralling work formed the bedrock of a real musical revolution in the second half of the 20th century, committed songwriting that also became the soundtrack for generations to come. Where the rhythm is popping and an irresistible invitation to dance, the lyrics are the cry and rebellion of a community unreasonably pushed to the margins of society, in a world torn apart by discrimination and wars.
The concert curators, among whom is BBC Radio 2 presenter Trevor Nelson, trace the many names that left a mark, for an enjoyable night dancing to past hits, while also putting our hand on our heart, acknowledging the hurtful memories they bring back – and the need to treasure their messages for the future.
It begins with Change Will Come by Sam Cooke, which Knight performs with beautiful variations of vocals in parallel with the gliding of the violins. Aretha Franklin’s Think gets a modest rework by the powerhouse Jacob Lusk. A peak in the spiritual archive arrives with Were You There: the auditorium seems to transform into a church hall, with the audience enraptured by the heartfelt singing of Reginald Mobley. He delivers an incredible a cappella intro before the orchestra joins in, resulting in a perfect melodic soundtrack and prompting a first standing ovation. Lawrence Johnson Singers – a vigorous backing choir – provide another solemn moment with Take My Hand, Precious Lord, famously performed at Martin Luther King’s funeral.
The orchestra shortly takes over with a trumpet-led Move On Up. The second part slides along the evolution of soul, distilling the threads that eventually influenced other genres, from rap to funk and jazz, while the texts continue to bear the wounds and express the indomitable spirit of uprising. It’s high time for an injection of Stevie Wonder’s 1973 album, Innervisions, with Living for the City. A joyous clapping is inevitable for Oh Happy Day, followed by James Brown’s I’m Black and I’m Proud, which sees the choir dancing with much gusto. Before Annahstasia could tune in, the first notes of Nina Simone’s To Be Young, Gifted and Black are welcomed with great cheering from the stalls. Strong beats and pointed words come from The Revolution Will Not Be Televised, before closing with James Emmanuel and a muscular War (What Is It Good For?) by Edwin Starr.
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