Benjamin Clementine at Somerset House

In a music market that can sometimes feel congested and generic, there are certain voices which rise above the masses and compel one to take notice. This is certainly true for Benjamin Clementine. The British artist, poet and musician closed the series of summer concerts at Somerset House with a riveting set that, amidst the bustle of a busy, central London around the corner, managed to create a musical microcosm in which Clementine and his voice captured the total attention of those gathered.

A dazzling white grand piano and a microphone are all that occupied the stage. Despite its sparseness, that was all that was needed for Clementine to commandeer the stage with his richly divine voice and the dexterity of his pianism. Playing barefoot and topless, covered only by a long, black trench coat, the crowd was treated to a 90-minute production of the greatest hits from his three studio albums. The beautiful eeriness of I Won’t Complain, a tender piece of music that is simultaneously forlorn and jubilant, highlighted how Clementine is not afraid of stretching his voice and demonstrating the magnificence of his vocal range. London, a song from his Mercury Prize-winning debut album At Least for Now, illustrated an earnest homage to the city of his birth. Born and raised in London, Clementine moved to Paris as a teenager where he experienced homelessness and psychological difficulties, but where he also solidified his passion for music. Clementine was known to have captivated hearts in Paris during his time busking in the City of Light. From the many instances of complete silence in the London audience, it seems he has achieved the same effect here.

There is no need for a percussive section with the rhythmic and cadenced way in which Clementine modulates and arranges his voice. Instead, Clementine utilised his childhood love of classical music and was joined onstage by string and woodwind instruments for tracks such as Atonement and Winston Churchill’s Boy. The inclusion of the small orchestra allowed the artistry of his compositions to shine, and the angelic notes from the flute and the clarinet helped to construct a wondrously spiritual soundscape that built emotively. There is the sense that Clementine bares all through his music. With his voice and his lyrics, one sees his dreams, his nightmares, his thoughts and fears; all of it imparted with raw and unrestrained honesty. Alongside the simple but effective lighting and the visual loops on the screen in the background, this made for a very enthralling performance.

Clementine’s interactions with his supporters illuminated his very dry sense of humour. And there were even certain points where it was not quite clear whether he was talking to the crowd or talking to himself. Nonetheless, he had the spectators in the palm of his hand. A fan of recurrent melodic refrains, there were numerous moments in which Clementine invited and coached the audience to sing with him and repeatedly chant the words of songs such as I Won’t Complain, Jupiter and Rudy Rockingburg. Few performers could instruct and convince an assembly of people to sing a refrain 50 times, but Clementine succeeded in doing so and finished his show in dramatic fashion. With his performance at Somerset House, Benjamin Clementine delivered a powerful set that resonated profoundly and that will, no doubt, long linger in the memories of those in attendance.

Sunny Morgan
Photos: Miguel de Melo

For further information and future events, visit Benjamin Clementine’s website here.

Watch the video for I Won’t Complain here: