In the York Barbican spotlight: Jalen Ngonda on the first night of his spring tour at York Barbican. Picture: Paul Rhodes
JALEN Ngonda is a stylist. He doesn’t lay things on too much or too little.
The rising American-born soul star doesn’t overdo his incredible vocals or over-extend his scratch guitar playing or showboat on the piano. Instead, he lets the grooves and the vibe carry the day.
His is a sunlight and birdsong sort of a voice, bright, energetic and brimming with life.
This was the first night of the tour, and Ngonda and his three-piece band (who remained un-introduced, but were Michael Buckley ,keyboards and guitar, Vincent Chiarito, bass, and Sam Merrick, drums) showed no hint of nerves as they delivered an assured 68-minute set.
Seemingly effortless, Ngonda didn’t seek to seduce, to tease or to milk his audience, who treated him like a superstar anyway. While he has been playing the music trade in the UK for more than a decade, and his breakout album Come Around And Love Me came out in 2023, you sense Ngonda is about to become something of a big thing.
Jalen Ngonda performing with drummer Sam Merrick, keyboard player Michael Buckley and bassist Vincent Chiarito. Picture: Paul Rhodes
To this point Ngonda could be viewed as a singles artist, reeling off would-be hit after would-be hit. Tunes such as Just As Long As We’re Together and That’s All I Wanted From You could stand with the best soul of any era.
Fortunately, he hasn’t gone psychedelic but is doubling down on affairs of the heart. His piano numbers revealed a man who could go in any number of musical directions.
This Maryland man with the high, androgynous voice, now an adopted Liverpudlian, is in every sense a star turn. True, his songs are all cut from the same cloth, but it’s a very stylish cloth that captures the best of 1960s’ Motown soul, the Marvin Gaye, Curtis Mayfield, Smokey Robinson sound.
The contemporary edge is well hidden, but Ngonda is more than a tribute to a great period. It’ll be interesting to see the reaction to his forthcoming much-anticipated new LP, Doctrine Of Love.
On this showing, he seems poised to take his material to the next level, as evidenced by his multi-generation appeal and the response to his music. Ngonda was clearly pleased to be in such an appreciative setting, and his natural modesty only endeared him more to the crowd.
Review by Paul Rhodes