Kae Tempest has long had a repertoire to give a spectacular greatest hits concert. There are 5 albums, 2 of which have been nominated for the Mercury Prize. ‘Let Then Eat Chaos’ and ‘The Book of Traps and Lessons’ are part of the history of the spoken word and the two that came out after those are not exactly decadence. If they were, it would be because the world is.
However, it is important for Tempest to tell his recent story. ‘Self Titled’ is another analysis of the state of the world according to their vision, with the focus on the struggle of trans people. That is perhaps why their new show is divided into two parts: a first with a few songs from all eras, and a second in which their latest album is played in full and in order to highlight it.
Kae’s exit in La Riviera is somewhat cold, delayed for a couple of minutes, with the artist reciting from offstage. It is when the identifying chords of ‘Priority Boredom’ sound that the public begins to indulge. The piano of ‘Firesmoke’ envelops, the almost techno-like electronic beats of ‘Move’ urge, in ‘More Pressure’ a magical moment occurs with Kae raising her arms to the applause of the audience. ‘People’s Faces’ closes that first half, always a favorite of its followers, although this time the lights in the room do not turn on. It’s too early and there is half a concert left. This theme is no longer the climax of the show at its closing as on other occasions.
At that moment the entire presentation of ‘Self Titled’ is still missing. If the first part of the set was called “I wasn’t ready yet” referring to his past, this second part is titled “if you wait for the right moment, you will never be ready.” ‘I Stand on the Line’ makes you dance, the lyrics of ‘Statue in the Square’ and ‘Know Yourself’ appeal to the LGTBIQ+ community, the first in a general way, the second as a dialogue with his child self, through a sample of his voice. My dream of hearing the love song ‘Sunshine on Catford’ live has come true, even without Neil Tennant.
The second half of this second part – which would be the B-side of the album if someone had bothered to release a vinyl – lacks singles, but Kae Tempest delivers by giving quite danceable beats, like those of ‘Diagnoses’, or recitations as deep as those of ‘Till Morning’. His voice repeating “find that child” referring to himself, keeps the entire Riviera in suspense. Or almost.
The show would have appreciated some kind of more effect, now that Kae Tempest has moved to larger theaters, even if it is without filling them completely. We were used to seeing him in somewhat smaller spaces, where the artist focused his gaze more on people’s faces and was closer and more impressive as a performer. If the stages are bigger, so should the production. Some projection of his childhood, even of trans and non-binary artists as in his videos, would have added something.
Also a pianist, a drummer or some other musician. A DJ and backup singer is her only company, although the truth is that she excites her with her added voice on tracks like ‘Salt Coast’ or the final encore with ‘Freedom’, giving them an almost new-age touch. Kae Tempest saves for last one of his amazing a cappella recitations for 3, 4, 5 minutes, in which he talks to us about love and freedom; and finally closes with George Michael’s version, chosen for obvious reasons. It’s not a gospel or pop version, but a tricky one adapted to the sounds of ‘Self Titled’. It sounds like Ibeyi would have made it, electronic but ancestral, to a certain extent soul. The opening act Jacob Alon joins the choirs and the three greet and receive the final applause as if we had attended a group concert. Although here all eyes and focus were on Kae. 7.9.
