Anita Baker Live Review @ Royal Albert Hall (London) - 09 Jul 2005

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Live Review

As far as I'm aware, this was Anita Baker's first UK gig since the '90s - having taken a break from the music industry in order to spend more time with her family after 1994's sublime Rhythm of Love.

I had my misgivings about this gig due to the fact that I had recently purchased the Night of Rapture "Live"e; album which is actually a collection of two gigs - one in Japan, the other in Europe. In one of the gigs, she clearly has a sore throat and has trouble pitching. Can it be that my favourite female vocalist ever cannot sing live?.

Sitting at approximately 4 O'Clock to the stage, I was expecting that the acoustics wouldn't be so great for me (especially since the speakers seemed to be pointing out at about 4-5 O'Clock. The opening bars of Mystery started with the rhthym guitar and one of the backing singers doing the "oohs". This continued for quite a few bars longer than the original version, until the curtains parted, and the audiences tension was released in rapturous (no pun!) applause from the audience who gave her an ovation at the start of the gig.

After the mandatory "Hi", Anita proceeded to do a bit of band-leading initially facing the various members of the band, then turning to the crowd, until - at last - the lyric starts. Any sound concerns I had - over Anita's ability/ my seating position quickly dissolved, as Anita's silky, powerful voice broke into the verse with some authority, and the Albert Hall's PA delivered the goods quite nicely.

Next up was Sweet Love - quite a surprise to me, as I'd have thought that this classic would have been saved for later on. She introduces the band, including the piano-playing producer of her current album My Everything and Rhythm of Love - Barry Eastmond. From the outset, the jazzy mellow piano licks coming from this guy were proof if it were needed that this is one competent cat on the piano.

Next up comes a latin-infused Same ole' Love - one of my favourites from the Rapture album. This gives the bass player a chance to shine a little, doing some nice slap bass and fills. The original of this song is great, but the version that the band did was simply amazing, the backing singers doing a great job on the harmonies - and throughout the night. I can't quite put my finger on it, but during this number, Anita sang so well, I had tears in my eyes. This is the first time anything like this has happened, and I was quite stunned by it (being someone that isn't given to bearing his emotions in public too much). I guess it's just a stronger version of the goosebumps I get when someone does a particularly great solo/ touching melody. Later, after the gig, I found out that some of my friends and family experienced the same.

At this point, the crowd had been shouting and screaming out, either professing their love of Anita, or requesting their favourite song. I was quite surprised when, after someone shouting out Angel, she breaks into a jazzy accapella version of the song, singing the first verse + chorus. Upon finishing that number someone shouts out another song title, which this time she agrees the key with the pianist, Barry Eastmond, and proceeds to sing pretty-much the whole song - band playing along/ filling-in where needed. Superb! Never have I seen an artist of this stature so open to her audience.

Continuing with a few more numbers from Rapture (in fact, I think they did every number from the album - including the title track later on from an audience member's request), the mood in the audience was amazing.

Moving amazingly well in her sparkly high-heels, it was sometimes hard to know if - when she broke stride - she was doing some jazzy foot moves, or had stumbled, but I'm pretty sure is was jazz feet. It was at this point that a guy and his son from the audience approached down one of the wings with a massive bunch of flowers. "Ooh, what's this?" she asks, and approaches him. The boy gives Anita the flowers, and when asked "who are they from" is told, somewhat awkwardly; "It's in the card". Anita starts to read the card, then states that she will make an announcement later.

Taking their cue from this guy and his son, another guy approaches the stage holding a card. Anita takes the card and starts reading - stopping once she realises this is between them. Appearing to ask for a hug - and Anita giving him permission, he bounds up onto the stage. Believe me, the speed at which he was up there, you'd have thought he was in danger - and the lucky guy gets his hug.

Next up - another request: "Fairytales" from the 1990 album Compositions. After another song from rapture, we are told that it's all over. She receives another standing ovation, which turns in to clapping, whooping and stamping, with the expectant audience hoping for a return - which we get.

At this point, a democracy is formed, with Anita asking the audience which numbers they wish to hear. The ones that were requested the most get sung. Fearing that she has forgotten the guy's announcement, she then turns to the flowers on the grand piano, and beckons the guy - Michael - forward. The crowd start cheering, and calling out his name, and in response, he leaps out of his seat, around the back, down one of the wings and onto the stage. Now his awkwardness has subsided, and he confidently tells us that he has been engaged to his fiancé for 25 years, and that's long enough, so he would like her hand in marriage on the 21st July. Anita then asks the fiancé - whose face is now wet with tears - what the answer is, to which "e;yes" is the answer.

The only omission from the gig were songs from the Rhythm of Love, which I thought was a bit odd given that quite a few of them a paino-led.

This was one of the most amazing, love-filled gigs I have ever attended.

If you get the chance to see Anita Baker, and are even the slightest bit of a fan, take the opportunity, you will not be disappointed.

Daniel O'Connell