For the second time I’m to see the wonderful Miss Mvula this year, I’m making my way to Electric Brixton and I’ve left it too late to get anywhere near the front – I can’t even find the entrance to the stalls as its packed with people – good to see for an artist, who last time we met, introduced her new album as “not mainstream, you know, radio. Boring!”. The lights go down and cheers go up as she saunters on with her now signature keytar.

This is a very different venue than Somerset House was though, and the room, together with the lack of live backing vocals leaves me wishing I was still there in that iconic square, where her tribal dancers and huge ensemble gave her the power she deserves. While this smaller space gives her piano-acoustic numbers a vocal lift, the overall sound is a bit flat, despite the very talented members of her band, including several family members.

To be clear though, I’m talking flat for Laura Mvula, which means some other artist’s 10/10 – she’s still a musical genius, from her Debussy-esque piano arrangements to her thumping rhythmic numbers, which lead to some of the weirdest (and most care-free) dancing from the crowd I’ve ever seen. I just think that if your album is steeped in rich, immersive backing vocals, your best bet is to bring them with you. Everywhere. This is particularly evident in crowd-pleasers like ‘Green Garden’, where her distinguished call-and-response becomes just the “call”.

Filling the void though is Mvula’s characteristic chatter, which includes moments where she jokes she’s not sure her mum even knows she put a second album out, culminating in a story about her performance on Strictly Come Dancing that I won’t even try to replicate for you – go see her live for stage banter, you won’t regret it.

There are also moments that are almost spiritual, too. Sing along for ‘Bread’ feels congregational, and Mvula is our preacher. Keep preaching, Laura, because your gospel is musical truth – just don’t forget your choir next time.

Dominic Kirkbride
@SaulMusicUK