Jill Scott's concert for grown-ass people | Music | Indy Week
Music
INDY Week's music blog

Archives | RSS

Friday, August 26, 2011

Jill Scott's concert for grown-ass people

Posted by on Fri, Aug 26, 2011 at 11:22 AM

click to enlarge Jill Scott - PHOTO COURTESY OF THE ARTIST

Jill Scott with Anthony Hamilton, Mint Condition, DJ Jazzy Jeff & Doug E. Fresh
Time Warner Cable Music Pavilion, Raleigh
Tuesday, Aug. 23, 2011

Kids, when you get older, you'll find that your body won't be as strong and sturdy as it is now. Your knees might get a bit sore when you stand on them a lot. The same thing goes for your feet. Good Lawd, nothing is more painful than standing on your feet for a long period of time.

Apparently, Jill Scott knows this. Since her fan base consists mostly of middle-aged, African-American men and women (or, as we often refer to ourselves, grown-ass people), it appeared she arranged her performance Tuesday night at Time Warner Cable Music Pavilion so that her fans didn't have to stand up all the time. And, for that, we thank her.

As the headliner of a multi-act bill dubbed "Budweiser Superfest Presents Jill Scott's Summer Block Party," Scott performed a nearly 90-minute set that felt more like a lounging get-together than a full-fledged throwdown. Not that there's anything wrong with that. Covered in a spangly, bedazzled periwinkle dress and black leggings, looking like a luscious madam, the voluptuous Scott gave off the vibe of a calm and confident hostess, taking the audience into her bountiful bosom as she belted out tune after tune.

Scott is a commanding presence—her booming vocals can take control of a hostage situation. But she never overexerts herself, maintaining a playful, leisurely pace that prevents her from tiring. The bulk of her set consisted of tunes from her new album, The Light of the Sun, which was released in June. It must've been a half-hour before she decided to dip into hits from her first three albums. But the new songs were good, many of them soulful shots of sista-girl empowerment highlighted by Scott's hellacious, verbally agile vocals.

During that first half-hour, she was briefly accompanied onstage by immortal human beatboxer Doug E. Fresh, who also served as the show's MC/party starter for most of the night. (He and DJ Jazzy Jeff kept the crowd hyped by playing old-school jams during sets.) Before getting into "All Cried Out Redux," the song they did together on The Light of the Sun, Scott and Fresh did a version of "La Di Da Di" with Scott slipping into the Slick Rick role.

Scott brought out Anthony Hamilton to perform the midtempo duet "So in Love," also from her new record. The Charlotte native was by far the most electric performer of the evening. (R&B band Mint Condition also performed, doing a brief but energetic opening set.) Hamilton played for 50 minutes before Scott, clocking off hits and crowd favorites such as "Cool," "Can't Let Go," "Charlene" and "The Point of It All." When he performed a gospel number, he ventured out into the crowd, dancing in the aisles, getting everyone in a church-going mood.

Scott's set finished with a medley of five songs, both old and new. People were about ready to call it a night with that ("Hey, Jill, I gotta go to work in the morning!"), but Scott stepped back out for the obligatory encore. "Where are you going?" she coyly asked the crowd before going into an extended version of "He Loves Me (Lyzel in E Flat)," complete with Scott hitting high, operatic notes. She left again after that, but returned to sing "Blessed," from her new album.

The whole show was pleasurable for two reasons: It had Jill Scott and a bevy of beloved black-music performers doing quintessential grown-folks music, and it was a concert that actually condoned sitting down.

Tags: ,

Pin It

Comments (2)

Showing 1-2 of 2

Add a comment

 
Subscribe to this thread:
Showing 1-2 of 2

Add a comment

INDY Week publishes all kinds of comments, but we don't publish everything.

  • Comments that are not contributing to the conversation will be removed.
  • Comments that include ad hominem attacks will also be removed.
  • Please do not copy and paste the full text of a press release.

Permitted HTML:
  • To create paragraphs in your comment, type <p> at the start of a paragraph and </p> at the end of each paragraph.
  • To create bold text, type <b>bolded text</b> (please note the closing tag, </b>).
  • To create italicized text, type <i>italicized text</i> (please note the closing tag, </i>).
  • Proper web addresses will automatically become links.

Latest in Music



Twitter Activity

Most Recent Comments

Thanks so much for giving me a platform to share this video far and wide. I appreciate everything the IndyWeek …

by Louis Landry on Video Premiere: Louis Landry's "I Know a Guy" Updates the Bible (Music)

It was an editing error. It has been fixed. Thanks for pointing it out.

by David Klein on Corrosion of Conformity, Superchunk Top the State Fair's Concerts This Year (Music)

Why does this piece call Maceo Parker a master funk bass man when he plays saxophone?

by sonikrock on Corrosion of Conformity, Superchunk Top the State Fair's Concerts This Year (Music)

Last paragraph is just more proof there is a double standard when it comes to justice.

by aburtch on Live: Snoop Dogg and Wiz Khalifa Puff Puff Pass in Raleigh (Music)

Comments

Thanks so much for giving me a platform to share this video far and wide. I appreciate everything the IndyWeek …

by Louis Landry on Video Premiere: Louis Landry's "I Know a Guy" Updates the Bible (Music)

Most Read

© 2016 Indy Week • 201 W. Main St., Suite 101, Durham, NC 27701 • phone 919-286-1972 • fax 919-286-4274
RSS Feeds | Powered by Foundation