Little Simz & Chineke! Orchestra review – rap-classical crossover is spectacularly realised

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"Little Simz and Chineke! Orchestra Deliver a Unique Rap-Classical Performance"

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Little Simz delivered a captivating performance at the Southbank Centre, showcasing her unique blend of rap and classical music with the Chineke! Orchestra. As she opened the show with 'Gorilla,' the excitement in the venue was palpable, prompting her to restart the track much like a DJ would in a club setting. This concert marked the conclusion of the 11-day Meltdown festival that she curated, and it was evident that the collaboration between her live band and the majority Black and ethnically diverse orchestra created a powerful atmosphere. The setlist featured a diverse array of songs that highlighted Simz's versatility as an artist, transitioning seamlessly from the energetic, post-punk influenced 'Young' to the soulful and introspective 'Free.' Each performance was meticulously crafted to enhance emotional depth; for instance, the string sections transformed the mood dramatically, providing a chilling backdrop for 'Thief' and 'Flood,' while also infusing tenderness into the love-laden 'Two Worlds Apart.' Simz's ability to evoke various emotions through her music was further emphasized by the orchestra's support, showcasing the malleability of her artistry and the orchestral arrangement itself.

Throughout the performance, Simz exhibited both charisma and command, even stepping in as the conductor during 'Venom' to lead the orchestra while delivering her verses. Her interactions with the audience were warm and engaging, as she strolled through the aisles during 'Heart’s on Fire,' inviting the crowd to share in the experience. Collaborations with artists like Miraa May, Obongjayar, Wretch 32, and Cashh added layers to the performance, with clever staging and dynamic exchanges that captivated the audience. The show was not just a concert; it was an immersive experience that blended genres and broke down barriers, leaving the audience in awe of the spectacular fusion of rap and classical music. Simz's performance was a testament to her artistry and the power of collaboration, culminating in an evening that was as entertaining as it was profound.

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Not many can say that they’ve reloaded a symphony orchestra. But as the Southbank Centre erupts after the opening horns of Gorilla,Little Simzhas to run it back, starting the track again in the manner of a rowdy club set.

Backed by the majority Black and ethnically diverse Chineke! Orchestra and her own live band, Simz – closing out the 11-dayMeltdown festivalwhich she curated this year – performs a set that is equal parts genuine and genius. The energy in the room is overwhelming, overcoming any misgivings about performing to a seated crowd.

Songs of contrasting styles are played one after the other, to highlight the malleability not only of Simz as a performer but of the combination of the live band and orchestra. Young, with post-punk production and Mike Skinner-esque rapping, topples into Free, which is soulfully stripped back. The string players create a frantic, horror-film atmosphere for Thief and Flood, but immediately after, serve to make the “I love you” on Two Worlds Apart far more tender. This extends to word painting: on Introvert, the flutes invoke a choir (“I see sinners in a church”); vibrato strings mimic a voice trembling and breaking on Lonely, the raw, vulnerable track about her internal struggle with producing new album Lotus.

Joining her are Miraa May for Peace, longtime collaborator Obongjayar for Lion and Point and Kill, and Wretch 32 and Cashh for Blood. For the latter, Wretch emerges from the crowd and walks down through the stalls, clever staging since the song is structured as a phone conversation, forcing the audience to look between the two rappers like watching a tennis match.

At points, Simz feels larger than life, spectacular, replacing conductor Chris Cameron at the helm of the Chineke! Orchestra during Venom, rapping while facing the ensemble until the chorus, to frantic lights. Yet she’s chatty between songs, strolls the aisles during Heart’s on Fire, and stands beaming like a schoolgirl soaking in minutes-long applause. The whole experience is perfectly orchestrated – in every sense of the word.

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Source: The Guardian