Celebrating the 25th anniversary of her second studio album Mama’s Gun, Erykah Badu’s recent tour was imbued with energy and charisma.
The show, in all its eccentricities, boasted onstage special effects, featured an array of musicians and of course held her own unique vocals as the centrepiece. As far as anniversary concerts go, Badu’s version impresses upon the audience her individuality and lasting influence.
Badu debuted in the music scene with her first studio album Baduizm, which was met with much critical acclaim, including two Grammy awards. The album earned Badu the title of the Queen and pioneer of neo-soul – a subset genre of R&B that draws on funk, hip-hop and rock and roll. The genre was born out of the diverse music scene in the late 1990s, the decade that saw the rise of both hip-hop and alternative rock.
Following the success and influence of Baduizm, the release of her second project, Mama’s Gun in 2000, was highly anticipated. The record, featuring hits such as Didn’t Cha Know, In Love With You and Bag Lady, became Badu’s first top-10 hit on the US Billboard 100. Both albums are cornerstones of their genre, and have paved the way for contemporary female R&B artists.
Erykah Badu joins the long list of musical legends, who have performed at the prestigious Royal Albert Hall in London. An hour after the unassuming support DJ finished the opening set, she emerged onto the stage – cutting a striking silhouette. In her trademark domed top hat, wryly dubbed the Erykah Dome Hat, puffer boots, a tiger print fleece and a padded blazer tied around her shoulders, Badu remained on brand in this latest display of her experimental fashion tastes.
Penitentiary Philosophy opens the album and the show. It was an explosive, energised beginning. A large screen backgrounds the show, where words flash, echoing the chorus. The song has the most elements of rock’n’roll of the album, keeping both the drummers and guitarists occupied with animated movement. Platformed and spotlighted, however, all attention was on Badu.
Badu took the audience through Mama’s Gun, track by track, in a raw and faithful journey through music. After the first few songs, Badu began to delayer, removing layers of her outfit, until only graphic t-shirt and layered belts remained. After taking off her hat, her distinctive eye makeup served as a reminder to the audience that she is just as unique as her music.
Electric visuals were projected on both the front of the stage and onto the stage screen. From “Annie” “No panties” in Annie Don’t Wear No Panties, to the image of an orange moon during Orange Moon, the visuals told a story, accompanying Badu as she rode the tide of her own album. Unlike many concerts where the setlist is a selection of songs from different projects, conventionally saving the more popular until the end, Badu followed Mama’s Gun exactly. The tour was advertised as the anniversary, and this felt like an apt celebration.
Eventually, Badu made her way downstage, becoming almost level, and more intimate with the audience, as the tracks became more soulful. Most notably, during A.D. 2000 – which saw Badu sitting and singing with just one acoustic guitar – the set isolated and focused on her vocals. Here, Badu accidentally sparked the audience into singing On & On, the most popular song off Baduizm. Although at no point fully joining in, Badu led the audience through a verse and chorus – the voices of some 5,000 people echoing around the hall, like reverb. Whilst it may have been unplanned, the intimate moment was filled with emotion.
This was not the only excursion into Baduizm. Towards the end of the show, Badu coyly asks the audience if they mind her performing a track off her debut. Of course, her suggestion is met with cheers. Badu, somewhat sheepishly, remarks, “I was meant to come out here and do only Mama’s Gun, but that’s very hard to do”. She chooses Other Side of the Game, and performs it with as much fervour as the rest of the show.
Green Eyes, the 10-minute closing track of the album, was the concluding song. Badu used the storyline lyrics to engage the audience in its fantasy. She drew two people from their seats, first from the left-hand side of the stage, then the right. These audience members helped her act out the lyrics of the song, to the great amusement of the audience. Considering the length of the song, it was an ingenious way to keep the crowd engaged and involved at the end of the performance.
Closing the show by raising her arms and waving to the crowd, Badu beckons for their applause for the band. All the while, ‘Bloody Wankers’ flashes on the backstage screen.
Her captivating display and enduring ability to command the stage with confidence and unique talent was affirmed through prolonged applause from the audience. The concert was simultaneously a dedicated celebration of Mama’s Gun and a demonstration of Badu’s unique performance skillset.
Following two shows in North America, Badu’s London dates are among the first of her tour, with further dates in Europe before concluding back in the US.
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