Watch Out for Sharon Rose

By Germaine Joseph 

Having been treated to a fair few neo-soul acts that keep the genre alive, and of course the CK Gospel Choir, many of the Jazz Café crowd made for the door in something of a mass exodus.

It was so emphatic and purposeful an evacuation it more resembled Arsenal fans leaving after yet another defeat than a satisfied music-loving collective. All the same, on the UK Soul-Jam Christmas gig on Sunday night the guests departed as people who assume naturally that nothing good succeeds the main act.

It ought to be, invariably, the best act on show. But this could not be further from the truth of the matter. One wonders whether the organisers thought they were doing us, the audience, good or harm by leaving such a glorious act so late.

Regardless, it was left to the remaining few – the chosen ones, called either by design or chance (or both. Hmm(?)) – to witness the coming of age of one, Zimbabwean called, Sharon Rose. After the stampede, when the dust had settled (or so it seemed), the host gave a rousing, glowing introduction to the following act.

Electric and explosive were the terms employed, I think. He managed to foster quite some expectation, and for the sceptics among us, that is not always a good thing.

And so, the 5-piece band yanks your attention with a thunderous prelude; an upbeat riff played in unison. It has the makings of any self-respecting 90’s action-movie theme.

Then from those famous stairs which have been walked by legends, descends a young slim lady decked in an all-black, slightly edgy, slightly glittery outfit. (A black dress, black leggings, black studded ankle boots and big black springing curls).

By the end of the introduction all conversation had firmly ceased and the remnants of the night’s audience gathered around in curious anticipation. “I need somebody who will save me!” is the opening phrase of Rose’s first number, ‘Superman’.

It is sung with a stern ferocity by the 3 female backing vocalists. Then there’s the bouncy rhythm accentuated with almost gospel-shuffle like hand claps. We were hit right between the eyes!

The night suddenly took a turn from all things smooth and unchallenging, to something more prickly, and therefore, intriguing. The song exploded off the stage along as the dominant singer had clearly made up her mind she was not going to let us forget her. Not tonight!

The sweetness of the following song, ‘L.O.V.E.’ stood in stark contrast to the gritty head-bopping, nay, head-rocking aggression of ‘Superman’. It is a 50’s inspired swing rock ’n’ roll jam from the ilk of Jerry Lee Lewis and modern day Duffy (without her angst.

It doesn’t make you beg for mercy as it does ‘twist and shout’). It has been said of ‘L.O.V.E.’ by radio DJs that perhaps it is too Sandra Dee – too candy floss, that like the sugary treat, one bite too much could send you the wrong way. I say it is refreshing to have a song that unashamedly champions love’s blissful innocence.

So far, so good then! But then Rose dared to attempt to cover a modern classic; namely, ‘Yellow’ by Coldplay – a song which effectively set the formidable band on course to legendary status. She started it with just guitar backing and keyboards subtly adding atmosphere.

Her vocals were peppered with a grainy quality uncommon among black female singers, while retaining a fundamentally rich and soulful tone. We, who knew she was covering the song, had our biased-based fears firmly allayed by the 8th bar! She was authentic as she sung the indie anthem.

It did not intrude on the original, nor did it presume to be equally as good, and for that it became the highlight of the night – and perhaps, a career-defining moment.

The rest of the band joined in with a funky, soulful groove that just remained steady and inspired a sort of two-step sway. If you had been reeling at the ticket price (not that you should have), you certainly ought not to have been after that song.

The Zimbabwean born songstress closed her set with a signature high-energy offering in the way of ‘Since I Was 6’. It begins as a heavy electro-funk beat with a riff as good as anything Stevie Wonder, Lenny Kravitz, or Red Hot Chilli Peppers could produce, then switches to a carnival –spirited soca rhythm.

Really, this young 20 year old was a revelation. All things being equal, she should be gracing a stage near you sooner rather than later. When she does, I suggest you give her the time of day. It will be time well spent.