Theodore Kim
V00960161
Music 116
Prof. Patrick Boyle
October 28, 2020
Concert Response to Leon Bridges’ NPR Music “Tiny Desk Concert”
I attended a YouTube recording of an NPR Music Tiny Desk Concert” featuring Leon Bridges and his bandmates. They performed four pieces, titled “Coming Home,” “Smooth Sailin’,” “Twistin’ and Groovin’,” and “River.” Behind the performers were tall bookshelves filled with books and miscellaneous items. There was a desk (perhaps THE “Tiny Desk”) between them and the audience. The result was a space that was homey and intimate, but not so small that it impeded the performers. Bridges and his bandmates were dressed in sleek, black and white outfits that varied between each member. Each member’s appearance was distinctive, yet low-profile enough to not draw attention away from the music. The band consisted of the two guitarists, the saxophonist, the backup singer, and Bridges, the lead singer, who also played guitar for the second and fourth pieces.
“Coming Home” was an expressive piece, roughly about longing for someone romantically. The instrumentation tended to alternate between the full band, and a combination of the guitars and Bridges. Compared to the other pieces, the dynamic and melodic range stood out in “Coming Home,” perhaps to reflect the emotional highs and lows of being in love. While the texture seemed mostly homophonic, it became somewhat polyphonic whenever the saxophonist or backup singer, or both came in. Bridges’ vocal part was rhythmically nuanced, and possessed a natural, speech-like quality, both in rhythm and intonation. On the other hand, the other parts were rhythmically straightforward, which highlighted Bridges’ rhythmic independence. The form, like the other pieces, featured a chorus and verse style, with changes made to the lyrics and/or the musical material with every repetition. I loved the pure, heartfelt quality of Bridges’ voice. His voice would occasionally break or crackle, adding even more sincerity and expression to his singing. The sound of the band as a whole was very mellow, and beautiful in its simplicity. I found myself swaying to, and appreciating every moment of the music.
“Smooth Sailin’” was a temporally energetic, rhythmically driven piece that provided contrast to the first piece. The full band was present for the whole piece. The dynamics floated in the middle range, and occasionally surged in Bridges’ vocal part. The theme of sailing and water was reflected in the undulating and rolling motion of the melody. Bridges’ fun, conversational rhythm and intonation was ever-present, and generally supported by the other parts, which also carried a playful, swinging rhythm. Short, but sweet saxophone and guitar solos were more present in this piece, and it was common for a part to jump in with a musical idea alongside Bridges. In a sense, the piece was like a potluck, with each part sharing their own ‘dishes’ and flavours! These characteristics made for a lighthearted and groovy listening experience. My favourite parts of the piece are when Bridges’ exclaims “sugar” with a sort of bad-boy attitude. It added flare, and a touch of aggression that made the music all the more exciting.
The third piece, called “Twistin’ and Groovin’,” was bouncy, upbeat, and story-driven, and was inspired by how Bridges’ grandparents met. It began by detailing the events leading up to their first meeting, featuring only part of the band. The other parts were gradually introduced, and by the time every part had been firmly established, the action in the story picked up. The highlight of the piece was the chorus, which featured a syncopated and fragmented rhythm created by short gaps in the musical flow, as if to represent the dancers moving so energetically that they hung in mid-air at times! Bridges animated dancing was infectious, and had me moving in my seat in front of my computer screen (sorry Prof. Boyle, there’s a new chair-dance in town). The whole band was animated and expressive, to be accurate. One of the guitarists cracked a full smile, and was fully immersed during the performance. I couldn’t help but admire each member’s confidence, authenticity, and enjoyment of the moment.
The final piece of the concert was “River,” a slow-paced, reflective, almost solemn piece. Only Bridges and the backup singer were involved in the performance. The tempo, and rate of harmonic change were unhurried and easygoing. Bridges and the backup singer carried a vocal melody over simple accompaniment provided by Bridges’ guitar. As with the other pieces, a natural, speech-like rhythm was apparent. The contrasting material provided musical interest, and the gradually descending melody could be interpreted as the steady current of the ‘river.’ The uncrowded soundscape, and subdued nature of the piece contrasted strongly with the rest of the program. This demonstrated the breadth of Bridges’ musical style, and gave listeners a fresh mood to get immersed in. There was a purity and simplicity to the piece that was wonderful to hear. I paid special attention to both performers’ shameless self-expression, as opposed to it being forced or hidden.
I had a great time attending this concert. This style of music is somewhat new to me, so it was very refreshing. I loved everything, including the concert space, the band members and their physical expression, the music, and the digestible length of the program. Bridges’ music is approachable and easy to follow without sacrificing nuance and depth. Thanks to this concert, I am keen on seeking out more of his music!
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