Concert Review: Nate Smith + KINFOLK
November 17, 2021
“The pocket” is about space. It’s foundational for musicians, particularly those working in traditions extending from the well of Black music. The pocket doesn’t answer questions, rather it asks: what can be made with as little as possible? And it’s not that ‘more’ can’t be had, but that it’s not necessary. The pocket is where musicians are asked are to serve the song, the band, the moment; the opposite of soloing; it’s inherently collective.
When it’s tight, it’s right, and the pocket’ll make you scrunch up your face. The pocket is Ndugu Chancler’s drums in the opening moments of Billie Jean; it’s Clyde Stubblefield on Funky Drummer; it’s Tony Williams’ ride cymbal on Fall; it’s J Dilla on an MPC 3000; it’s Questlove drums on The Line. In the landscape of contemporary drummers, no drummer incapsulates the spirit of the pocket more than Virginia native, drummer and composer, Nate Smith.
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Earlier this year, Nate Smith, released Kinfolk 2: See The Birds, the follow-up to his 2017 album, KINFOLK: Postcards from Elsewhere. In the time in between albums, Smith has remained busy, releasing a solo, drum album (Pocket Change), an EP with the Vulfpeck offshoot, The Fearless Flyers, and contributed drums to Alabama Shakes frontwoman, Brittany Howard’s debut solo album, Jaime. In each of the aforementioned projects, a layer of Smith is revealed; his impeccable timing, feel, and groove make him one of the most sought after drummers in music. Smith’s playing melds band leaders that have led from behind the kit like Art Blakey and Tony Williams with Stewart Copeland and Ralph Johnson - there’s nothing that Smith can’t do.
On Kinfolk 2, Smith explores themes of becoming, hope, and home. A native of Chesapeake, Virginia, Smith reflects on his upbringing, the places, moments, and music that have shaped him, as such, the album feels like a garage band constantly experimenting. Kinfolk 2 also introduces new band pieces: vibraphonist and Blue Note Recording artist, Joel Ross, violinist, Regina Carter, vocalists Amma Whatt, Kokayi, Stokley (from Mint Condition), Michael Mayo, and Brittany Howard, and guitarist, Vernon Reid (from Living Colour).
Following the release of Kinfolk 2, Nate Smith + KINFOLK embarked on multi-city US tour, and on Wednesday, November 10th, Nate Smith, and his supporting band played The Music Hall at Philadelphia’s World Cafe Live.
Opening to the sound of birds chirping, Smith took the stage first, starting with a brief drum solo and slowly trickling into the first tune, Altitude, a beautifully composed atonal song that keeps the listener on their toes, highlighted by solos from pianist, Lawrence Fields, then guitarist, Brad Allen Williams. Following Altitude, the band made a clean break, as Smith set up a samba-infused tune where saxophonist, and Philadelphia native, Jaleel Shaw took center stage playing his first solo of the night. In the following two songs, Smith took the audience on a journey through his discography, spanning more than 15 years now, playing tunes from his KINFOLK series.
It’d be hard to pick a favorite moment from the opening quartet of songs, but Collision and Small Moves both struck me as especially poignant and beautiful; songs that took on a new life on the stage in comparison to the records.
Later in the show, Smith and KINFOLK would be joined by vocalist Amma Whatt for performances of Square Wheel, I Burn For You, and Disenchantment: The Weight. Whatt’s voice glided, showing the beauty of the human voice and reminder of it as the first instrument. Whatt’s voice wonderfully contrasted with the band, giving the tunes a special flavor.
When listening to Smith, notions of genre immediately feel limiting and useless. Simultaneously, Smith and his band exhibited remarkable range and musical dexterity, easily moving from metal (Rambo: The Vigilante), to folk, to straight ahead jazz, to Funk and Hip-Hop (Bounce Pts. I + II), to R&B, to Gospel, and more.
As an example of the band’s range, they closed the night with I Burn For You, which began smoothly with Amma Whatt, then eventually crescendo’s into what felt like a strong melodic chant, followed by Home Free (For Peter Joe) from Smith’s first KINFOLK album, a song composed in the Gospel and Soul traditions, where guitarist Brad Allen Williams carried the melody, adding a different texture to the song.
Closing with these two songs — thematically and stylistically — showed the range of Smith + KINFOLK and operated as a wonderful coda to the night.
