Throughout her fifty-year career in music, Chaka Khan has proven herself to be a musical pioneer. She won a Grammy Award as part of Rufus and became the first R&B artist to have a crossover hit with a rapper. Born Yvette Marie Stevens, Khan showcased her curatorial prowess at the 29th edition of the Meltdown Festival, curating an elite lineup that set high expectations for her closing performance.
Twenty years ago, Khan released his tenth LP, ClassiKhan, a distinctly British track featuring the London Symphony Orchestra and recorded primarily at Abbey Road studios. This time, with the Nu Civilization Orchestra, their ensemble was more than twice the size of Incognito's, further bolstered by an additional 21-piece choir.
Anniversary album releases are becoming more common, but it was clear that Khan remains passionate and excited about these two-decade-old recordings. His erudition was evident as he shared knowledge about who wrote, recorded and popularized each song. This was particularly impressive given the wide span of decades covered, from “I'm In the Mood for Love” written in the 1930s, to “Crazy” from the 1960s, to “Roll Me Through the Rushes” from the 1970s. The only thing Khan wasn't so sure about was where a copy of ClassiKhan could be found, humorously advising: “Connect, I guess.”
At 71, Khan's voice and stage presence were stronger than ever. The orchestral arrangements provided a new context for his music, avoiding his characteristic funk sound. His vocal performances were reminiscent of Amy Winehouse in her heyday, although Khan's voice was several octaves higher and a little less ethereal.
Khan's passion and knowledge were complemented by humorous anecdotes that accompanied her three versions of Shirley Bassey. She shared that “Big Spender” has always been “a fun, fun song” but she got nervous when she heard her four-year-old granddaughter sing it. In “Diamonds Are Forever,” she humorously highlighted her children's enthusiasm for turning her into a diamond posthumously. The arrangements were equally impressive: “Big Spender” featured subtle jazz overtones rather than dramatic brass, while “Goldfinger” was a bit faster and ended with surprising whistles.
The festival concluded with Khan's biggest hits, “Ain't Nobody” and “I'm Every Woman.” For the latter, a set of guests, including Mica Paris and Lady Blackbird, joined her on stage, creating a memorable finale.
Meltdown allowed Khan to demonstrate his ability to curate a festival and deliver a personal, emotional and fun performance that ventured beyond his usual funk. The standing ovations he received for his sold-out performance and stellar contributions from artists like Incognito and Lady Blackbird underscored his success in achieving the festival's goals.
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