Michael Kiwanuka’s return to Edinburgh’s Usher Hall was nothing short of magical. With a soul-stirring set, he mesmerised the audience, blending vintage influences with contemporary depth, proving once again why he’s a masterful performer.
I’ve witnessed my fair share of performances in Edinburgh’s historic Usher Hall, but few artists have commanded its venerable space with the quiet authority of Michael Kiwanuka. From my vantage point above the excited crowd, I watched as the Mercury Prize winner transformed the neoclassical venue into his front room complete with standard lamps, rugs and family films.
Hackney’s J Appiah provided the support with his band. Their short set included the soulful single Look Back and crowd pleaser, ONE THIRTY AM. They were well received by the nearly full room. Take the chance to catch them when you can.
Kiwanuka opened with a track from the new album Small Changes, The Rest of Me, and immediately established the evening’s signature sound with his velvet voice floating above meticulously crafted instrumentation. His ten-piece backing band wasn’t just accompanying him—they were intrinsic to his sound, building sound pictures that merged seventies vintage soul and cutting edge contemporary.
When he launched into Father’s Child I noticed the couple next to me close their eyes, surrendering to the groove of the instrumental intro before Kiwanuka’s vocals finally emerged. This is what separates him from his peers—patience. In an era of three-minute singles designed for streaming algorithms, Kiwanuka gives his compositions room to breathe and evolve.
I’ve followed Kiwanuka since his 2012 debut, and what struck me most was how he’s grown into his own artistic skin. This Kiwanuka owns the stage not through theatrics, but through the sheer gravitational pull of his musical presence.
The new album provided standout tracks Rebel Soul and Floating Parade. His band of seven talented and versatile musicians and three gifted singers were tight as a drum and were enjoying creating these amazing soundscapes together.
What is most impressive about Kiwanuka in 2025 is how he manages to craft a sound that references the past—echoes of Bill Withers, Terry Callier, and Gil Scott-Heron are evident—without ever feeling like a retro act. His music addresses contemporary concerns through a timeless sonic palette.
The acoustic perfection of the Usher Hall served his sound well. Each element in the mix was pristine, from the subtle percussion details to the psychedelic flourishes of keyboards. When the band reached full flight during Rule The World, I felt the bass frequencies physically move through my chest.
For the encores, Kiwanuka offered the Pink Floyd-ish Lowdown (parts I and II), Small Changes and Four Long Years. Followed by Cold Little Heart and a transcendent version of Love & Hate that expanded way beyond its recorded version, featuring an extended guitar solo that had me scribbling “Hendrix-esque” in my notebook. The entire audience were delighted and I joined the standing ovation,
In an industry often built on quick derivative sounds, he offers something genuine—songs crafted with intention, performed with conviction, and delivered without pretence. Kiwanuka had given us more than a concert; he’s provided a moment of genuine connection through music—exactly what we all needed.
Words: Graeme White @head_in_the_bass_bin
Pictures: Alan Rennie @alanrennie