LIVE REVIEW: Gregory Porter Wows Trinity Sessions Audience

Gregory Porter strolls onstage to hearty cheers, resplendent in white. His voice is honey-smooth and fills the air with ease.

Porter’s music, like his stage presence, takes cues from a long tradition of soul, that encompasses artists of the stature of Bobby Bland, Reverend Al Green and The Temptations. This is no bad thing. ‘On My Way To Harlem’, from 2012’s Be Good album, is a fast, joyous, musically complex celebration of jazz and black culture. His band come off like pro session men, but play with enough joy and verve to make this an asset, rather than a jaded slight.

‘Take Me To The Alley’ is winsome. The lyrics turn from banal to wry in a sly turn, delivered with infectious good humour. Benevolence positively radiates from the constantly smiling singer. It helps that it’s a fine summer evening, for this is summer music – warm, uplifting, communal.

It isn’t all deep soul and roses – ‘Musical Genocide’ is overlong and tips into self-indulgence. Mercifully, however, this is soon rectified by beautiful versions of ‘Consequence of Love’ and (a triumphant) ‘No Love Dies’ to finish.

Support act, Christian Scott, had stalked the stage like a hip-hop Miles Davis, coming across as far better live than on record. His set aside, however, this is a gig set back in time. It is essentially retro music, but does that really matter?

Gregory Porter is clearly doing what comes naturally – and doing it with heart and genuine talent. This is no stale recital, but rather a joyous celebration. Here’s to it.

• Ryan Platts