Soweto Kinch unveils ambitious ‘Soundtrack to the Apocalypse’ at Queen Elizabeth Hall

It’s a rare joy to preview an un-recorded album, fresh from the rehearsal room, on a stage quite as large as the Queen Elizabeth Hall. This was Soundtrack to the Apocalypse, the third and final (and soon to be recorded – Ed) part of Soweto Kinch’s trilogy of albums which spans The Black Peril (2019) and White Juju (2021). All three works are political, with Kinch as saxophonist and storyteller, narrating chronicles of historic and ongoing Black erasure and exploitation, of government ineptitude during the pandemic, and related themes. Soundtrack to the Apocalypse continues this ambitious trajectory, with Kinch on multiple horns and electronics, fusing together jazz, hip hop, and other linked traditions from the African diaspora into an acute political statement.

Kinch is a collaborator at heart, and in the spirit of that approach, his band ranged from young graduate musicians to more established ones, including the welcome addition of guest vocalist Francis Mott. The set was evidently still in its early stages, with Kinch actively marshalling the band through each piece, yet the energy and joy that emanated from the group more than made up for it.

Countering the horns were Rick Simpson on piano, Joshua Vadiveloo on bass, and Louis Hamilton-Foad on drums, flitting artfully between Dilla beats and free jazz swing. The rhythm section’s impact was matched by the addition of low-end horns by Nathaniel Cross on trombone and Hannah Mbuya on tuba, as well as the occasional introduction of Deltron 3000-style beats via Kinch’s sampler. While the set consisted mostly of ensemble playing, there were moments, arguably too brief, where Kinch lapsed into ecstatic soloing, weaving in and out of the swirling cacophony on stage. Trumpeter Jay Phelps also proved a highlight in this regard, with clear, lyrical improvisation that soared.

Midway through the set, Kinch paused to reflect on the digital age, and how shortened attention spans have shaped listening habits. By his own admission, this is a phenomenon that he has chosen to embrace. It’s true that between his multiple horns, sampler, MCing, and pedals, while flipping through assorted musical histories and genres, there was a certain all-or-nothing, restless approach which might overwhelm a casual listener. At one point, Kinch mentioned being influenced by the music of Ancient Greece and Rome – further evidence that we live in the age of information, where musicians can now reach back across millennia for inspiration. Yet, while ambitious, it’s a fundamental part of Kinch’s music.

In dealing with these universal issues, the music must necessarily be universal too. Across The Black Peril, White Juju, and now The Soundtrack of the Apocalypse, Kinch brings together various countervailing ideas, styles, and sounds, challenging the listener to actually listen, and think.