Back on stage in Paris for a unique date at the Accor Arena, Thursday October 15, Stevie Wonder celebrated the 50th anniversary of his legendary album Songs in the Key of Lifeperformed in its entirety. An exceptional concert, between emotion, virtuosity and nostalgia, which confirms that, fifty years later, Stevie remains the keeper of the keys. WECB was there.
Ask those who experienced it – and above all are still able to remember it – about what they remember about 1976. For an overwhelming majority, it is the word “drought” that will come up. Because we didn’t say heatwave at the time, but rather “drought”, or even “great drought”. Don’t worry… Certainly, in the lot, there will be an infinitesimal percentage to evoke a handful of (not too small) green men and square poles on a May evening in Glasgow. Even rarer will be those who will assure you that 1976 boils down to the discovery of Songs in the Key of Life.
Certainly, Stevie Wonder’s improbable double vinyl album was released in September, but because we are – and above all we were – in France, it will take a little more time for adoption to materialize. It was necessary to go through two or three singles a few months later, starting with this “Sir Duke” which a small army of often hairy ostrogoths rushed to select from the jukeboxes which some restaurants or cafés thought it was a good idea to install, sometimes right on the tables. Oh, not only because of its excitement with all brass out, farandole of saxophones and trumpets, but because it was a good way to avoid getting stale for the umpteenth time – and especially one time too many – a “Magnolias for Ever” by Claude François or a “Before we say goodbye” by Jeane Manson. Yes, we suffered at the time…
So it took the time it was supposed to take, but Songs in the Key of Life ended up making its way, into heads and bodies, because it is a stunning and sidereal geyser of melodies, harmonies, rhythms. Until you know the slightest twists and turns, the slightest sequences. But with a question that loomed louder with each listen: how could the 26-year-old guy at the time, who had thought the slightest note of it, integrate “all that” into his future concerts? Was this even imaginable?
We will therefore have to wait fifty years to know the answer. And this evening, in this Accor Arena ready to capsize from the first second after having stared for a long time at the reproduction of the album cover with these orange sheets of sunlight in the backdrop of the stage, no dryness will hold. Rather, a light veil of humidity over the memories. This evening, those who had taken Songs… in full pear at the time are twelve-thirteen-fourteen-fifteen years old again. This evening, their eyes will shine at least as much as the diamonds set on the glasses of the master of ceremonies, as much as the sequins of his frock coat closed up to the collar, whenever the capricious air conditioning of the place comes to play a bad trick on this voice which will be the only one to sometimes take somewhat unfortunate relief routes.
As announced therefore, as long fantasized therefore also, the entirety of Songs in the Key of Life will be reviewed, to the point of sowing confusion as to what should be retained as a priority. Five brass instruments, six backing vocalists, an orchestra of ten people, two guitars, a bass, a drums, percussion, a second piano entrusted to the musical director of the ensemble, Greg Phillinganes, already present on the album on keyboards, just like the bassist Nathan Watts: it is no longer the small dishes in the big ones, but all the dresser which has been called upon. However, even if we only look at him most of the time, Master Stevie, behind his pianos, sliding his lips on one of his four harmonicas for succulent solos (on “Isn’t She Lovely” of course, but also on “Knocks Me Off My Feet” or this double ration with Frédéric Yonnet on “Easy Goin’ Evening (My Mama’s Call)”). The gaze is fixed on him again when he seems content to accompany the troupe on a “Contusion” narrowly missing out on a general jam, the same later for a stratospheric “Black Man”.
So, too bad if, in the floods of serotonin and dopamine rushing through our bodies, the finesse and sweetness of a “Joy Inside My Tears” will have been lost a little-a lot along the way, if we could hope for more from this “If It’s Magic” a cappella and only accompanied by a harp. Not a big deal since the… celebration of “Another Star” and its torrents of “la la la” will have swept everything away, before a final “Superstition”, the only track out of Songs…come and close the evening feast with Lenny Kravitz to add a pinch of extra energy.
No reminder. No need for a reminder after that. The reminder will be to dive back into these clouds of orange solar clouds, to warm up once again to their bursts and to the inner joy of having seen with our eyes that the guy who was 26 years old half a century ago remains the keeper of the keys.
