Seal
Wednesday, October 8, 2008
"Soundstage" Studio/Chicago, IL.

Review and Photo By Andy Argyrakis

During the initial run of “Soundstage” throughout the 1970s, the famed WTTW Chicago program featured intimate concerts with the illustrious likes of Bob Dylan, Tom Waits, Aretha Franklin, Muddy Waters and even Andy Kaufman (to name but a handful). After almost two decades of delay, the program spring boarded back in 2003 and continues to be broadcast all across the globe via PBS. Beyond the current season boasting everyone from the classic (B.B. King) to the current (OneRepublic), each special is taped and presented in high definition with surround sound, which in the case of Seal’s recent taping, helped amplify a brand new sound most might not expect from the British singer/songwriter.

Though best known as the balladeer behind the Batman Forever soundtrack song “Kiss From a Rose,” his latest album System (Warner Bros.) is a full-fledged European club affair that tips its hat to Madonna’s Confessions on a Dance Floor one minute, Daft Punk the next and even a tune or two that resembles something from Radiohead’s Amnesiac. During this up close and personal concert, Seal gallantly displayed the club flourishes of the thumping “Amazing,” the pulsating “Killer” and the dreamy trance tune “Loaded.”

Recent tunes ruled the evening, with the equally infectious “The Right Life” and “Future Love Paradise” sure to reel in an entirely new audience, while not necessarily alienating those who fell in love with the sultry swagger of older cuts like “Love’s Divine.” The set list was also chock full of several impressive covers, all culled from Seal’s next CD Soul (Warner Bros.), which hits streets November 11. This segment not only featured his three piece band, but also a full brass section, mini-orchestra and piano playing from Grammy Award winning producer David Foster, who collectively presented stunning versions of Sam Cooke’s “A Change Is Gonna Come,” James Brown’s “It’s A Man’s Man’s Man’s World” and Al Green’s “Here I Am (Come And Take Me).”

Though this show was far from a flashback through Seal’s catalogue (omitting monster hits like “Waiting For You” and “Prayer For the Dying”), he did round the bases with an electrify versions of “Crazy,” which focused on the full-band format following the System songs’ mergers of instrumentation and programmed loops. But no matter what the medium, Seal showed he can still conquer any style and should have no trouble translating to the TV screen when the special is broadcast later this season. As for specific airdates and times, along with all the other artists appearing in the current “Soundstage” schedule, visit www.pbs.org/soundstage.