Photo credit: Adam Miszewski
Leon Bridges has one of those singing voices that is timelessly charming. Both smooth and soulful, punchy and playful, it’s equal parts Sam Cooke and Ne-Yo. This formula is virtually foolproof, and it comes as no surprise that Bridges has received significant airtime on Milwaukee radio stations and packed Milwaukee venues a few times in the past. His legion of adoring fans braved the crisp September air on Sunday night for an energetic BMO Harris Pavilion show that served as a reminder of how infectious Bridges really is.
“Milwaukee, make some noise,” Bridges quipped with a twinkle in his eye, shortly after taking the stage. After a long pause and a dismal response, he persisted. “Make some more noise!” The crowd obliged as nearly everyone jumped up and began dancing. Bridges is an excellent dancer himself; the colorful stage lights followed him as he bounced around the stage during the instrumental break in “Bad Bad News.” Audience members in the front row could almost see their reflection in his (very trendy!) tiny circle sunglasses.
Bridges’ sound has very obvious roots in ’60s and ’70s soul and funk records. Instead of completely imitating his legendary predecessors, however, Bridges pays a loving tribute to their work. Sure, he may not be quite as classically soulful or funky as some of them, but he doesn’t necessarily have to be. His carefully crafted, Motown-inspired tunes sound fresh due in part to their contemporary pop sensibility.
Sometimes when artists try to pull off a very curated “vintage” sound and aesthetic, their entire brand can feel rehearsed and inauthentic. Bridges’ retro ambiance doesn’t feel forced or aggressive; in fact, it feels completely natural. One can’t help but wonder about how successful Bridges would have been during the Motown era, especially with such an irresistible voice. It’s safe to assume his talents would have been in good company alongside the era’s greatest hitmakers.
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Bridges had some help on stage. His trio of backup singers provided some much-appreciated silky smooth Supremes-inspired harmonies behind him, while the giant band performed without missing a beat. The impressive arrangement of both sights and sounds would have made Phil Spector proud; one could have cut through their stellar wall of sound with a sharp knife.
The crowd remained on its feet for the duration of the show, and, despite the cold air, continued to twist the night away. They probably weren’t grooving to keep warm, though the light exercise probably provided some relief from the cool lakefront temperatures. When in the presence of Leon Bridges, it’s nearly impossible to stand still.
