Last year, Robert Glasper was unexpectedly thrust into the pop-culture spotlight when Chris Brown, reacting to Glasper’s Grammy win for Best R&B Album with Black Radio III, posted on Instagram, “Who da f*** is Robert Glasper?” It was a moment that highlighted how Glasper, a genre-defying innovator, has long operated in a space often misunderstood by mainstream audiences.
For those who know, Glasper is a master of his craft, weaving jazz, R&B, hip-hop, and soul into a singular tapestry of sound. For the audience at Koko during the EFG London Jazz Festival, there was no question about who Robert Glasper was – he was the unequivocal star of the evening.
From the opening notes of J Dilla’s “Ice,” Glasper set the tone for a night that blended humour, technical brilliance, and cultural homage. After teasing the audience with his first piano riff, he playfully remarked, “That part is so f***ing hip hop,” drawing cheers and laughter.
His light-hearted engagement continued as he invited the crowd to join in the chorus, joking about their hesitance to fully embrace the rap’s more explicit lines. It was an icebreaker that perfectly set the stage for a dynamic performance.
Glasper’s setlist was a living, breathing thing, constantly evolving with medleys and interpolations. The evening featured songs from across his discography, including fan favourites like “Afro Blue” and “Ah Yeah,” intertwined with unexpected covers of Radiohead’s “Packt Like Sardines in a Crushd Tin Box”, Kendrick Lamar’s “How Much a Dollar Cost?”, and even Nirvana’s “Smells Like Teen Spirit”. These arrangements were not merely tributes but reimaginings, with Glasper and his band transforming familiar melodies into something entirely new.
One standout moment was a poignant piece over an audio clip of the inspirational and sadly lost rapper Nipsey Hussle, whose words posed the existential question: “Would you rather be at peace with the world and at war with yourself? Or be at war with the world and at peace with yourself?” In the hushed room, Glasper’s playing carried the weight of these words, leaving the audience in a reflective silence before erupting into applause.
The encore—a stirring rendition of Kendrick Lamar’s “Saviour”—held personal significance for many, particularly those who appreciate Lamar’s impact on contemporary music. It was a perfect conclusion to a night where Glasper seamlessly bridged genres and generations.
Glasper’s quartet, featuring DJ Jahi Sundance, Justin Tyson on drums, and Burniss Travis on bass, played with a synergy that can only come from years of collaboration. Their interplay was as much a highlight as Glasper’s virtuosity, with each member contributing to the complex, layered soundscapes that defined the performance.
The venue, Koko, provided an intimate yet grand setting. The audience, comprised of jazz aficionados and Glasper fans, was attentive and engaged, though Glasper’s deep homage to hip-hop at times revealed a slight disconnect with some of the crowd. Despite this, the energy remained high, with cheers and laughter punctuating the night.
Robert Glasper’s performance at the London Jazz Festival was a testament to his genius and versatility. He is a musician who defies categorisation, seamlessly blending the cerebral with the soulful, the jazz club with the streets.
The night was a reminder that Glasper doesn’t just play music—he creates a dialogue, a shared experience that lingers long after the last note fades. For those lucky enough to attend, it was clear: this is who Robert Glasper is, and he’s a force to be reckoned with.
Words and Photos by Margarida Pereira
