More about: Blood OrangeDev Hynes

If you aren’t familiar with Devonté Hynes by name, you almost certainly will be with his music. As well as his innovative R’n’B project Blood Orange, Hynes has an illustrious career in production, having worked with the likes of Solange, Mariah Carey, FKA Twigs and Carly Rae Jepson. 

Hynes’ performance at the Barbican Hall is a rather different vibe. If you’re here for Hynes’ groove infused pop, you will come away disappointed. Tonight sees Hynes embrace a more solemn approach. Performed with the London Symphony Orchestra, his compositions explore different facets of identity and community. Hynes is no stranger to the classical scene, having worked with minimalist Phillip Glass and composed film scores for Luca Guadagnino’s TV drama We are who we are. Having grown up in London, performing with the LSO is something of a homecoming for the artist, especially when joined by collaborator and pianist Adam Tendler. The Barbican Hall is a beautiful venue, with pale wood paneling framing the orchestra and rows and rows of plush velvet seats. Tonight, it’s packed out for the first of two sold-out nights playing this programme.

The concert opens with Naked Blue, performed by the LSO. Opening with a serene string arrangement, the piece later transformed into an icy, more forboding tone. The music speaks to themes of trauma and anxiety, the spiky and nervous energy seeping through the huge concert hall.

After the interval, the stage was set dramatically  with two interlocking Steinway grand pianos set in its centre. Hynes is unassuming as he enters, wearing green baseball cap and grey jumper over his smart dinner trousers. When he plays, his head is bowed, moving away from the instrument to adjust his hat occasionally. 

The long ride II, the first of two duets with Tendler, features lyrical chords and urgent arpeggios which fight for prominence as the piece goes on. Morning Piece follows, pulsating and solemn. The two pianists feel like they are in perfect sync, glancing at each other across the pianos’ wood and string insides. 

When Hynes performs his Untitled III solo, the hall is silent (although my thoughts are with the person who knocked a glass over halfway through.) He leans into his music, playing with a light and swift touch. Like in his production and composition, Hynes is a master of timing as he performs, hesitating until just the right moment before playing.

"Hynes mightn’t be performing his biggest bangers tonight, but he certainly knows how to wow the crowd, and get them on their feet." 

Devonté Hynes feels vulnerable and exposed under the glare of the spotlight. There is a stark contrast when the orchestra reappears and the spotlight dims to a warm glow around the stage. In the wake of Hynes’ intimate and raw solo, the orchestra’s music feels warmer, more comforting. For the final piece of the night, the LSO are joined by soloist Tendler for a moving performance of Happenings. The piece moves from a grandiose, slow feeling of sacrifice to a triumphant march, punctuated by Tendler reaching into the piano and plucking its strings. The performance feels like a homage to making it through hardships, composed to celebrate and understand the experiences of Hynes’ life.

When the concert is finished and Hynes reappears, people rise to their feet in applause. After such a solemn and meditative concert, somehow this feels like a huge gesture from the audience - but one that’s definitely deserved. Hynes mightn’t be performing his biggest bangers tonight, but he certainly knows how to wow the crowd, and get them on their feet.

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More about: Blood OrangeDev Hynes