I first saw Miguel Jontel Pimentel at South by Southwest, what feels like a very long six years ago. Back then, he was a promising but relatively conventional second-string R&B hitmaker – though already (unbeknownst to us at the time) in the midst of a metamorphosis that would lead him to the dazzling creative breakthrough of his second album, Kaleidoscope Dream. But even at that early stage, his nascent star power was blinding, and blindingly obvious. Some time later, mostly by happenstance, I caught the livestream of his set at Pitchfork Festival during the summer long hot of 2016 – just about a week after the deaths in Baton Rouge, St. Paul and Dallas – and witnessed the singer, dressed in angelic white, seizing an emotionally fraught historic moment and channeling it into an empowering, healing and utterly captivating performance.
Last night’s show at the Fillmore offered neither the thrill of discovery and sense of limitless possibility of that 2012 showcase set, nor the urgent topicality, coherence and moral force of the Pitchfork performance. But it didn’t need them. Even as nothing wilder than a seasoned working entertainer, punching in for another showbiz night, Miguel is among the best in the business. Throughout a generous twenty-plus-song set that drew from each of his four albums – including almost the entirety of his most recent, last year’s War and Leisure – he held the enthusiastic crowd in the palm of his hand all night long. Continue reading →