Rationale, tour review: Pure love for a seductive star on the rise

From the opening, Fazakerley was serenading us over the slinky, seductive rhythm supplied by his polished band, says Andre Paine
Homecoming: Tinashé Fazakerley, aka Rationale, wins over the crowd at Heaven
Steve Gillett/Livepix
Andre Paine26 January 2017

“This is pure love,” announced Tinashé Fazakerley mid-way through his homecoming show on the final night of a UK tour. The singer, better known as Rationale, was referring to the audience reaction, which was astonishing for an artist yet to release an album. When his fans weren’t screaming they were attempting to sing along to his sultry baritone on the recent singles.

But that “pure love” could just as easily have been describing the songs, which were at times shamelessly syrupy. From the opening Re.Up, Fazakerley was serenading us over the slinky, seductive rhythm supplied by his polished band.

Yet the Zimbabwe-born singer, who relocated to Camberwell at a young age, is not just another lovelorn vocal talent with a few tunes. An experienced songwriter and producer, Fazakerley has toured with Bastille, written for Rag’n’Bone Man and, after a false start, is now chasing a solo career again at 32.

'There was an Eighties flavour to the expansive pop, while a few jerky dance moves appeared to be channelling Michael Jackson'

He’s already got the approval of Elton John, Pharrell Williams and Radio 1’s Annie Mac, so winning over this club crowd seemed like a formality. Performing in front of his stage name in huge lights, he held his arms out wide as his vocal took flight and occasionally joined in with the band by whacking an electronic drum pad. There was an Eighties flavour to the expansive pop, while a few jerky dance moves appeared to be channelling Michael Jackson.

From the liquid funk of Palms to the gospel-tinged Deliverance and subdued soul of Vessels, plenty of these songs sounded worthy of his debut album (due later this year).

Living on the Line, a piano ballad not a million miles from Sam Smith, revealed that bruised baritone in all its glory. But it was the sleek, confessional synth-pop of Prodigal Son that got the bigger reaction.

On Fuel to the Fire, he even ventured into protest pop territory, with dramatic results. It was an emphatic conclusion to a highly charged performance that suggests belated success is finally coming his way.

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