Violins reminiscent of a film’s opening sequence play out as Raye, full name Rachel Keen, takes the Swiss audience on a journey through songs and stories from her debut LP My 21st Century Blues, in an arrangement she’s crafted specifically for this festival.
Four minutes into the opening number The Thrill Is Gone, she warns the crowd “I just have to let everybody here know that I’m super dramatic … and that does mean that we’re going to be giving you a lot of dramatic endings tonight and I hope that’s okay?” Immediately after this, the Tooting-born singer showcases her vocal ability with a run so impressive even the crowd went silent. Raye’s use of vibrato tugs on the audience’s heartstrings before pushing them away to make space for an impressive sustained note, so grand that surely even the nearby Alps felt threatened.
As the guitar twangs, the audience are transported to a world of sunshine with the bouncy and funk-themed Worth It., which, much like the studio version, proves to be a carefree and lighthearted tune. Raye had to include this single as it is the epitome of an upbeat jazz number [well, 70s soul – Ed.], with a melody that doubles as an earworm. It’s hard not to get involved. This single is a great opportunity to reflect on the tracks ahead and take in this pleasant segment at the start of the show.
Mary Jane opens with a minute-long trumpet and guitar instrumental that slowly build a daunting atmosphere that runs throughout. The sharp and harsh staccatos are jolting and unnerving, as the wind section asserts its dominance above the rest of the band. She delves into her lower register to match the instrumental as she discusses one of life’s many taboos, addiction. There’s a real serious tone to this track and the connection between the lyrics and the artist are nothing but genuine.
The set features a cover of the James Brown classic It’s A Man’s Man’s Man’s World. Raye’s seven-minute take sees her improvising many different runs as she ascends and descends scales while repeating the song’s title and boasting her larger-than-life elongated notes. Whether you’re a passive listener or a fan, it’s easy to see why Raye has gained such a cult following in modern day pop culture. Her voice is bold and outstanding.
Raye’s magnum opus, Escapism, is the show closer, receiving a remarkable 10-minute-long rendition. The number starts with Raye and her saxophonist swapping riffs. Her sweet and delicate vocals contrast with the loud and proud band; together they tease out the opening verse of the piece. Five and a half minutes in, the usual chords strike and it’s time for Raye to command the already enchanted crowd one last time, kick drum and piano providing the backdrop for her hit single.
Raye is pictured on the album cover with her Swiss grandad, who finally got the opportunity to see one of his daughter’s phenomenal shows, live. The songs alone are enough to draw emotion out of even the most stoic, but the story behind Raye getting to make her grandad proud in his home nation is close to fairy tale and elevates the meaning of this live album.
No song in this ensemble falls short of four minutes. After all, Raye reminds the crowd, “I know you’re probably sat here wondering when is she going to end this song? I did warn you about those dramatic endings, didn’t I?” This album is an ode to those talented performers who have come before her and an impressive addition to her ever-growing musical legacy.
The concert is released as a stream and on limited-edition vinyl (Human Re Sources RAYEMJF24) – see https://raye.orcd.co/liveatmontreuxjazzfestival – and can be seen on YouTube.
