Review: Jalen Ngonda, Marble Factory – ‘The most scintillating soul’

Question 1: If you could go back to the 60s and 70s, would you? 

Would you saunter around the swinging cultural scene, eagerly await each Motown release, and lean in to all that blossoming self-discovery?

A Jalen Ngonda gig saves you the jarring journey. Every detail is a trip back in time — the raspy, tenor soul straight out of the old school; the tucked red shirt and tie; the silk drapes behind the band.

Born in Maryland but based out of Merseyside, Ngonda’s sound is a fabulous throwback with contemporary twists. Spotted by Daptone Records at a Paris showcase, he’s grafted through gigs for years and is now in the business of selling out shows.

Question 2: Likening an artist to another — is that a fault of style in musical journalism, or an inevitability? A slight on individuality or an important framing point? Who even knows. But I’ll do it.

I’ll do it with one caveat: honestly — none of these comparisons flatter Jalen Ngonda. He is that good. It’s like David Ruffin (of Temptations fame), Aretha Franklin, Marvin Gaye, and Sam Cooke each chipped in for an experimental, all-soul offspring. Shades of early Jackson in there while you’re at it.

Ngonda’s remarkable high register rings across Marble Factory from the first note of opener That’s All I Wanted From You, breaks through the delectable bluesy arrangement of Don’t You Remember, and turns euphoric with the gorgeous track Anyone in Love.

Ngonda is making waves with his authentic retro soul sound and pristine vocal style

It’s an odd one. The basslines, fun guitar grooves, and sweet harmonies from backing vocalists all add invaluable texture. Give Me Another Day is a prime example. But all the while you’re hard pressed to peel your eyes away from Ngonda. The man’s talent is, quite frankly, bonkers. He’s got a goosebump cheat code.

After the show, a middle-aged man plods along and proclaims, unprompted: “I feel how people must have felt when they first saw Elvis Presley”. That made me chuckle.

Question 3: How many love songs is too many love songs?

There’s no such threshold here. Love, longing, and heartbreak are par-for-the-course in Ngonda’s lyricism, culminating in the 2023 debut album Come Around and Love Me.

The title track hosts lovely sentiments like “keep this night in the ever-light”; it’s his personal favourite to perform. Just Like You Used To aches for connection and So Glad I Found You is a straight ode — someone calls out that the latter was his wedding song. Makes perfect sense.

Strings and sweet sax interludes are lovely touches on the record. We’re without them at this gig, but no bother — it’s an immaculate body of work and a joy to the ears, blending straight soul with R&B instrumentation. The same can be said for Doctrine of Love (which is “in the works”), and Just As Long as We’re Together — due for release next week.

There’s plentiful instrumentation on the record and in the live show but Ngonda, centrestage, captures and holds attention

Ngonda is mostly stage centre on rhythm guitar, but for a few stints he plays jazzy key interludes. On the ivories, perhaps the highlight of all his gravelly vocal work is a cover of The Beach Boys’ Don’t Talk (Put Your Head on My Shoulder). Absurd.

And to see us out — the anthemic If You Don’t Want My Love. The musicality shines through with nippy snare fills and infectious guitar licks. The staggeringly swayable music turns to a bop. We’re all in the palm of his hand.

All images: Samuel Fletcher

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