The world-renowned Kennedy Center welcomed Grammy and Tony Award winner Heather Headley on Saturday, September 7th, for an evening of show-stopping hits, where The National Symphony Orchestra backed her under the conduction of Steven Reineke.
Heather Headley is currently on hiatus from her successful Netflix show “Sweet Magnolias” following her recent performance in the Broadway revival of Into the Woods. During her performance, Headley’s set list omitted her R&B material and instead showcased favorites from her illustrious stage career, featuring selections from “Aida,” “The Lion King,” and “The Color Purple.” The audience was treated to a spirited rendition of “One Night Only” from the orchestra from “Dreamgirls” before Headley graced the stage in a stunning gown.
The show kicked off with a lovely one-two punch of “Over the Rainbow” and “Can You Feel the Love Tonight,” which set the stage for an emotional rendition of “Still Hurting” from “The Last Five Years.” Following a medley of popular tunes, it was time for an intermission. The show’s second half focused on Gospel with tunes including “River Deep” and “Your Song.” One highlight of the show’s second half was the guest and first winner of “The Voice,” who easily won the crowd with his smooth vocals.
The night closed out with the tune “Make Them Hear You” from “Ragtime” and was followed by an encore of the Whitney Houston classic “I Wanna Dance with Somebody.” While some fans may have been let down not hearing Headley’s classics such as “In My Mind,” “He Is,” and “I Wish I Wasn’t,” it was clear she has a voice that can sing anything with elegance.
Final Grade: A
Earlier this week, fans were excited when the trailer for Netflix’s upcoming sequel series, “A Different World”, was released. In response, I thought it would be fitting to pay tribute to Jasmine Guy’s self-titled album from 1990 for this week’s Second Listen Sunday.
Some jobs in music are difficult, but being asked to replace Smokey Robinson is another. When Robinson stepped away from The Miracles in the early seventies, Billy Griffin inherited a microphone attached to one of Motown’s most recognizable voices.
When I reflect on the summer of 1998, I was preparing for my junior year, while R&B seemed to be at a crossroads. Brandy and Monica were dominating the youth market with their blockbuster sophomore albums, while established male singers like Luther Vandross and Gerald Levert were comfortably settling into Urban AC.