Ambient, soulful, emotionally captivating. A few words that spring to mind when listening to the new single ‘I Need’ by London based Maverick Sabre. Made famous throughout the mainstream appearing on Professor Green’s single ‘Jungle’, Hackney born Michael Stafford attempts to take a new direction in his approach. So, how’s that working out for the hip-hop, turned soul star?
It could be argued that he is perhaps following the trend of aspiring rap artists that listen to a Smokey Robinson vinyl and think “You know what, I’ll have a bash at that”. Mentioning no names. Plan B. (Sorry, had to be outed) This usually results in a flurry of Otis Redding pastiches, fused with the obligatory Mark Ronson style production. Fortunately, in this particular scenario, it really isn’t the case. Forgetting his hip-hop inspired past, you can genuinely that hear the tonal quality of his voice is distinctively befitting to Soul. It doesn’t feel forced, or contrived, as if it’s a feeble attempt to break into that particular genre, it feels categorically authentic. A quality perhaps lacking in a lot of the latest throwback artists, who are churned out to the masses and repackaged as a new and ‘current’ genre.
The vocal style of Sabre is jazzy, soulful, unique and comparable to the late Amy Winehouse, except perhaps with more ragga scat influences. He projects a very unorthodox vocal, which in itself is a very alluring quality. As much as he would wince at the thought, the chorus boasts lyrics that wouldn’t sound too out of place on a Lighthouse Family CD, with the positively uplifting “I need sunshine, I need angels, I need something good”.
The idea of composing a song that instinctively plants the word ‘throwback’ into the listener’s head is that of a daunting notion. You’re compelled to start comparing it to the greats, however the beautifully ambient soundscape to accompany the rough, fervid vocals creates an accomplished array of impassioned musical prowess. Despite the fact Maverick Sabre looks like he should be receiving a fine for urinating in public on an episode of Booze Britain, the young aspiring star displays qualities that should only mean success for him in the near future.
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It could be argued that he is perhaps following the trend of aspiring rap artists that listen to a Smokey Robinson vinyl and think “You know what, I’ll have a bash at that”. Mentioning no names. Plan B. (Sorry, had to be outed) This usually results in a flurry of Otis Redding pastiches, fused with the obligatory Mark Ronson style production. Fortunately, in this particular scenario, it really isn’t the case. Forgetting his hip-hop inspired past, you can genuinely that hear the tonal quality of his voice is distinctively befitting to Soul. It doesn’t feel forced, or contrived, as if it’s a feeble attempt to break into that particular genre, it feels categorically authentic. A quality perhaps lacking in a lot of the latest throwback artists, who are churned out to the masses and repackaged as a new and ‘current’ genre.
