As the band dropped the tempo and brought their volume down to a whisper, Robert Glasper began to play a familiar riff on the keyboard. The crowd erupted in cheers as they recognized the melody, their voices blending into an excited hum that filled the House of Blues. Glasper smiled—his signature, playful smirk—and rose to his feet while still playing, his fingers moving across the keys with casual precision. Wearing a knitted beanie and a black t-shirt emblazoned with “Black Radio” across the front, Glasper looked relaxed and at home.
The mood shifted as he grabbed his cup off the keyboard and sauntered toward the side of the stage, giving the crowd the cue to stay with him. In that same moment, the energy in the room skyrocketed when Paul Wall bolted onto the stage. Cheers turned into roars as the Swishahouse MC slid seamlessly into his verse from “Sittin’ Sidewayz.” Glasper, now acting just like a member of the audience, danced on the side of the stage as Wall performed. He grinned, danced, and pumped his fists like any other fan, fully immersed in the very music he so often elevates.
Robert Glasper released Black Radio in 2012, an album that would cement him as a new, innovative force in modern music. Since then, his name has become synonymous with genre-blending genius. Whether working with Brittany Howard, Q-Tip, Denzel Curry, or Kendrick Lamar, Glasper’s fluid approach to music refuses to confine itself to a single box. Over the past decade, his list of accolades has only grown—five Grammy Awards, 11 nominations, and scores of collaborative projects, including the Miles Ahead soundtrack and the poignant score for Ava DuVernay’s 13th.
On Tuesday night, the Houston native returned home to perform for a packed room. The evening wasn’t simply a concert; it was a celebration of music in all its forms. Glasper is not just a jazz pianist; he’s a collector of Black musical traditions: jazz, hip-hop, R&B, gospel, and soul. Each influence was on full display, stitched together seamlessly during his performance.
Tuesday night Glasper showcased his ability to weave together familiar hits in so many ways. One moment he was transforming Mariah Carey’s “Make It Happen” into a slow, grooving jam, layering it alongside Phil Collins’ “In The Air Tonight.” In the next moment he was blending Sade’s “Cherish the Day” effortlessly into Thundercat’s “Them Changes.” Each transition was a reminder of Glasper’s respect for tradition and his ability to make the old sound brand new.
The most spiritual moment of the night came when Glasper tapped into the gospel roots of so much American music playing the keys like a Sunday morning choir leader. As he played Kirk Franklin’s “Why We Sing,” audience members instinctively responded, lifting their hands into the air as if in church. For a brief moment The House of Blues transformed into a sanctuary of sound as the audience lifted their voices.
But Glasper wasn’t done paying homage to his roots. He nodded once again to his Houston upbringing by bringing out Trae tha Truth. Together, they performed Trae’s 2006 hit “Swang.”.
While Glasper’s set was rooted in jazz, it was impossible to ignore his deep connection to hip-hop. Throughout the years, his albums have featured odes to the late J Dilla, as well as collaborations with rap icons like Common, Snoop Dogg, and Lupe Fiasco. Tuesday night’s performance highlighted that bond, as Glasper led an extended and soul-stirring version of André 3000’s “Prototype.”
Glasper continued with his version of Kendrick Lamar’s “How Much a Dollar Cost.” The somber beauty of the original took on new life under Glasper’s arrangement—delicate, meditative, and haunting. As the audience listened in near silence, it was clear that the song resonated as much emotionally as it did musically. The combination of Glasper’s keys and Lamar’s storytelling felt almost transcendent—a reminder of music’s power to reflect deeper truths.
For Robert Glasper, the return to Houston was not just about looking back but also looking forward—celebrating the richness of Black music while continuing to push its boundaries. Whether improvising gospel chords, paying homage to hip-hop legends, or inviting hometown heroes like Paul Wall and Trae tha Truth onto his stage, Glasper once again proved why he remains such an innovative force in the worlds of Jazz and Hip Hop. .
This article appears in Jan 1 – Dec 31, 2024.
