Small Changes marks Michael Kiwanuka‘s fourth LP in 12 years. He has been around for some time, but the lack of output gives the false impression that he is still relatively new. This is the artist whose track “Cold Little Heart” was the theme song for HBO’s Big Little Lies after all, a television series which itself feels like it was produced ages ago (Nicole Kidman has been featured in six TV series since then, if that is any indication). In this effort, Kiwanuka reflects upon some more significant life changes, including becoming a father and leaving London.
Maybe it’s the gaps between albums, but each record receives less fanfare, although not necessarily diminished acclaim. Like Kiwanuka (2019) and Love & Hate (2016) before it, arguably his high-water mark, Small Changes will grow with listeners willing to give it time and deserved patience. Despite some languishing moments, Kiwanuka’s unassuming style and velvet voice shine through on another solid effort.
Like the two celebrated albums before, Small Changes was co-produced by Danger Mouse and Inflo. The record is accordingly polished and regularly incorporates strings, delivering a sound bigger than the contributing musicians, including Kiwanuka, Pino Palladino (bass), Jimmy Jam (organ), and the producers.
Michael Kiwanuka straddles classic R&B and adult contemporary, making his music accessible to a range of listeners, from those who grew up during the civil unrest of the 1960s and 1970s to those still living in the struggle today, whether Southeast London or Belmont, Detroit. That is not to mention his crossover appeal for those who prefer their indie rock infused with some soul.
The Marvin Gaye influences on “Floating Parade” call for something greater from a race-conscious lens. Kiwanuka sings, “People keep talkin’ / Bout how pots don’t melt / Well we don’t belong in / This hard luck hand we’re dealt / So we need foreign times / To arrive.” The plea for change cannot rival “What’s Going On”, but honors sentiments steeped in that tradition. Small Changes contains similar moments of reflection but primarily lets the music breathe free of social commentary.
“Lowdown (part i),” with its simple snare drum rhythm and bass backbone, speaks from the perspective of somebody down and out, making his way to the “so-called Jubilee”. Conversely, “Lowdown (part ii)” is all instrumental, with a prominent lead guitar and sophisticated orchestration, offering an unexpected reference point in Pink Floyd‘s “Shine on You Crazy Diamond”. These complementary tracks serve as markers on the ever-evolving spectrum of Kiwanuka’s sound, which should appeal to a variety of tastes.
While the singles are solid, other tracks deserve commensurate attention, and to what extent is based mainly upon one’s stylistic preferences. “One and Only” is one such standout, with its understated guitar, bongo drums, and major chord keys. The song hits a high point when Michael Kiwanuka infuses feeling into the central refrain. “Follow Your Dreams”, co-written by Danger Mouse, includes synth, guitar, and production that would fit well on a Broken Bells album (and would likely be a highlight there).
The record gets sleepy at times. The piano composition “Rebel Soul” drifts along in sepia tones, with the Damon Albarn-style vocals more closely aligned with the Good, the Bad & the Queen than Blur. The end of the record, in particular, can be tiresome as the slow tempo becomes monotonous. Even “Stand By My Side”, where Danger Mouse attempts to create another dimension through the track’s production, feels unexceptional in contrast to his contributions elsewhere on the record—not to mention his overall body of work.
Whereas Small Changes reflects Kiwanuka’s significant life changes, it feels like just another solid entry in his catalog, exceptional though it is. That is nothing to scoff at, as it takes a unique talent to record one quality album after another. Kiwanuka again proves proficient on multiple instruments, but his most striking quality remains his voice, which has the power to evoke deep feelings, as his idols did for another generation. The Mercury Prize winner may no longer generate considerable excitement with each release, but the results are meaningful and equally moving.