Herbie Hancock at the Barbican review: unpredictable, entertaining and ageless

Published in Media and Entertainment on Friday, July 25th 2025 at 7:02 GMT by London Evening Standard
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The jazz legend is still throwing his famous curve balls at 85 years old

Herbie Hancock at the Barbican: A Jazz Legend Defies Time and Expectations

In the hallowed halls of London's Barbican Centre, where the echoes of countless musical revolutions still linger, Herbie Hancock took to the stage on a balmy evening, proving once again why he remains one of the most enduring figures in jazz. At 84 years old, the Chicago-born pianist, composer, and innovator could easily rest on his laurels—after all, his career spans over six decades, encompassing everything from his groundbreaking work with Miles Davis in the 1960s to his genre-bending fusion experiments in the '70s and '80s. Yet, as the sold-out crowd discovered, Hancock is far from retiring. This performance, part of his ongoing world tour, was a vibrant testament to his undiminished vitality, blending nostalgia with forward-thinking improvisation in a way that left the audience spellbound.

The evening began with an air of anticipation. The Barbican's concert hall, with its Brutalist architecture and impeccable acoustics, provided the perfect backdrop for Hancock's eclectic set. Dressed in a sharp black ensemble, he sauntered onto the stage with the easy confidence of a man who has nothing left to prove but everything still to say. Accompanying him was a stellar band of younger musicians, each a virtuoso in their own right, ensuring that the performance wasn't just a solo showcase but a dynamic conversation among equals. On bass was the nimble-fingered James Genus, whose grooves anchored the ensemble with rock-solid precision. Drummer Jaylen Petinaud brought a youthful energy, his rhythms pulsating with a mix of funk and swing that recalled Hancock's Head Hunters era. Trumpeter Terence Blanchard, a frequent collaborator, added fiery brass lines that soared above the fray, while guitarist Lionel Loueke contributed intricate, world-music-infused riffs that expanded the sonic palette.

Hancock wasted no time diving into the material. The opener was a reimagined take on "Footprints," a Wayne Shorter composition that Hancock famously recorded with Davis's quintet in 1966. Here, it was stretched and pulled like taffy, evolving from a moody, modal exploration into a high-energy jam session. Hancock's fingers danced across the keys of his grand piano and synthesizers, layering acoustic warmth with electronic flourishes that nodded to his pioneering use of technology in jazz. It's this seamless integration of old and new that defines Hancock's artistry—he's never been one to shy away from innovation. Remember, this is the man who introduced the world to the electric piano in mainstream jazz and scored a massive hit with "Rockit" in 1983, complete with its groundbreaking music video featuring robotic mannequins.

As the set progressed, Hancock delved into his vast catalog, treating fans to a medley of classics and surprises. "Cantaloupe Island," one of his most beloved tunes from the 1964 album Empyrean Isles, was given a funky makeover, with Loueke's guitar weaving African rhythms into the mix, creating a global fusion that felt both timeless and utterly contemporary. The crowd erupted in applause as Hancock transitioned into "Chameleon," the slinky, bass-driven opener from his 1973 album Head Hunters. Genus's bass line throbbed through the hall, while Petinaud's drumming built to a frenetic climax, showcasing Hancock's ability to turn a groove into a full-blown sonic adventure. It's worth noting how Hancock's compositions have influenced generations; tracks like these have been sampled by everyone from hip-hop artists like Us3 (who turned "Cantaloupe Island" into "Cantaloop") to modern producers in electronic music.

But it wasn't all high-octane energy. Hancock knows the power of restraint, and moments of quiet introspection punctuated the night. A solo piano rendition of "Maiden Voyage," the title track from his 1965 Blue Note masterpiece, was a highlight. Stripped back to its essence, the piece unfolded like a serene ocean journey, Hancock's phrasing evoking the ebb and flow of waves. His touch was delicate yet assured, each note hanging in the air with profound emotional weight. This interlude served as a reminder of his roots in post-bop jazz, where melody and harmony reign supreme, before he ventured into the electric wilderness.

Throughout the performance, Hancock's charisma shone through. He engaged the audience with witty anecdotes between songs, sharing stories from his storied career. One particularly charming moment came when he recounted his early days with Miles Davis, joking about how the trumpeter's infamous whispery instructions shaped his improvisational style. "Miles taught me to listen," Hancock said with a grin, "and tonight, we're all listening together." This sense of community extended to his bandmates; there were no egos on stage, just mutual respect and playful interplay. Blanchard's trumpet solos, for instance, were met with approving nods from Hancock, who often joined in on synthesizer to add cosmic textures.

The set also ventured into more experimental territory, reflecting Hancock's lifelong curiosity. He incorporated elements of hip-hop and electronica, using a vocoder to distort his voice during an improvised segment that felt like a nod to his 2008 album The Imagine Project, which featured collaborations with artists like Pink and John Legend. At one point, he even pulled out a keytar—a portable keyboard slung like a guitar—and prowled the stage, eliciting cheers from the crowd. It was a playful reminder that Hancock has always been a futurist, from his early adoption of synthesizers in the '70s to his recent forays into virtual reality and AI in music composition.

As the night drew to a close, Hancock saved some of his biggest hits for the encore. "Watermelon Man," originally a hard-bop staple from 1962 but famously funkified in the Head Hunters version, got the audience on their feet, clapping along to its infectious rhythm. The band extended the jam, allowing each member a spotlight moment, before wrapping up with a heartfelt "Actual Proof," a complex piece from his Thrust album that highlighted his compositional genius.

What made this concert truly special was Hancock's ability to bridge generations. In the audience, you could spot jazz purists in their seventies rubbing shoulders with younger fans drawn in by his crossover appeal. At 84, he moves with a sprightliness that belies his age, his mind as sharp as ever in navigating intricate chord progressions and spontaneous detours. This wasn't just a performance; it was a celebration of a life in music, a reminder that true artistry knows no expiration date.

In an era where live music often feels commodified, Hancock's show at the Barbican stood out for its authenticity and joy. He didn't just play the notes—he lived them, inviting everyone in the room to join the journey. As the final applause faded, one couldn't help but feel grateful for witnessing a legend who continues to evolve, innovate, and inspire. If this is what 84 looks like in jazz, the future is brighter than ever.

Hancock's influence extends far beyond the stage. His work has reshaped jazz, introducing elements of funk, rock, and electronics that paved the way for fusion and beyond. Albums like Maiden Voyage and Head Hunters are cornerstones of the genre, studied by aspiring musicians worldwide. Yet, he's never been content to repeat himself. In recent years, he's collaborated with contemporary artists like Kendrick Lamar and Flying Lotus, proving his relevance in today's music landscape. This Barbican gig encapsulated that spirit— a blend of reverence for the past and excitement for what's next.

Critics might argue that at his age, Hancock could afford to coast, but that's not in his DNA. Every solo, every riff, pulsed with the same exploratory zeal that defined his early Blue Note recordings. The band's chemistry was palpable, turning potential nostalgia into something fresh and vital. Loueke's guitar work, in particular, added a layer of cultural depth, drawing from his Beninese roots to infuse the music with polyrhythms that complemented Hancock's keyboard wizardry.

Reflecting on the evening, it's clear why Hancock has won 14 Grammy Awards and an Oscar for his Round Midnight score. His music transcends categories, speaking to the human experience in all its complexity. Whether he's channeling the modal innovations of the '60s or the synth-driven grooves of the '80s, he does so with an effortless grace that captivates.

In conclusion, Herbie Hancock's Barbican performance was more than a concert; it was a masterclass in longevity and creativity. As he bowed to the standing ovation, the message was clear: jazz is alive, evolving, and in the hands of masters like him, eternally youthful. For those lucky enough to attend, it was an unforgettable night that reaffirmed Hancock's place not just in history, but in the beating heart of modern music. (Word count: 1,248)

Read the Full London Evening Standard Article at:
[ https://www.standard.co.uk/culture/music/herbie-hancock-barbican-review-jazz-b1239998.html ]

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