Countless people would have looked twice at Sade’s name and assume it a prank when she first came to prominence in the mid-eighties. No one need look twice these days: Sade is pronounced her way first, the marquis be damned.
Thirty years since the heady days of Smooth Operator and Sade still pulls a sizeable crowd, and a much cherished one at that: the kind that still pays full-price for music. Although Sade is an understated performer and her between-song patter is mostly rehearsed, the theatrical elements of her show — video projections, choreography, costume changes, stage effects — combined with an overlong absence from these antipodean shores make for an entertaining evening.
The night begins with Soldier of Love. The song incorporates a mechanised, industrial feel that is a slight departure from her usual fare, and the whole production plays on it: the performers emerge from the depths of the stage on the beat; the band synchronise their movements in lock step; Sade coolly hams it up; the lights accent the snare drum pounding on the two and four.
These theatrical elements are generally a clever touch the whole night through; a nonsensical video providing the back story to Smooth Operator while affording time for an obligatory costume change, however, is not. Regrettably, neither is the song’s rendition a great success — Smooth Operator feels limp and rushed. But no matter: soon after, an atmospheric rendition of Is It A Crime elicits the greatest response of the night, the slow burn of the verses that build to the chorus that goes somewhere close to emotional a welcome change from the general restraint of Sade’s material.
The relaxed funk of Paradise has a handful of the audience on their feet, and when the song breaks down into a sanitised, adult-oriented hip hop section, everyone gets on up. Sade wisely leaves the stage to her two back-up singers who have the crowd responding to their cliched calls. It’s lightweight and ridiculous; nonetheless, it’s fun.
We’ve been told we’re loved, we’ve heard the hits; while she never commands the stage, Sade is a gracious performer, and, smartly, she doesn’t rely on her intimate, understated music alone to entertain in a venue as vast as Rod Laver Arena. Her urbane exotica and the show’s production are all well done and — dare I say it — a smooth operation indeed.