“This is God’s plan, he said it to me…”

The divine declaration of Dave’s visionary intent not only opened his long-awaited third studio album The Boy Who Played the Harp (2025), but also acted as the curtain-raiser for the electric Birmingham show of his tour at the Utilita Arena. 

As previously observed in Noah’s review, the profound sociopolitical motifs and spiritual questions that saturate TBWPTH seem at odds with the arena anthems and commercial hits that fans had anticipated for the record after a three-year absence.  Rather, this release marked not only the Streatham native’s most biblically suffused offering, but also signals a sharp excursion away from the ostentatious flexing which has characterised more recent projects such as the collaborative EP Split Decision in 2023 with fellow London rapper Central Cee.

… an eclectic, panoramic soundscape felicitous for live performances

However, that is not to say Dave limits himself to introspective ballades of spiritual reckoning, but rather manages to euphoniously balance this piousness with upbeat, groovy instrumentals to produce an eclectic, panoramic soundscape felicitous for live performances.

Such a distinctive poetic-pop liminality was epitomised in the syncopated hook of ‘No Weapons’, the second track of the night. Rising star Jim Legxacy’s feature melodiously interpolates the ecclesiastical verse from Isaiah 54:17 “No weapon that’s been fashioned against me shall prosper” that Dave had previously alluded to in ‘Lazarus’ on his acclaimed sophomore album We’re All Alone In This Together (2021).

Dave was sure to reassure fans that the show was not a mellow album run-through nor simply a musical haven from contemporary sociopolitical issues (including domestic violence and slavery in the Trucial states), suggested by the titular biblical allusion of young shepherd David comforting the perturbed King Samuel with the melodies of his harp. Rather, he clarified it in his prelude as a “journey”.

… a celebratory homecoming coronation for the dubbed “king of British rap”

This nostalgic air was rendered optically through a row of retractable, semi-transparent LED screens which offered a visual semblance of the retrospective view across Dave’s decade-long run in the UK scene. From his wavy club hits with Fredo on ‘Funky Friday’ to the intimate warmth of the afrobeat-influenced ‘Raindance’ with Tems and the ethereal resonance of Paul McCartney’s vocals echoing on the title track, the event felt just as akin to a celebratory homecoming coronation for the dubbed “king of British rap” as to the meditative religious and political material that the project tackles. 

Equally reminiscent was the stirring verve of newcomer supporting act The Lost Boys. Upon entering the venue, the DJ collective not only set the mood for the cinematic range of sound to come, but also served as an evocation of Dave’s humble origins opening for Drake’s ‘More Life’ tour at the O2 nearly a decade ago. From the piano-driven pop of Vanessa Carlton to the infectious afro-swing of Burna Boy’s ‘Ye’ to the rousing drill anthems of K-Trap, the group flourished not only in galvanizing the expectant Brum crowd even further, but also exemplified the sheer stylistic scope of repertoire in the discography of the Streatham headliner.

The virtuosic performance demonstrated his mastery of blending opposites

The highlight of the evening was undoubtedly the live band’s renditions of Dave’s oeuvre, more specifically Dave’s personal instrumental solos on both piano (‘Both Sides of a Smile’) and guitar (‘Selfish’), where the progression made during his sabbatical was arguably most striking. Paired with guitarist and album co-writer Jo Caleb, Dave’s playing ushered listeners through a sonic journey from country blues riffs to a soaring Stratocaster line befitting a more Hendrix-esque classic rock timbre. The virtuosic performance demonstrated his mastery of blending opposites, not only of introspective lyrical schemes with catchy choruses, but also in tonality, layering distorted rock colouring over jazz-soul harmonic bases.

Overall, the concert served as a stark reminder that Dave remains a household name in the burgeoning UK scene, and confirmed Santan’s artistic brilliance in striking the delicate balance between his pensive material and delivering a vibrant show in a dexterous display of crowd control.

If it was ever in doubt, The Boy Who Played the Harp can still play the arenas…

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