R&B singer Maxwell clearly felt a strong sense of place as he worked his way around the stage during the first of three shows at Detroit's Fox Theatre. "Man, I'm up in some history tonight," he said, grinning when shrieks came from the sold-out crowd.| "The place I'm standing in birthed half of the soul music we listen to today...and I thank you, Detroit."

The five thousand fans let him know he was welcome, which was certainly apparent from the ticket sales. And it was equally clear that Maxwell is looking for his spot in that soul lineage, presenting himself as a dynamic performer who blends the smooth romanticism of Luther Vandross with the swivel-hipped sensual spirituality of Marvin Gaye -- even looking the part of the latter with a tarboosh skull cap covering his head.

Over the course of sixteen songs, and with a refreshing lack of costume changes, Maxwell and his tight nine-piece band covered a wide range of old school R&B, from aching crooners to sweaty come-ons to uptempo funk. All were united by a certain lushness and sophistication, a palpable indication that his intent is not to make music of the moment but, like his heroes, to deliver songs for the ages and a persona that stands not so much on fashion but on the substance of his work.

That's no easy accomplishment, but with just two albums and a live EP, the twenty-six-year-old Maxwell has already created a strong body of work that's emotive but not pandering. And it's one that's aimed squarely at the ladies, who find it understandably hard to resist devotional promises such as "Matrimony: Maybe You" and "Submerge: Til We Become the Sun" or, for that matter, promises of amore that go on "Til the Cops Come Knockin'."

All of those brought the crowd to its feet on Thursday, despite Maxwell's late entrance, more than an hour and a half after the show's 8 p.m. starting time. But he was forgiven as he rode through the polyrhythmic sway of "Sumthin' Sumthin'," the easy bounce of "Everwanting: To Want You to Want" and "Luxury: Cococure," the chunky funk of "I'm You: You Are Me and We Are You" and the aching "Know These Things: Shouldn't You," which provided a showcase for his falsetto and for saxophonist Andre Roberson.

One new song, "Get to Know You," sounded like it could be Maxwell's crossover ticket to pop audiences, while the sweeping "Ascension (Don't Ever Wonder)," with its heart-cradling declaration that "I can't live my life / Without you here by my side," is secure as Maxwell's signature piece. Encoring with two versions of "Fortunate" -- one slow, the other uptempo -- Maxwell mimed a bit of joyful bump and grind as the band vamped behind him, enjoying his time in a history he's carefully studied and integrated into his own performance.

GARY GRAFF
(August 30, 1999)