Jonathan Tolliver

Attending LA Soul Fest on Sunday was a good idea. The post-church vibes were high, and anyone who knows me knows I love gospel music.

My family had a post-church tradition of picking up catfish from JJ Fish, and low and behold there was a catfish and fried chicken truck at the festival with a fiercely-efficient line of hungry concertgoers.

Belly full, I was ready to take in some jawns. It was hot as hell, but Avery Sunshine was a welcome ray of light. She won me over with her from-the-pulpit-to-the-comedy-club charm and her strong piano playing and singing, and was the only act to play an instrument. Her voice is big, wide and reedy, and I am now a fan.

Next up was Lyfe Jennings, who burst onto the scene over 10 years ago with songs about broken love and time spent in prison. He scrubbed the bad boy image a bit for this family-friendly atmosphere, but the edge was still there.

He gruffly ran through the highlight of his set, “Must Be Nice,” his biggest and first hit. I played this song 46,000 times when it came out, and this live rendition was even better than the recording.

Jennings’ voice has gotten smoother over the years. His early work stood out in large part because of his jagged, genuine delivery, but this more-even delivery suited a man solidly into his 40s. He performed hits like “S.E.X.” with a newfound maturity. Huge applause from the crowd as he left the stage.

Marsha Ambrosius is an obvious star. Voice, songs, style to spare. I had no idea she was so funny, though. She was stellar when I saw her in Minneapolis a few years back, but on this night she joked openly and saltily about rumors, sex and two-timing men.

The highlight of her set was “Getting Late,” her first smash hit as a member of legendary hip-hop duo Floetry. She milked every note for maximum sensuality. I should also note that she wore a flowing red gown with voluminous, glowing jewels, and was the best-dressed performer of the weekend.

Sunday night’s headliner has been rocking my world for years, but she was still one of the freshest faces of the weekend. Jazmine Sullivan has the churchiest, most visceral voice in the industry; like Mary J. Blige with an armada of riffs and ad-libs. It punches and prods you in emotional places you didn’t know existed.

Day 1 of the inaugural LA Soul Fest was an absolute dream. I walked into the grounds at the famed Autry Museum greeted by the sounds of Rahsaan Patterson’s last song of what I’m sure was a dynamic set. He played the Dakota Jazz Club in Minneapolis a few years back and knocked my wig off with his expansive range and strong presence.

I took a stroll around the grounds hoping to get that feel; the one that comes with having a shared, loving experience with total strangers. I stood in the middle of big groups of people. I looked at the gorgeous Griffith Park mountains. I took pictures of off-beat things.

Eric Roberson’s set started and was an instant hit. He came out impeccably-dressed in baby blue and brown and in perfect voice. Erro what they call him.

He ran through a measured set with songs that spanned his over 15-year career. My favorite part of the set was his completely-improvised mid-tempo jam he wrote using suggestions from the audience. The crowd ate up the sophisticated, at times gut-bustingly hilarious jam about birthdays, cake and sex.

I’ve been a Roberson fan since I first heard “Pen Just Cries Away” nearly ten years ago. I like the sad ones. Everything about that song is perfect, a stellar mix of mood, lead vocal, and some unbeatable backing harmonies. Really glad I caught his set.

Melanie Fiona was next. I’d never listened to her before, but got the impression from media coverage that she was a pop-leaning, glamorous, dancing type. While she excels at being and doing each of those, I was not ready for her voice. Good god.

I mean really. A world-conquering vocal. Fairly sure my pieces of my jaw are still in the grass. My favorite jams were Wrong Side of a Love Song, with it’s soaring chorus and heart-wrenching story of love spurned, and Bite the Bullet, a soca-meets-Motown banger that got everyone on their feet.

Out came Lalah Hathaway. Dressed in all white. With stage smoke billowing around her. I knew we were about to get got.

She delivered. I saw couples slow-dancing. Children with those big ear can headphones bopping around. I was busy staring in awe. This set was paced perfectly. Slow burners surrounded by midtempo grooving jawns.

My first brush with Lalah Hathaway was her big hit “Forever, For Always, For Love.” It was clear she had once-in-a-generation vocal talent. What’s scary is she’s only gotten better since that jam came out.

A video of her performing “Something” with the progressive jazz act Snarky went viral a few years back for a thrilling reason. At the peak of the performance, she hits three notes at once in perfect harmony. This is rare, rare gift. Typically this type of thing is heard in throat singing music not on the American tonal system. But Hathaway hits it like it’s nothing in the middle of a scintillating, building groove.

She did it again at the show. When I say I lost it, I am not blowing smoke. I couldn’t believe how effortlessly she did nailed it. How much control she had. I want to highlight a song, but this was definitely my favorite moment of the set. It was transcendent.