Lessons From D’Angelo

November 12, 2025

On June 23, 2015, I got the chance to see D’Angelo in concert. The show was held at The Keswick Theatre, just outside of Philadelphia, and came in support of Black Messiah, his then recently released album. I was home for the summer, back from my first year of graduate school — which is to say I had little money — but thanks to my aunt, I was able to get a ticket at the last minute.

The tour, fittingly titled The Second Coming Tour, was long awaited. Outside of a few song features, the public had not heard from, or seen, D’Angelo since the early 2000s. In part, his hiatus came in response to how the music video for Untitled (How Does It Feel) was received. In at least one interview, D’Angelo shared that he was dismayed by the emphasis placed on his physique (in the video, he’s shirtless and the camera slowly pans from his head to his waistline) rather than the music itself, as well as a broader disinterest in the machinations of celebrity.

In the years leading up to Black Messiah and The Second Coming Tour, D’Angelo performed mostly in Europe, then eventually in North America, previewing newer, unreleased music along the way. As a college student, I spent hours pouring over his performances on YouTube. His 2012 performance of The Charade in Zurich, Switzerland — an unreleased song at the time — and his performance at the first Made In America later that year were repeat viewing for me. I studied those concerts, the songs he performed, the chord changes, the new arrangements intensely.

D’Angelo’s return was also exciting because he had a new band, “The Vanguard.” It included a rhythm section of Chis Dave on drums (who I’d been introduced to a few years prior from his work with Robert Glasper and Maxwell) and Pino Palladino on bass (who I’d become a fan of during his stint with John Mayer playing in his trio); Isaiah Sharkey on rhythm guitar, Jesse Johnson on lead guitar (longtime guitarist for The Time), Keyon Herrold on trumpet, and Kenneth Whalum on saxophone, and Pookie Sample on keyboards. Many of these folks were superheros to me before The Vanguard, so the 2015 show represented a culmination for me.

*****

I came to D’Angelo’s music relatively late, during his hiatus period. While I remember seeing his video for Untitled (How Does It Feel) on BET, I don’t remember much else about him. But, as I started taking guitar lessons before the start of my 11th grade year, I soon found myself being re-introduced to his music via YouTube. Having grown up in church, playing my first gigs there, and the countless hours I spent with a guitar teacher who had cut his teeth on Rock, Soul, and Jazz Fusion of the 1970s, I immediately recognized D’Angelo’s genealogy.

When I started college in 2010, D’Angelo’s music was an entry point for making friends. I was an awkward and shy 18-year old who loved music. I didn’t quite have the confidence to pursue a degree in music, but I frequently found myself in the music building’s practice rooms. D’Angelo’s music was always a starting point. How you sang, harmonized, played a little bit behind the beat, or the licks you referenced were the lingua franca of the time — a way in which we let each other know that we spoke the same language and shared the same genealogy. D’Angelo’s music served as a bridge.

On October 14th, D’Angelo passed away at the age of 51. Indeed, a sadness has overwhelmed me since his passing. More that what he meant to me individually, he represented connective tissue to people that have become lifelong friends.

In the days since D’Angelo’s passing, I have often reflected on the unusual way I came to his music. By the time I was of the age to pick my own music, he was hardly active, releasing new music or performing. He wasn’t quite the butt of jokes in the way Dave Chappelle became — who similarly took a hiatus from public life around the same time — but he certainly wasn’t the object of public discussion.

I have been reflecting on D’Angelo, the student, who — like many musicians — spent hours transcribing songs, performing, and engaging in deep listening. I have always marveled at the stories Questlove would share about how he and D’Angelo would spend hours watching concert footage of Prince, Sly and The Family Stone, Al Green, Curtis Mayfield, and so on, during the making of Voodoo. He was a music nerd to his core who engaged in active and deep listening. Such deep listening was made evident by the songs he would cover in his live sets, or how he would do things like, reference Parliament’s Bop Gun (Endangered Species), merging it with live versions of Brown Sugar.

In honor of D’Angelo, I asked four friends four questions about his music and what it’s taught them. Here, we move, ever so briefly, from D’Angelo, the student, to D’Angelo, the teacher to consider how a younger generation was moved by his music. The artists featured include, Brik.Liam , Lee Mo, Keeyen Martin, and Larry Lambert ii, all of whom are supremely talented artists in their own right and count D’Angelo as an inspiration.

How were you introduced to D’Angelo? What is your earliest memory with him and his music?

Lee Mo: If I can be honest, I don't recall my initial introduction to D'Angelo's music. What I do remember is the feeling of hearing those jazzy chords in the late 90's and early 2000's. It was probably MTV or BET who officially exposed me to his music via his videos. I remember the "Neo soul" era, which I badly wanted to be a part of. From the earth tones, to the denim fits, and the natural hair and Afro-centric vibes. That kind of music made you proud to be a part of the collective of beautiful Black people and the community. But more than anything, I remember the feeling. That sound was one of my favorite things about that era. It stood out among other music I was listening to, and I believe it piqued my interest, or pulled at my young ear. I believe I was still processing a lot of big feelings at the time, and his music tugged at the tension and breathed a refreshing wind into my world.

Brik.Liam I can’t remember a specific moment if I’m being honest. I think he’s felt like he’s always just been there. I just remember always singing Lady, Brown Sugar …and of course Untitled (How Does It Feel) if i really wanted to get the folk goin’ lol. i just remember hearing and studying Untitled and hearing how he used all parts of his range. It felt kin to me.

Larry Lambert ii: The first time I was introduced to D’Angelo was when my cousins and I use to go to my grandma’s house and sit on her floor watching music videos, and I remember seeing the “Untitled” video, well a glimpse before it was turned off haha. I think I was maybe 9 or 10 when it came out, and I didn’t get to watch or hear the entire video, but the way the song started, that groove, stuck with me. But it wasn’t until my first year of high school when I was reintroduced by my peers but through another favorite artist of mine, Bilal, who actually use to sing background vocals with D’Angelo.

Keeyen Martin: My introduction to D’Angelo came in middle school, around the early 2000s, when I stumbled upon his iconic "Untitled (How Does It Feel)" music video on MTV. The raw emotion in his voice, paired with the minimalist yet powerful visuals, hit me like a tidal wave, leaving me captivated by the soulful depth of his delivery. This moment sparked a deep dive into his discography, starting with Brown Sugar (1995) and Voodoo (2000), albums that revealed his ability to blend neo-soul, funk, and jazz into a sound that felt both timeless and revolutionary. Listening to tracks like "Cruisin’" and "Devil’s Pie," I was struck by how D’Angelo crafted music that was not just heard but felt, igniting my curiosity about the artistry behind soul music and its power to convey authentic human experiences.

Favorite D’Angelo song?

Lee Mo: Send It On is my favorite song. I have so many, but this record, especially considering the recent passing of Angie Stone, is at the top of the list. I keep hearing more and more subtleties that enhance the overall beauty of the record. Mainly, the guitar pattern throughout the entire song. And Roy Hargrove's lines, what can you even say?

Brik.Liam: So many but today (as he’s all i’ve been listening to) The Line! It charges me up so quickly! It gets me caught up in a way I can’t describe.

Larry: All of them haha.

Keeyen Martin: Choosing a favorite D’Angelo song is nearly impossible, as his catalog is a tapestry of musical excellence, but tracks like Send It On, Sugah Daddy, Untitled (How Does It Feel), When We Get By, and I Found My Smile Again stand out for their distinct emotional resonance. Send It On really shows D’Angelo’s soaring falsetto, creating a warm, spiritual vibe that feels like a love letter. Sugah Daddy GROOVES, and Untitled (How Does It Feel) holds a special place in my heart as it led to my connection with my dearest brother, Dr. Stanley Collins! We performed countless times, sharing that record amongst others. Also, When We Get By blends hope and rhythm, and I Found My Smile Again radiates joy through its upbeat tempo. Each song showcases his signature style, rich, layered production and vocals that oscillate between tender and commanding, making listeners feel every chord and lyric viscerally, a testament to his unmatched artistry.

What’s your favorite D’Angelo performance?

Lee Mo: Aside from seeing him live in Jersey during The Second Coming Tour for the Black Messiah album run, my personal favorite performance is when he was in Philly at Made in America. I was not there in person, but I have rewatched this performance hundreds of times. The Dilla tune Welcome to The Show in the beginning really does it for me, right off the bat. I know the whole show by heart, and I'm really sad that I won't get to catch him again in this lifetime. He left a lot for us to study for generations to come.

Brik.Liam: I’d say the one time I got the privilege to see him live in 2015. I couldn’t believe I was in the room. It felt reminiscent of the one Prince show I got to see, in the way that he didn’t want people to stop moving. It was musical, it was cool, funky …down to aesthetic, I remember being obsessed (still) over the minimal but impactful set design. they had placed a backdrop that was wrinkled that gave the backlight a really cool texture. And as many times as I had seen his infamous Untitled intro (where he builds anticipation) and the exit (where they play as each band member leaves one by one ‘til it’s just him) …it felt like the first time seeing it that night.

Larry: My favorite performance by D’Angelo is a tie between the Montreux Jazz Festival in 2000 and the North Sea Jazz Fest 2015.

Keeyen Martin: My favorite D’Angelo performance remains his 2015 concert during The Second Coming tour, which I attended and still consider one of the greatest live shows I’ve ever witnessed. At the height of his comeback after a 14-year album hiatus, D’Angelo commanded the stage with a magnetic presence, backed by The Vanguard’s tight instrumentation. His performance of "Really Love" was transcendent, blending raw vocal power with intricate guitar riffs, leaving the audience, including me, mesmerized. Watching him seamlessly transition between soulful crooning and high-energy grooves inspired me as a rising artist to elevate my own live performances, focusing on authenticity, audience connection, and perfecting the craft of delivering a transformative show. That night reinforced the importance of passion and preparation in creating unforgettable experiences.

Among these reflections, the most meaningful insight is how D’Angelo’s music taught me to embrace my artistic identity with conviction. His ability to live the lyrics and craft music that resonates on a soul-deep level pushes me to prioritize authenticity over fleeting trends, a lesson critical for any artist navigating the entertainment industry. This principle not only shapes my vocal and songwriting approach but also fuels my resilience in pursuing a career where personal truth and creative excellence are paramount.

D’Angelo’s influence, from my middle school discovery to witnessing his 2015 tour, has been a guiding force in my journey as a vocalist and artist. His music, rich with soul and storytelling, teaches the value of authenticity and craftsmanship, while his live performances set a gold standard for stage presence. His legacy serves as a beacon for aspiring artists, proving that passion, patience, and a commitment to one’s unique voice can leave an indelible mark on the world of music.

What has D’Angelo’s music taught you?

Lee Mo: D's music taught me to be true to myself and my roots (no pun intended.) As I said before, the musical quality of his sound intrigued me because I heard a lot of funky, jazzy, churchy stuff being fused into this soulful, smooth, and dirty R&B. The feeling was undeniable, even as a child. He was a purist, yet experimental and futuristic. Everything was intentional. I even like how much of a human being he was outside of the music. Flawed, yet genuine. I can relate to how reclusive he was, as I struggle with that as well. Because of D, I'm more inspired to be myself and to trust the sound and spirit that leads me.

Brik.Liam: As a vocalist, again the RANGE. That doggone falsetto, but he had the lows that he’d play with too. It always felt so cool to be able to flip through different parts of your voice. I always loved that his enunciation of words also reflected his speaking voice too. His accent. Many note that they couldn’t make out what he saying but, I don’t know, somehow I usually was able to understand and what I didn’t understand I studied. I like that the music could bring you in that way. Either make you study and even if you didn’t study or know, you still felt it so deeply. He led with heart and soul and that’s what allowed the music to attach itself to so many people.

Larry: As an artist, D’Angelo taught me to not be one dimensional with the things that inspire me; to feel. His music was inspired by how life made him feel. He taught me how to embrace who I am turning it all into expression, in which our case is music, that can also be felt and received by anyone who experiences life. It was always deeper than music with him and his way of expressing that musically was the ultimate blessing to the world.

Keeyen Martin: D’Angelo’s music has been a masterclass in soul, passion, and conviction, shaping me both as a vocalist and as an artist. His meticulous craftsmanship, layering intricate harmonies, syncopated rhythms, and heartfelt lyrics, taught me the importance of owning my vocal gift and infusing every note with intention. Songs like Send It On showcase his ability to live within the lyrics, telling stories that resonate with vulnerability and strength, which inspired me to approach my own songwriting with a focus on authenticity and narrative depth. As a person, D’Angelo’s unapologetic embrace of his art, despite industry pressures, encouraged me to stay true to my creative vision, even when trends lean toward the commercial. His fusion of classic soul with modern sensibilities, evident in Voodoo’s experimental production, pushed me to explore my unique voice and strive for excellence in storytelling through music.

Interview: Corey Bernhard