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Paak, Drake, Kendrick Lamar and Rapsody, further confirmation of the inspiration that their music has generated with their peers who have. Her voice can swoop low, flutter up high, rasp with soulful insistence or dart into scat-sung syllables, and her lyrics couch thoughts of love and transformation in cryptic, elaborate imagery, filled with thoughts of Nature and landscape. In 2016, Breathing Underwater gave Hiatus Kaiyote their second Grammy nomination (also as Best R&B Performance), and in the year that followed, they saw their work sampled by the likes of Anderson. The core of the band’s arrangements is a keyboards-bass-drum trio that’s clearly familiar with Weather Report and the Blue Note catalog sometimes Nai Palm, the band’s lead singer and central songwriter, places her plucked guitar in the foreground.
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Hiatus Kaiyote’s songs also exult in the musicianly convolutions of 1960s modern jazz: shifting meters, complex harmonies, polyrhythms, undercurrents of counterpoint and long, extended structures that turn most songs into labyrinthine excursions. But the four-piece band isn’t content with Ms. Hiatus Kaiyote’s music often uses the shimmering electric-piano chords and sultry, breathy vocals of the Erykah Badu school of neo-soul. On it, the band sails through one ambitious song after another. Hiatus Kaiyote is a future-soul quartet formed in Melbourne, Australia in 2011. It calls its music “future soul” its album “Tawk Tomahawk” (Flying Buddha) was released in Australia last year and in the United States this year. How far can R&B be pushed toward jazz? Hiatus Kaiyote, an Australian band that performed on Tuesday night at Le Poisson Rouge, seems determined to find out.