How soul’s lost superstar reclaimed his mojo and finally released the epic ‘Black Messiah’
Article Reprint
D‘Angelo is a morning person, of sorts. When he’s working in the studio, as was often the case in the 14-year interregnum between 2000’s Voodoo and 2014’s Black Messiah, he quits his all-night recording sessions just in time to greet each day’s sunrise. “I’m definitely on the night shift,” he says, drawing deep on one of a series of Newport cigarettes, not long after midnight in the midtown Manhattan studio where he recorded much of Black Messiah. He’s wearing a denim shirt unbuttoned over a white undershirt, dark jeans and leather boots. Dog tags bearing the names of his three children hang from a chain around his neck. He looks weary, though he woke up not long ago. It’s his first interview since he released one of the most universally acclaimed albums in years, an album that seemed as if it might never come out at all.