Concert Review: Huey Morgan, Dingwalls, London

Chris Griffiths
4 days ago
3 min read

Twelve months ago, I wrote that Huey Morgan left the stage of London’s legendary 100 Club having reclaimed his crown. Tonight, at Dingwalls, he strode in wearing it—swagger intact, band in tow, and the crowd firmly in the palm of his hand.

In what remains a master stroke in strategy, the evening began with band member and DJ, Mateo DiFontaine (original DJ in The Fun Loving Criminals) playing an explosive set of club, rap and disco music bringing the crowd to a frenzy before Morgan even stepped on stage. Frank Sinatra’s New York, New York” rang out as Huey took to the stage, two King’s of New York.

The original Fun Lovin’ Criminal delivered a performance that was as tight as it was self-assured, powered by a setlist full of cult classics. He kicked things off with The Fun Lovin’ Criminal, setting the tone early with a blast of familiarity and charisma. From there, it was a slick ride through Loco, Up on the Hill, and the groove-heavy King of New York—each one receiving a hero’s welcome from the fired-up crowd.

While remaining loyal to the core of the songs, some rhythm arrangements have clearly evolved. These changes haven’t just freshened the live set—they’ve improved the overall musicality. Track after track was delivered with a confidence that showed a band not just playing the hits but interpreting them with each member’s individual character and craft. It's a welcome sign of an outfit comfortable in their skin.

The View Belongs to Everyone (dubbed the sequel of King of New York) marked a tonal shift—more soulful, spacious, and proof that the band weren’t just running through the hits. There’s been real thought put into these arrangements, with subtle rhythmic evolutions that enhance rather than distract. This was no nostalgia act—it was live interpretation done right.

Back on the Block snapped the energy right back up, while Love Unlimited rolled in smooth and seductive, with Morgan’s signature spoken-word charm firmly intact. On I Can’t Get With That, the band flexed their range—tight verses giving way to expansive grooves, met with a crowd who knew every word.

Korean Bodega and Scooby Snacks were met with thunderous cheers, the latter sending the room into collective euphoria. Despite the years, Morgan’s delivery still hits with that effortless New York cool. The main set closed with Smoke ’Em and Come Find Yourself, both played with confidence and subtle reinvention—familiar, yet unmistakably live.

There’s no mistaking it—this was a band playing with full conviction.

After a rapturous call-back from the crowd, the encore began with the deep cut Methadonia, the band leaning into its brooding tempo with real intent. Shaniqua followed—gritty, percussive, and perfectly placed. And then, in what has become tradition, the night ended on We Have All the Time in the World, a Louis Armstrong cover that was delicate and heartfelt. It brought the curtain down with grace and emotional weight.

Throughout, Huey Morgan showed he’s not just back—he’s redefined. While he remains loyal to the songs that made his name, the live arrangements have matured, and the band clearly feel empowered to make the material their own. It’s a very positive evolution, showing not just swagger, but substance too.