Late to the Gregory Porter fan club? Perhaps, but there’s no better time than now to revel in the velvety tones of his baritone voice, especially through his interpretation of Sting’s “Probably Me.” As I explored Americana music on YouTube, I stumbled across Porter’s captivating rendition of this song, which has racked up over 27 million views. That number speaks volumes about its resonance with listeners. And once you hear it, you’ll understand why—this is a voice you’re destined to know and love.
Porter’s delivery of “Probably Me” stopped me in my tracks. His performance, polished yet raw with emotion, had me hooked. In the span of 24 hours, I found myself replaying it at least 20 times, each viewing revealing a new facet of his artistry. There’s an intricacy to his performance—a delicate balance of strength and tenderness—that adds layers to a song that isn’t even of his own creation. With each listen, his intonation and phrasing seemed to dance differently around the lyrics, making the familiar words feel fresh every time. It’s a masterclass in interpretation, where you sense he fully embodies the song’s emotional core.
What’s remarkable is how Porter manages to take a piece by Sting, a towering figure in pop and jazz, and make it entirely his own. The song’s subtlety lies in Porter’s ability to convey vulnerability and longing with a grace that borders on effortless. This isn’t just a cover—it’s a reimagining, a delicate yet powerful retelling that adds dimension to the original. Every time you listen, you find yourself caught in the undertow of his voice, transported into the heart of the song’s narrative.
If you have any emotional energy left after “Probably Me,” I highly recommend diving into Porter’s interpretation of Bruno Mars’s “Just the Way You Are.” In a similar vein, he takes a well-loved pop anthem and transforms it, bringing a soulful depth that’s a signature of his artistry. Both performances underscore his ability to remain faithful to the essence of a song while simultaneously enriching it with his unique vocal expression.
For contrast and comparison, I’ve also included Sting’s original jazz-inflected version of “Probably Me.” There’s something illuminating about hearing the two versions side by side. Sting’s unmistakable style is a perfect canvas for Porter’s lush vocal reinterpretation, giving listeners a glimpse into the transformative power of a true musical craftsman.
Gregory Porter performs It’s Probably Me at the Polar Music Prize Ceremony 2017
It’s Probably Me
(Gordon Sumner, Eric Clapton, Michael Kamen)
Performed by Gregory Porter, The Royal Stockholm Philharmonic Orchestra conducted by Hans Ek and the Polar Music Prize band at the Polar Music Prize Ceremony 2017
© Polar Music Prize
Music in this video
United Screens Music; LatinAutor – SonyATV, LatinAutorPerf, Sony ATV Publishing, UMPG Publishing, UMPI, LatinAutor – UMPG, BMI – Broadcast Music Inc., UNIAO BRASILEIRA DE EDITORAS DE MUSICA – UBEM, and 2 Music Rights Societies
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Gregory Porter – I Will (Official Music Video)
Directed and produced by H5 (Chloé Serien)
Executive Producer: Gaetan Rousseau
Production US: Paradoxal, Inc.
Production Manager: Samantha Light
Production Coordinator: Anastasia David
Director of Photography: Pierrick Reiss
1st AC: Carrie Rich
Gaffer: Forest Erwin
Key Grip: Emmet Luciano
Makeup Artist: Chichi Saito
Make Up Assistant: Vika Osychenko
G&E Truck PA: Jon Montefu
Set PA: Jen Omowale
Music
SONG
I Will
ARTIST
Gregory Porter
ALBUM
I Will
LICENSES
UMG (on behalf of Universal Music Division Decca Records France); BMI – Broadcast Music Inc., Warner Chappell, Sony Music Publishing, Kobalt Music Publishing, and 2 Music Rights Societies
Gregory Porter – Just The Way You Are (Bruno Mars Cover – Radio 2’s Piano Room)
Gregory Porter performs a stunning version of Bruno Mars’s classic track for Ken Bruce on Radio 2. He performs the song at the Elton John piano in the Radio 2 Piano Room.
About Gregory Porter
Gregory Porter was born in Los Angeles but grew up in Bakersfield, California, where his mother was a minister. As a child, he fell under the spell of his mother’s Nat King Cole records, learning to imitate Cole, but his early aspirations involved sports. He was awarded a football scholarship to San Diego State University, but after an injury to his shoulder derailed his sports career, he began performing in local jazz clubs, where he met saxophonist, composer, and pianist Kamau Kenyatta. Kenyatta became Porter’s mentor, introducing him to flutist Hubert Laws, who featured Porter’s vocals on a track on his 1998 album, Hubert Laws Remembers the Unforgettable Nat “King” Cole. Laws’ sister, Eloise Laws, heard Porter during the studio sessions and was impressed with his singing; she helped him get cast as one of the leads in a new musical, It Ain’t Nothing But the Blues, which eventually enjoyed a run on Broadway.
The gates were open for Porter. His debut album, Water, appeared in 2010 and was followed by a second, Be Good, released two years later in 2012. In September of 2013, Porter (accompanied by Airto) appeared on a track from Kentiyah Presents Evolutionary Minded: Furthering the Legacy of Gil Scott-Heron, with M-1, Brian Jackson, Chuck D, Killah Priest, Martin Luther, and others; a week later, he issued his third album, Liquid Spirit, produced by Brian Bacchus and released by the Blue Note label. The album was a huge success, scooping up the 2014 Grammy Award for Best Jazz Vocal Album and becoming the most streamed jazz album of all time, with over 20 million streams. His second effort for Blue Note, Take Me to the Alley, was released in early 2016, and featured Porter’s own version of “Holding On,” a track he co-wrote and previously recorded with electronic act Disclosure. Also in 2016, Porter delivered the concert album Live in Berlin. The following year he released an album that paid tribute to the artist who had been most influential on his music. Nat King Cole & Me featured Porter’s versions of some of Cole’s most treasured classics, including “Smile” and “Mona Lisa.” ~ Steve Leggett
NPR Tiny Desk Concert Background
July 18, 2016, by BOB BOILEN •Gregory Porter’s healing soul music, sends a message of compassion, and he’s got a baritone voice that resonates with love. When Porter visited NPR, we’d just learned that our colleague, photojournalist David Gilkey, had been killed while working on a story for NPR in Afghanistan. When Porter began singing the calmly beautiful “No Love Dying,” he may not have known how much it would mean to us. Yet this song of compassion and hope, from his Grammy-winning 2013 album Liquid Spirit, was just what we’d needed.
Porter and pianist Chip Crawford continued their thoughtful, entrancing set with “Take Me To The Alley” (the title track to Gregory Porter a song about how we treat and think about those who live on society’s margins. Closing this Tiny Desk concert is “Don’t Be A Fool,” another new song of love, and loyalty, For us, Porter’s set provided a timely reminder that we can all use comfort, counsel, and guidance — and that music can be serious and heartwarming without losing its sense of wonder and delight.
“Better be good,” Gregory Porter quips, just before opening his mouth to sing for a crowd of thousands in one of London’s most historic venues. And it is good. One Night Only, a program venerating Nat “King” Cole (along the lines of Porter’s 2017 studio album of his songs), finds the authoritative baritone in a lush setting with a 70-piece orchestra led by famed arranger Vince Mendoza. But despite a prevalent focus on ballads—including the murderous, Cole Porter-penned “Miss Otis Regrets,” subject to intriguingly knotty reharmonization—Porter preserves the core of swing and soul that’s so central to his small-combo identity. Chip Crawford’s piano solo on “Pick Yourself Up,” Tivon Pennicott’s bebop tenor sax turns on “L-O-V-E” and “Sweet Lorraine,” bassist Jahmal Nichols’ bluesy aside on “When Love Was King,” the creative funk abandon of the quintet on the finale encore, “Don’t Lose Your Steam”: This is Porter in his element, formal setting or otherwise.
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Radio 2 In Concert – Ask Gregory Porter, inc. why he wears his hat
As part of his intimate Radio 2 In Concert, Gregory Porter answers your questions, put to him by presenter and DJ Jo Whiley. Jo kicks it off by asking the overwhelmingly most popular question – why does Gregory Porter wear his hat?
