Despite hiatus, Maxwell is hotter than ever

Maxwell needed a break. It turned into eight years off.

The time away from the stage and the studio was enriching. The pop-soul star melted into everyday life around his native New York City and fell in and out of love, which inspired a wave of new songs.

"I got involved in some really unconditional, they-didn't-know-who-I-was kind of relationships," said the singer-songwriter, who along with Jill Scott will perform at the Virginia Beach Amphitheater on Tuesday. "I went about my business and watched the industry grow and change in different ways."

When the platinum-selling heartthrob receded from pop view, the sensitive neo-soul sound he helped to shape in the mid-'90s was supplanted by a heavily digitalized, decidedly raunchier urban style. Maxwell's Sade-meets-Marvin-Gaye approach was missed. So when he finally released his comeback album, last year's "BLACKsummers'night," the reception was immediate.

The album, a warm and focused synthesis of jazz-kissed R&B and wistful pop balladry, debuted at No. 1 on the Billboard 200 albums chart and swiftly went platinum. It spawned four hit singles, including "Pretty Wings," which debuted at the top of the Billboard Hot R&B/Hip-Hop Songs chart. At the Grammy ceremony in February, Maxwell, who gave a memorable performance with pop-soul legend Roberta Flack, picked up two gleaming gramophones for "BLACKsummers'night." The album garnered six nominations.

"I can't even believe it sometimes," said the artist, calling from the road. "Taking my time and doing it my way was risky, and there was a lot of fear there, but I'm just grateful it worked out. I really can't complain."

Few stars could disappear for so long and return to exceed the commercial heights they left. "Now," Maxwell's album from 2001, was his first to debut at No. 1 on the pop charts, spurred by the smash single "This Woman's Work," a Kate Bush remake. It succeeded commercially despite mixed critical reception as Maxwell created more of a mood than substantive songs.

His philosophical approach to love seems more realized on "BLACK summers'night." The album reveals a leaner style. Maxwell's new look also reflects the artistic change: His wild Afro is gone, and the loose-fitting pants he used to wear onstage have been replaced by tailored suits.

He surrounded himself with all organic instrumentation, nothing digital.

"It was like, 'What's gonna make the album different sonically?' " said Maxwell, 37. " I didn't hear a lot of live instrumentation, not the way I thought it should be out there."

Just before the release of "BLACKsummers'night," Maxwell prepared for a return to the stage: He stuck to a rigorous workout regimen and tirelessly rehearsed a full band with horns and background singers.

"It took a minute to get settled and get in that comfort zone," the performer said. "I hadn't had the fear and the butterflies that come with being on stage in a while. I wondered, 'Am I too old for this?' At the time, there was Chris Brown. I thought, 'Who do I think I am to try to step in this now?' "

The accolades and healthy record and concert ticket sales have proved that the audience Maxwell left nearly a decade ago welcomes him back. His latest album is the first of a thematic trilogy. The next release is tentatively scheduled to hit stores in late fall or winter. But Maxwell is in no rush to milk the momentum he's gained from "BLACKsummers'night."

"As much fun as I have onstage, I still know that there's more. There are children to be made, charity work to be done - looking at sunsets, fried chicken and mashed potatoes," he said, chuckling. "The world is more than getting attention from people and me getting recognized by people. You just do your music with your heart, cross your fingers and hope that it'll work out."