Stormzy said a few years ago that Jacob Collier should “for ever remain genre-less”. On the evidence of this dazzling evening of music there seems no danger of the now 30-year-old multi-instrumentalist/vocalist disappearing down any niche rabbit hole.
Hugely energised and excited to be performing, Collier’s youthful exuberance lit up the vast arena despite this being the last night of a no-doubt gruelling tour schedule. His delight in making music and fearlessness in its execution were a joy to behold as he wowed us on piano, acoustic guitar, bass guitar and drums. Yet despite the individual brilliance, he always complemented, complimented and inspired his seven-piece (plus special guests) band.
Opening with the euphoric rock of 100,000 Voices, which utilised the sounds of crowds from previous concerts, the set list moved on through the more poppy “She Put Sunshine” before reaching heartfelt ballad “Little Blue” (a nod to Joni Mitchell’s “Little Green”, perhaps, especially as Joni collaborator Brandi Carlile is on the album version), complete with cascading acoustic guitar flourishes from Collier.
Next it was time for the deliriously joyful funk of “Time Alone with You”, somehow infused through the Collierfication process with the influences of Prince, Earth Wind and Fire, Michael McDonald-era Doobie Brothers, and even Weather Report – yes, I heard echoes of Joe Zawinul in some of those dense chords. Utter magic.
The audience was integrated into the gig, Collier vigorously conducting the oooing and aaahing of celestial motifs that were built up through sampling and harmonisation. Choirmaster is yet another of his vocations.
By the time “Mi Corazon” came along, another powerful track from the latest album Djesse 4, Collier had already bewitched us on piano, guitar and bass. Now he played a dynamite drum duet with Christian Euman before hitting the Steinway again for an adventurous solo.
A mesmerising rubato version of “Bridge Over Troubled Water” was next, after Collier had raced backstage to emerge on a podium set up at the opposite end of the auditorium from the main stage. Each note was harmonised in the style of Take 6 with Collier sharing vocals with the gospel-influenced Tori Kelly who had earlier played a dynamic support set with her trio.
Mum Suzie Collier next led on violin on a straightforward but moving rendition of “What a Wonderful World” before, to huge acclaim, Chris Martin from Coldplay sat in for a duo take on his band’s hit “Fix You”. Martin jokingly asked Collier to play fewer chords and pointedly accompanied the maestro by playing the electric piano with one finger.
In 2022, Collier revealed to the BBC’s Alan Yentob how pianist Gwilym Simcock had once advised him during a lesson to practice his piano scales a bit more because technique itself could trigger musical ideas beyond those sourced from the musical imagination. This sage advice had clearly been fully absorbed – there were plenty of the kind of pianistic moments that made Herbie Hancock and Quincy Jones famously sit up and shout “What was that?” when listening to early recordings of the self-taught Collier.
Vocally, Collier may not be as flamboyant as, say, Tori Kelly. His voice, however, is perfectly sonorous, has a wide range and is mellow and warm. But it was a good move to contrast his sound with a number of outstanding female vocalists, each with a highly distinctive style. Alita Moses shone particularly brightly but there were star turns too from Kimbra on the techno set-closer “Box of Stars”, and infectious, intricate backings on the funker “All I Need” from Lindsey Lomis and Erin Bentlage, who doubled on keys. The latter track also saw a jaw-dropping keys solo by Collier with a Minimoog sound – immediately memories of Chick Corea came to mind.
If any further sugar-rush of stimulation were needed, the sonic landscape was enhanced by the visual one: the lighting and set design for this gig were among the most colourful and attractive I’ve seen – complete with backdrops of trees and beautiful skies. A giant disco glitter ball and, at one point dancing skeletons, all enhanced the fun, as did some great camera work projected on to giant screens.
After a burst of whistles and sounds of the rainforest (for a moment I thought some amapiano might be on the agenda), the encore served to underline Stormzy’s “genre-less” comment: a solo version of Queen’s “Somebody to Love”, of all things, interrupted by Elvis’s “Can’t Help Falling in Love”.
There are simply no boundaries in Collier’s magical garden of sound.
BAND
Vocals: Alita Moses
Vocals and keys: Erin Bentlage
Vocals and guitar: Lindsey Lomis
Guest vocals: Tori Kelly, Kimbra, Chris Martin
Guest violin: Suzie Collier
Guitar: Ben Jones
Drums: Christian Euman
Bass guitar: Robin Mullarkey
One Response
This review captures very well what was a stupendous evening of unbridled euphoria (on a chilly school night!) I could feel an initial sense of reserve and judgement in the arena – with some of opening numbers at the more dubious end of the taste spectrum – melt away with the sheer brilliance and power of the performance. What a creative vision! What a band!