During the second week of December, singer-songwriter Jacob Collier culminated his Djesse World Tour with two shows in London: one at the O2, and another one at the Union Chapel. The two shows paved the way into something much different from his early work as Youtube’s most famous music wunderkind. Now, as a 30-year-old, he is capable of incorporating touches of harmonies that defined his style as a young musician whilst playing refreshing, more simplified piano-based pieces.
The O2 – A Personal (and Professional) Milestone
The O2 show started with Lindsey Lomis and Tori Kelly playing separately as Jacob’s special guests. However, they were also part of his show: Lomis is one of his band members and Kelly later covered ‘Bridge Over Troubled Water’ with Jacob. The two performances were an excellent warm-up for what was to come: an endless flow of musical mastery and ever-changing displays of the human vocal range.
Once the stadium was filled, Jacob sprung on the stage –which was now a luminous, multicolored forest– and started the show playing most of the songs on his last album, Djesse Vol. 4. Although some of them, such as ‘Little Blue’, were a solo effort, most of the show was a collective experience executed by him and his phenomenal band: Ben Jones’ smooth guitar, a tactful and reliable rhythm section by Robin Mullarkey –on the bass– and Christian Euman –on drums–, along with brilliant vocalists (but also occasional players) Alita Moses, Lindsey Loomis, and Erin Bentlage.
The set list summarized the most well-known songs of the album, such as ‘100,000 Voices’ or ‘Wherever I go’, though I did miss the more discreet options such as ‘Summer Rain’ and ‘A Rock Somewhere’. However, one was too entertained by what was going on to focus on what was lacking. When the band played ‘Mi Corazón’, they dove into a jazzy jam whilst balloons and confetti were falling from the ceiling. This could only happen at a Jacob Collier show.
Afterwards, Jacob moved to another small stage in the middle of the stadium, where he was to initiate a series of duets with special guests. The first one was between him on the piano and his mother, Suzie Collier, on the violin, offering a rendition of ‘What a Beautiful World’. His next guest, Coldplay’s Chris Martin, was one of the highlights of the night. Even though everybody was there for Jacob, the singer himself understood the audience’s fascination and kindly let Chris take the stage. He sang ‘Fix You’, allowing the audience to fall into a daydream and believe for a second that we had won Coldplay Ticketmaster wars. During the performance, Jacob was trying to divide the crowd into four sections, each with the task of singing a different note. Much to his frustration, everybody was just following their instincts, completely ignoring his requests. This was at least the feeling I got, as it was rather comical to see him repeatedly singing a particular note to each direction, only to receive no response.
Nevertheless, I believe that this was the only moment in which the audience may have felt lost in translation. Jacob was not just communicative musically, but also verbally. He was constantly offering small banter between songs, through which he uncovered his—quite British, — sense of humour and excitement to be playing at the O2, the second most important landmark for a musician in the city.
After the band and Jacob bid their farewells, the crowd was left hungry for more, and implored Jacob to play another song. As someone who has been to quite a few shows, I thought that their requests were futile. Most artists, once they have played for two hours, tend to leave and not come back. However, much to my surprise, Jacob sprung back on stage and warmed up the audience choir to give a generous rendition of Queen’s ‘Somebody to Love’. Somewhere between his comeback and this, the sounds of a rainy tropical jungle were interrupted by an invasion of savage monkeys.
After their choir to ‘Somebody to Love’, the audience was satiated and really couldn’t ask for more. Walking out of the stadium, I heard someone say that Jacob reminded them of Prince. Whether that is accurate or not, I don’t mind. However, I do agree with them in that he is a bit like Prince, as we’re talking about two men whose musical journeys are entirely unpredictable.
From Strategic Planning To Utter Improvisation – The Union Chapel As A Postlude to His Tour
“I only have 17% planned.” This was the explanation behind the short –though not uncomfortable at all– silences in which Jacob reflected upon what to play next. In spite of this, there must have been some degree of planning, for the show was filled with collaborations with other musicians.
The event began as a solo effort. In homage to his last record –“Three Christmas Songs”-- and the festive season, the first two songs of the evening were ‘I’ll be Home for Christmas’ and ‘Winter Wonderland’. The song that followed –’Can’t Take My Eyes off You’--- informed the audience that this show would not be merely centered around Christmas bangers –something much appreciated by anyone living in Central London during the Holiday season. Amongst the non-Christmassy catalogue was ‘Human Nature’, beautifully played on his five-string Stranberg guitar as a tribute to his late mentor Quincy Jones.
However, the transitions between songs were as memorable as the songs themselves, once again due to Jacob’s honesty and openness with the audience. He revealed that he hadn’t planned the show –although nobody would have noticed if he hadn’t said it–, and he would share and even ask the audience for ideas about what to play next. It was here when somebody suggested ‘Summer Rain’, which he played in combination with ‘Happy Birthday’, dedicated to a fan. As his invited musicians came on stage, he revealed details about his relationships with them, some of them going back to his early teens.
Although it was his show, Jacob let every musician have their moment to shine. The collaborations included performances with Dodie, trumpet player and childhood friend James Corpus, and even one of his teachers at the Purcell School for Young Musicians. However, there was one particular song that stood out that evening: a cover of Joni Mitchell’s ‘River’, with Jacob on the piano, Corpus on the trumpet and Erin Bentlage on vocals. Erin’s velvety voice and James’ melancholic trumpet did justice to the heartbreak and solitude evoked by the song’s lyrics, whilst Jacob’s delicate piano was a gentle –yet hurtful– reminder of what Christmas feels like as an adult: it no longer has the power of pausing reality for the moment. Life goes on on Christmas Eve too.
Something that surprised me a lot at both shows was the scarce amount of people who were recording it on their phones or taking pictures. I think it has to do with Jacob putting to practice his famous line of “giving people permission.” That is what the audience choir is about, and people return the favour by paying attention, undoubtedly the best compliment that a performing artist could be paid these days.
After attending the two events, I guess I could say that Jacob has adopted Queen’s ‘Somebody to Love’ as his “comfort song” at the end of his shows. This, along with the fact that, despite probably being one of the most open minded people you’ll come across –musically and otherwise– be very mindful of the way you pronounce “capo.” There’s only one right way.
Jacob’s latest two albums, “Djesse Vol. 4” and “Three Christmas Songs,” are available on all streaming services
Images courtesy of the writer and Kinga Szanto
コメント