Nubya Garcia Concert Review: Presence, Sonified and Embodied

Nubya Garcia shone on stage at The Sinclair on April 4 as part of her first headline tour in the U.S. After stops in Australia, Japan, and China, the London-based saxophonist, composer, and bandleader made her debut in Cambridge to celebrate the release of her second studio album, “Odyssey.” Despite the bare-bones staging, Garcia and her bandmates kept the energy high with remarkable musicianship and gratitude for the moment.

“Odyssey” is classified as a jazz album, but Garcia’s performance beautifully strung together elements of classical music, hip-hop, reggae, and soul music. Each song is a journey of unexpected harmonies and rhythmic dynamism, and Garcia’s improvisation on tenor saxophone was particularly impressive, transforming the studio album into an interconnected musical experience. Though the concert showcased highlights from “Odyssey” and “Source,” her 2020 album, this improvisation brought the recorded works to life in a new way.

Alongside her technical mastery of the tenor saxophone, Garcia demonstrated incredible stamina throughout the 100-minute show. Any wind instrumentalist understands the physical demands of playing such a set. Even during her final solo, she maintained a rich, sonorous timbre and executed flawless control of pitch and dynamics.

Equally as inspiring was the instrumental prowess of Garcia’s bandmates. Pianist Lyle Barton danced between several keyboards and synthesizers at once, improvising several excellent solos and bringing the more experimental elements of “Odyssey” onstage. Double bassist Max Luthert established groove after groove, keeping the band grounded and the audience swaying. As the drummer of the studio-recorded album, Sam Jones knew every song inside and out and flaunted his technical expertise. 70 minutes into the concert, one of Jones’ sticks shattered during a hard-hitting solo, eliciting cheers and laughter from the crowd, and all four bandmates grinned as he smoothly grabbed a backup stick, and the music flowed on.

This moment perfectly encapsulated the synergy of the night. Each band member was respectful and clearly admired each other. When Garcia was not leading, she provided enthusiastic accompaniment and turned away from the microphone so that she was the only performer not amplified, allowing all four musicians to share the limelight.

“I didn’t really get to tour my first album in the same way,” Garcia said onstage.

She explained the challenges of touring, some of which were evident by the stage’s minimal setup. Boxed in by speakers and sound equipment, the musicians were unable to move around, making the venue feel somewhat cramped. Perhaps the stage could have benefited from some background visuals, graphics, or other decoration to open it up and add visual interest. Nonetheless, the music brought the magic to the performance. Comfortable and confident, Garcia reiterated her appreciation for “this momentous occasion,” keeping spirits high.

To break up the upbeat grooves of the concert, the band performed the slower song “Water’s Path,” which was originally arranged for string instruments in the studio version. Garcia noted that this track marked her first foray into string arrangement. Yearning to bring it on tour, Garcia arranged a band version of the song, showing off her abilities not just as a saxophonist but also as a composer and producer. Having attended the Royal Academy of Music and the Trinity Laban Conservatoire of Music and Dance, Garcia’s expertise in numerous aspects of performance were striking.

“Water’s Path” helped frame the other songs of the setlist, which were at times difficult to distinguish from one another. The title track “Odyssey” and the album’s final song, “Triumphance,” presented the strongest sense of identity when performed live. The concert was designed to be a holistic wash of sound and feeling rather than a list of discrete pieces, shedding any expectations of an ordinary jazz gig and foraying into something more liberated.

“I know we have these preconceptions when we go to see any gig,” Garcia said. “I’m here to tell you, please be yourselves in this space. However you want to respond to the music is completely allowed.”

Those in the Sinclair seemed to respond to Garcia’s words with enthusiasm. Friends and strangers bopped their heads together, clapped when they wanted to, and reacted spontaneously to the music. The message of Garcia and her band reached everyone.

“In the face of everything that’s going on, wherever it’s going on,” she said. “We’re here together in community, in unity.”

—Staff writer Audrey H. Limb can be reached at audrey.limb@thecrimson.com.