Jacob Collier at Udin&Jazz 2025: A Masterclass in Musical Imagination

Castello di Udine, July 15, 2025

At this year’s Udin&Jazz festival, themed around “generations,” Jacob Collier brought an unforgettable display of musical brilliance to the Castello di Udine stage. Already established as a once-in-a-generation talent — whether as a vocalist, arranger, songwriter, pianist, or multi-instrumentalist — Collier offered a show that reminded us why he’s considered a true visionary in contemporary music.

Though fully capable of performing alone, he was joined by a remarkable ensemble: Parijita on backing vocals, guitar, and percussion; Erin Bentlage on vocals and keyboards; Ben Jones on guitar; Robin Mullarkey on bass and keyboards; and Christian Euman on drums. Together, they delivered a genre-bending, high-energy performance, drawing primarily from Collier’s Djesse series.

Audience as Instrument, Stage as Playground

After a short orchestral intro, Collier bounded onto the stage with irrepressible energy, immediately engaging the crowd in melodic call-and-response before launching into “100,000 Voices” from Djesse Vol. 4. The band followed in, and with it, a whirlwind of virtuosic interplay began.

Ben Jones’s guitar solo was a standout, drawing audible gasps from the audience, while Collier himself dashed across the stage, effortlessly switching between instruments. On “Well,” performed on his Strandberg electric guitar, the band leaned into a heavier rock sound. The vocal harmonies on the bridge were so pristine, it was hard to believe they were live.

A quieter moment followed with “Wherever I Go,” a duet with 20-year-old Parijita. Despite it being her first tour with the band, her performance was deeply assured — a voice full of poise and soul far beyond her years.

Language of Mountains, Harmonies of the Heart

Before performing “Little Blue” (which he humorously renamed Piccolo Blu for the Italian crowd), Collier welcomed the audience and confessed, in his typically humble way, that he was nervous because he could see the mountains and imagined they could hear his music. Alone on stage with his Taylor 5-string acoustic guitar, he introduced the song with, “This one’s in E-flat major.” The stripped-back intimacy of this moment, paired with audience participation on the choruses, was one of the evening’s most touching. Erin Bentlage joined on the second verse, and Collier conducted the final tone with the crowd, crafting a choral moment both spontaneous and sublime.

“Feel” followed — another stunning duet with Parijita in a slow 6/8 groove, beautifully anchored by Christian Euman’s sensitive drumming. They playfully harmonized the word “Udine” at the end, showing how even a tightly produced show can leave room for Collier’s joyful improvisation.

“Don’t You Know,” from his first release In My Room, became a showcase of Collier’s full multi-instrumentalist flair. He began on percussion, added chord cues on piano, took over on upright bass for the chorus, and bounced across the stage with tambourine in hand. The seamless switch into a piano solo after a percussion-led jam was so smooth it defied belief.

The Harmonizer and the Human Connection

One of Collier’s signature tools — the harmonizer, a real-time vocal processing synth — took center stage for Burt Bacharach’s “Close to You.” His use of technology never overshadows the emotion; instead, it amplifies the sense of awe.

He then strapped on his electric bass for two funk-driven tracks, “Time Alone With You” and “All I Need.” During the latter, he topped things off with a synth solo. At this point, the question had to be asked: is there anything he can’t do?

Taking a breath to address the audience directly, Collier reflected on the power of music. “Music is amazing — it feels like magic,” he said. “It doesn’t discriminate. Everybody is welcome, and music works as an equalizer.” His words lingered as he sat down at the piano and played a stunning cover of Billy Joel’s “She’s Always A Woman,” which flowed seamlessly into his own “Witness Me.”

And of course, no Collier show is complete without conducting the audience in an impromptu multi-part choir. Sitting among the crowd, he shaped a three-part harmony from scratch — another moment of musical communion that felt both playful and profound.

Generations on Stage, Celebration in the Air

Before the final songs, Collier took time to thank everyone — his band, crew, and even the local festival volunteers, many of whom were young teens in green shirts helping make the night possible. He acknowledged them with genuine gratitude, calling them “the next generation.”

The main set closed with “Over You” and “Box of Stars.” Parijita stepped to the front with a rap verse, and as the crowd joined in on the chant “Get up on your feet,” the atmosphere turned into a celebration — part concert, part joyful dance party.

Returning for an encore, Collier delivered a rousing “Somebody to Love” by Queen, but not before delighting the Italian crowd with a spontaneous rendition of “Volare.” It was a perfect nod to the local audience — heartfelt, sincere, and delivered with a smile.

Jacob Collier’s performance at the 35th Udin&Jazz Festival didn’t just showcase technical mastery. It was a generous, collaborative, and emotionally open experience — a vivid testament to how the next generation honors the past while forging something entirely new. And in the stunning, relaxed setting of Castello di Udine, the music had space to breathe, to connect, and to shine.

For more info about Jacob Collier, his music and tour visit www.jacobcollier.com.

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