{"id":6365,"date":"2026-07-25T07:24:13","date_gmt":"2026-07-25T07:24:13","guid":{"rendered":"https:\/\/theconcertwitness.com\/?p=6365"},"modified":"2026-07-25T15:22:54","modified_gmt":"2026-07-25T15:22:54","slug":"stacy-kent","status":"publish","type":"post","link":"https:\/\/theconcertwitness.com\/index.php\/2026\/07\/25\/stacy-kent\/","title":{"rendered":"Stacey Kent"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><strong>The ZigZag Jazz Festival, Berlin, July 22, 2026<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Stacey Kent \u2013 vocals<\/strong><br><strong>Jim Tomlinson \u2013 saxophones, flutes, percussion, backing vocals<\/strong><br><strong>Art Hirahara \u2013 piano, Rhodes<\/strong><br><strong>Tom Hubbard \u2013 double bass<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As the lights dimmed inside Berlin\u2019s impressive Gasometer, the atmosphere shifted almost imperceptibly. There was no dramatic entrance or theatrical flourish\u2014only the quiet confidence of an artist who has spent decades discovering that intimacy can be more powerful than spectacle. Speaking to the audience in German, a language she studied more than thirty years ago and hopes to return to in the future, Stacey Kent immediately established the warmth and openness that would define the evening.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Joined by her longtime collaborators\u2014her husband Jim Tomlinson, pianist Art Hirahara and bassist Tom Hubbard\u2014Kent presented a journey through the Great American Songbook, French and Brazilian repertoire, and original songs created with lyrics by Nobel Prize-winning novelist Kazuo Ishiguro.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>A quiet beginning built on intimacy<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The opening standard&nbsp;<em>The Night Has a Thousand Eyes<\/em>&nbsp;immediately revealed the character of the concert. Rather than relying on vocal display, Kent invited the audience into a quieter space where every lyric mattered. Her soft, precise delivery encouraged listeners to lean closer, making the performance feel almost conversational.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Her band supported that approach with remarkable sensitivity. Tomlinson\u2019s melodic responses, Hirahara\u2019s understated harmonic colours and Hubbard\u2019s deep, resonant pulse never competed with the voice but expanded the stories within each song.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A brief verse of&nbsp;<em>The Shadow of Your Smile<\/em>, featured on her latest album&nbsp;<em>A Time for Love<\/em>, unfolded as an intimate duo with Hirahara before Tomlinson answered with a warm, lyrical tenor saxophone solo. The quartet continued with the French classic&nbsp;<em>La Javanaise<\/em>, where Kent\u2019s ability to inhabit different languages became immediately apparent. The language changed, but the emotional character remained unmistakably hers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The absence of drums gave the music additional space to breathe, placing the rhythmic responsibility on Hubbard. His strong sense of time and rich double bass sound anchored the quartet throughout the evening, particularly when the group moved into the swinging atmosphere of&nbsp;<em>Under Paris Sky<\/em>.<\/p>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0c0c\" style=\"text-align:left\">\n<div class=\"wp-block-montoya-gutenberg-slider clapat-slider-wrapper content-slider light-cursor autocenter\" data-delay=\"0\"><div class=\"clapat-slider\"><div class=\"clapat-slider-viewport\">\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/42a80fff-217d-4449-a408-30997bfd7b89.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-36-scaled.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-38-scaled.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-45-scaled.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-41-scaled.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-46-scaled.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/f5c961db-7b20-4cfe-ac3b-e7a2cc260f23.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-47-scaled.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-52-scaled.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-54-scaled.avif\" alt=\"\" \/><\/div><\/div>\n\n\n\n<div class=\"clapat-slide\"><div class=\"slide-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-42-scaled.avif\" alt=\"\" \/><\/div><\/div>\n<\/div><\/div><div class=\"clapat-controls\"><div class=\"clapat-button-next slider-button-next\"><\/div><div class=\"clapat-button-prev slider-button-prev\"><\/div><div class=\"clapat-pagination\"><\/div><\/div><\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0c0c\" style=\"text-align:left\">\n<div class=\"reveal-gallery\"><div class=\"reveal-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-38-scaled.avif\" alt=\"\" \/><\/div><div class=\"reveal-img-fixed\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/f5c961db-7b20-4cfe-ac3b-e7a2cc260f23.avif\" alt=\"\" \/><\/div><div class=\"reveal-img\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-52-scaled.avif\" alt=\"\" \/><\/div><\/div>\n<\/div>\n\n\n\n<br> \n\n\n\n<p class=\"wp-block-paragraph\"><strong>Colours of a timeless songbook<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Several selections came from&nbsp;<em>A Time for Love<\/em>. The Brazilian classic&nbsp;<em>Carinhoso<\/em>&nbsp;honoured one of the most beloved songs in Brazilian music history, while&nbsp;<em>God Only Knows<\/em>&nbsp;offered a touching tribute to the late Brian Wilson, with Tomlinson joining Kent on vocals.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The album\u2019s title track provided one of the evening\u2019s most lyrical moments. Opening with Tomlinson\u2019s expressive tenor saxophone, delicately accompanied by Hirahara, the song gradually unfolded into Kent\u2019s intimate interpretation. The arrangement allowed every element to breathe, with the musicians creating space rather than filling it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Burt Bacharach\u2019s&nbsp;<em>Trains and Boats and Planes<\/em>brought another subtle shift in colour, as Hirahara switched from acoustic piano to Rhodes. The warmer electric texture expanded the quartet\u2019s sound while maintaining the same understated atmosphere that defined the evening.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Stories between languages and memories<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The concert also returned to the songs created through Kent and Tomlinson\u2019s long collaboration with Kazuo Ishiguro. Introducing&nbsp;<em>Breakfast on the Morning Tram<\/em>&nbsp;as one of her current favourites\u2014while joking that they are all her favourites\u2014Kent once again showed why she is regarded as one of jazz\u2019s finest storytellers.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The song unfolded like a scene from a film, carried by its swinging feel, Kent\u2019s detailed narrative approach and Tomlinson\u2019s elegant soprano saxophone solo. Her phrasing gave every word weight, allowing the lyrics to become more than just text\u2014they became characters and moments.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The gentle waltz&nbsp;<em>I\u2019ve Become a Postcard Lover<\/em>, from her 2023 album&nbsp;<em>Summer Me, Winter Me<\/em>, brought another intimate perspective, while the audience-requested&nbsp;<em>The Changing Lights<\/em>&nbsp;captured the bittersweet quality Kent described herself: a song \u201cfull of longing, but never without hope.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Between these original compositions, Paul McCartney\u2019s&nbsp;<em>Blackbird<\/em>&nbsp;offered one of the evening\u2019s most delicate moments. Performed as a piano-and-voice duet, Hirahara\u2019s thoughtful arrangement revolved around a sustained pedal ostinato, creating a subtle foundation over which Kent\u2019s voice unfolded naturally. His refined touch blended seamlessly with her phrasing, allowing the song\u2019s quiet beauty to emerge without unnecessary embellishment.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>An intimate farewell without spectacle<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kent closed the main set with another Brazilian classic, Ant\u00f4nio Carlos Jobim\u2019s&nbsp;<em>A Felicidade<\/em>. Sung as a duet with Tomlinson, the piece highlighted the natural connection between their voices and brought the concert to a warm conclusion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The enthusiastic response quickly brought the quartet back for an encore. Stevie Wonder\u2019s&nbsp;<em>As<\/em>continued the evening\u2019s intimate spirit while inviting the audience to participate through finger-snapping. Hirahara again switched to Rhodes, introducing a different sonic colour and creating a subtle contrast with the acoustic textures that had dominated much of the performance.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Stacey Kent\u2019s Berlin appearance was not built around vocal fireworks or dramatic gestures. Its power came from restraint, detail, and trust between musicians who have spent years developing a shared language. Moving effortlessly between English, French, and Portuguese, Kent showed that different languages are not obstacles but additional colours in her storytelling palette.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Supported by musicians who understand exactly when to step forward and when to listen, she transformed familiar songs into personal narratives\u2014proving once again that the quietest voice in the room can leave the deepest impression.<\/p>\n\n\n\n<br>\r\n<div style=\"text-align: center; margin: 2rem 0;\">\r\n  <a href=\"https:\/\/theconcertwitness.com\/index.php\/category\/concerts\/\" \r\n     style=\"background-color: #0C0D0D; color: white; padding: 12px 30px; text-decoration: none; \r\n            border-radius: 50px; font-weight: bold; font-size: 1rem; display: inline-block;\r\n            border: 2px solid white;\">\r\n    Read More Concert Reviews\r\n  <\/a>\r\n<\/div>\r\n<br>\n\n\n\n<div class=\"wp-block-montoya-gutenberg-container content-row light-section normal\" data-bgcolor=\"#0c0c0c\" style=\"text-align:left\">\n<div class=\"wp-block-montoya-gutenberg-clipped-image clipped-image-wrapper\"><div class=\"clipped-image-pin\"><div class=\"clipped-image\"><img decoding=\"async\" src=\"https:\/\/theconcertwitness.com\/wp-content\/uploads\/2026\/07\/untitled-47-scaled.avif\" alt=\"\"\/><div class=\"clipped-image-gradient\"><\/div><\/div><\/div><div class=\"clipped-image-content content-full-width\"><\/div><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>The ZigZag Jazz Festival, Berlin, July 22, 2026 Stacey Kent \u2013 vocalsJim Tomlinson \u2013 saxophones, flutes, percussion, backing vocalsArt Hirahara \u2013 piano, RhodesTom Hubbard \u2013 double bass As the lights dimmed inside Berlin\u2019s impressive Gasometer, the atmosphere shifted almost imperceptibly. There was no dramatic entrance or theatrical flourish\u2014only the quiet confidence of an artist who [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":6382,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[81,30],"tags":[],"class_list":["post-6365","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-berlin","category-concerts"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.5 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Stacey Kent - The Concert Witness<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theconcertwitness.com\/index.php\/2026\/07\/25\/stacy-kent\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Stacey Kent Turned Berlin&#039;s Gasometer into the Most Intimate Room in the City\" \/>\n<meta property=\"og:description\" content=\"Inside Berlin&#039;s magnificent Gasometer, Stacey Kent transformed the evening into something that felt remarkably personal. 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