Jacob Collier Makes A Musical Sandbox Out Of Manila – Review

When someone tells you that Jacob Collier is out of this world, there’s a big chance they’re talking about his live shows.

If you were lucky enough to witness his triumphant return to Manila at the New Frontier Theater earlier this week, you’d understand exactly why. Because for nearly two magical hours, the English multi-instrumentalist, producer, and musical visionary transformed the venue into something entirely unlike your usual concert experience — not merely for your usual performance, but a living, breathing extension of Collier’s own kaleidoscopic mind.

While most concerts are content to deliver sound, some are able to go the extra mile in creating an immersive aspect to such performances. But for Collier, he was fully able to realize a world of his own.

Even when looking at the stage, it looked less like a backdrop, but more like a multi-sensory laboratory of instruments comprised of keyboards, stringed instruments, a modified kulintang, and — perhaps most memorably — a cluster of softly glowing trees that gave the venue an ethereal, almost enchanted woodland glow. The look (and corresponding feel) of the space made it feel as if we were stepping into a sonic terrarium where Collier took on the role of the joyful scientist who was mixing tones and colors for the crowd in real time.

From the enthralling opening number of “100,000 Voices,” it was clear that we weren’t just going to hear the music, but the audience was going to feel it. Collier bounded onto the stage like a wide-eyed musical genius, instantly igniting the crowd’s energy. His ability to shift seamlessly between instruments — from a grand Steinway & Sons piano to a ten-string guitar to a modified synthesizer keyboard — made it impossible not to be floored by the sheer breadth of his musical fluency. But what was arguably even more impressive than his technical skill was the spirit and overall energy behind it, especially with how playful, wide open, and intensely generous it was.

“WELLLL” and “Wherever I Go” were numbers that showcased his knack for harmonically complex yet irresistibly catchy arrangements, while “Little Blue” and “Time Alone With You” transported the audience into a quieter and more introspective headspace. Another fan-favorite moment of the night occurred during his cover of Elvis Presley’s “Can’t Help Falling in Love” which was as tender as it was inventive — looping harmonies built from scratch, layer by layer, into a kind of aural cathedral.

“The Sun Is in Your Eyes” offered a dose of dreamy melancholia, while “In Too Deep” and “Mi corazón” leaned into rhythm and global groove. “Never Gonna Be Alone” and “Witness Me” opened up a more vulnerable, emotional space, as if Collier was peeling back layers of his heart in front of the thousands in attendance. His cover of Daniel Caesar’s “Best Part” was also warmly received, with the crowd singing along — a nod to contemporary soul that melted seamlessly into his set.

Yet honestly, nothing could have prepared the crowd for the moment wherein Collier conducted the audience as one living, breathing choir in unison.  If you’ve seen clips online, you might think you know what’s coming, but there’s honestly no recording that can truly do it justice. Collier stood at the center of the stage like a conductor of pure feeling, and with only his hands and infectious grin, he divided the Manila crowd into several massive vocal sections. Then, he sculpted each part’s harmonies in real time — stacking lush, improvised chords in a feat of communal joy that was just so surreal and soul-stirring in the moment.

“There is nothing quite like the choir of Manila,” he mentioned afterward, with a beaming smile across his face. The crowd roared back, not just with applause, but with something deeper — a sense of connection, awe, and an unmistakable sense of unity.

Seeing how the moment was crafted in real-time, it honestly encapsulated everything Collier is as an artist. The segment wasn’t just music for music’s sake, but it was a vivid peek into how he sees the world: endlessly collaborative, full of joy, and built on the belief that everyone has a voice that matters. For what everyone said about his live shows was really true, given that his concerts aren’t merely about the performance aspect, but they’re also about making the audience part of the music, not just as passive listeners, but active participants in creation itself.

But it wasn’t just the sonic versatility of both the crowd nor Collier that was staggering. It was all about how he was able to build this experience to reflect his ever-curious and always evolving musical mind. Because at one moment, you would be swaying to his performances in a gospel-like trance, and then the next, you’d be marveling at a jazz-fusion breakdown, while seconds later, you’d be clapping as if it were second nature (of which he also complimented the audience for!).

“All I Need” and “Over You” were the final swings of his original set — packed with groove, color, and an explosive kind of gratitude that felt like reciprocal exchange between Collier and the Manila crowd. And just when it felt like the night couldn’t offer more, he returned for an encore that really took the roof off.

First came a breathtaking rendition of Queen’s “Somebody to Love,” where Collier’s elastic voice danced across octaves like a gymnast. It was a bravura performance, full of operatic flair and jazz-inflected twists. But the final surprise of the night was perhaps the most heartfelt when he segued into a soul-stirring performance of “Anak” by Freddie Aguilar. Delivered with reverence and love, it brought the crowd to their feet as Collier paid homage to both Filipino culture and the late musical legend with sincerity.

As the last notes rang out and the lights slowly dimmed, there was a collective, near-spiritual exhale in the room. The tension (and its corresponding release) left everyone in the theater feeling exhilarated, for we realized that we were part of a musical movement in those two hours. With what Collier allowed us to experience, the show became a large-scale playground of sound where barriers — between genres, between artist and audience, between language and expression — had been dissolved.

It’s difficult to fully put it into words, but what we, the audience, experienced at the New Frontier Theater wasn’t just a concert, but a full-bodied experience that allowed each of us to be a part of Collier’s colorful and equally vibrant musical world. The performances themselves were an intriguing peek into the mind of one of the industry’s most visionary musicians — a mind that doesn’t just hear the world differently, but also invites us to do the same.

Because in the end, Collier’s long-awaited return to Manila was indescribable. Not because there aren’t enough words, but because some things — like magic and music — just simply have to be witnessed firsthand to be believed.

Relive the magic of Jacob Collier’s music on his latest album Djesse Vol. 4 below: