Samara Joy’s performance at the Baltimore Symphony Orchestra’s opening Gala was nothing short of a divine musical experience. Joy is often cited as one of the most successful musicians of the century, being a 6-time Grammy winner at only 26-years-old. Her tone of voice wraps the listener in a soft, gentle velvet cloth and makes them feel a warmth that is unparalleled to any other.
Joy’s performance was a part of a 2-day opening gala for the Baltimore Symphony Orchestra (BSO). Joy sang a collection of jazz standards, many being arranged by her and the Septet. The Saturday night concert was held at Joseph Meyerhoff Symphony Hall in downtown Baltimore and was the performance I had the pleasure of attending.
The BSO began with 2 instrumental pieces, the first being “Cuban Overture” composed by the incomparable Gershwin, and the latter being “Sophisticated Lady” as composed by the masterful Duke Ellington. Conductor Johnathan Heyward spoke briefly after and introduced Samara Joy as the “Sophisticated Lady” of the evening. The crowd erupted with applause and piercing whistles.
The set began with “Peace of Mind / Dreams Come True,” which featured the Baltimore Symphony Youth Orchestra (BSYO) and BSO OrchKids. The decision to include the new generation of young musicians in a performance led by another musician born in the 21st century was truly magical and set the scene for an emotional, passionate performance.
Joy then sang “Stardust”, one of the most famous jazz standards of all time. Joy had sung “Stardust” at many other points in her career and even recorded it as the first track on her debut self-titled album, “Samara Joy.” The tune has a lot of deep, personal meanings to many jazz listeners, and her delicate tone, accompanied by the depth of the string section, pulled forth all these emotions for me and countless others around me.
Following “Stardust” was “Flor de Lis”, a song composed by Djavan, a figurehead of Brazilian bossa nova and jazz. Joy apologized in advance to the crowd and to a Brazilian man in the front row for her mispronunciation of any Portuguese words. The instrumentals carried Joy’s voice across the hall, filling it with an unmatched warmth.
Joy then sang an arrangement of “U.M.M.G.” (Upper Manhattan Medical Group) by Billy Strayhorn that she wrote the lyrics to, and that her septet, notably pianist Connor Rohrer, arranged. The song encapsulated her brilliance and artistry into one song. The BSO passionately accompanied this performance; each stroke of the conductor’s baton was as if he was gliding a brush across a canvas, painting a vivid picture of the tune. Passion could be heard with each word, each note, and each beat.
Her rendition of Billie Holiday’s “Left Alone”, however, was the highlight of the performance. Holiday never got to record the song, and it was with a deep adoration of Holiday that Joy sang her lyrics. Joy’s ability to open the floodgates and let her voice ring through the symphony hall and then immediately bring it back to no louder than a whisper is the vocal mastery that the audience adored in her rendition of Holiday’s piece.
There was a deep feeling of admiration for Joy, and sorrow for Holiday that sulked in the symphony hall. Joy received a 2-minute standing ovation full of cheers, whistles, and cries. Joy’s reverence of Billie Holiday and her legacy was evident, making the rendition even more special.
The closing 2 songs, “The Little Things That Mean So Much” and “Come Sunday,” provided a soft, sweet ending to her performance. She gracefully thanked the BSO, BSYO, OrchKids, stage management, her septet, and the audience for an amazing opening weekend as she blew kisses into the crowd. Joy walked off stage, only for conductor Johnathan Heyward to usher her back on for one more round of applause, and then usher her back on once more for a final round.
The love for Samara Joy was felt throughout Joseph Meyerhoff Symphony Hall, and comments of praise, adoration, and excitement swept across the room and out of the doors as over 2,300 people spilled out of the venue.
One can only truly appreciate music when the one who is performing it feels it within their body. Whenever the lyrics, melody, harmony, rhythm, or any factor of a song is deeply personal to someone, they are able to use the song as an outlet for their inner self. Samara Joy’s night at the symphony was a night of bliss and enchantment, and a night many, including myself, won’t soon forget.
It’s still not too late to experience the magic of Samara Joy, as her North American Tour has 4 more performances before its end. Tickets can be found at samarajoy.com while seats are still available.