The Musical Language of Jacob Collier

When you listen to music, is it more about the words or the sounds you hear? This personal preference is what largely dictates if you’re into Taylor Swift or jazz trios. The subject of this article is contentious, largely for this reason. Jacob Collier, the eminent young composer, is a well known figure in musical circles, but less so among the majority. What perhaps is most marked about Collier is the simultaneous mass acclaim with some and unpopularity with others. 

As with many successful musicians, Collier comes from a musical background. His mother, Suzie, is a violinist who teaches at London‘s Royal Academy of Music, as was his grandfather, Derek. There‘s certainly much to say about families for whom music is passed down the generations; it makes entry into the industry a little easier. But that’s another debate to be had. Nonetheless, from being the first person to win four Grammys for his first four albums to collaborating with Herbie Hancock and Ben Folds, the statistics leave no doubt as to his prowess. 

As with many success stories, Collier began with YouTube. Early covers of ‘Don‘t You Worry ‘Bout A Thing‘ and ‘Pure Imagination’ showcased what would become one of his defining talents: playing all the instruments in any given track. This he demonstrated in his first album, aptly titled In My Room, all recorded in his family home in North London. Budding instrumentalists were understandably wowed by his ability to master not only one, but many instruments, all while producing a diverse and lively album. 

Collier‘s music is easily recognisable, characterised by multi-tracked parts, zany harmonies, and such musical diversity that every phrase is characteristically indistinguishable from the next. Much of his music seems to communicate an urge to pool out everything in his musical toolbox all at once.

This is what many musicians have an issue with. I’ve learnt that sometimes the best research is conducted via Reddit, and user @authynym encapsulates this principal complaint well: “Music is primarily emotional. Virtuoso musicians tend to present it as intellectual. There's nothing wrong with this, per se. It just isn't something I want to listen to.” 

It’s arguable that where Collier truly shines is when the extent of his musical knowledge is encapsulated in simple arrangements. His live piano and vocal album, recorded live in 2022, simplifies Collier’s otherwise overwhelming genius, with heartfelt covers of jazz standards and pop songs alike. While listening to this album, I’m embarrassed to say his jazz infused ‘Let It Be’ almost made me shed a tear. Complex harmony doesn’t have to be confounding; it can be a magical tool for emotional expression, and Collier certainly shows this in his total diversion from the Beatles’ original structure in his three-minute piano introduction. It’s not ‘Let It Be’ as we know it, but in his own musical language, Collier extends what makes this song so beloved by many. 

My personal favourite of Collier‘s is also one of his most appealing to the average Spotify listener. ‘Never Gonna Be Alone’, featuring Lizzie McAlpine, showcases her voice through runs and intriguing harmonic changes. Musically and lyrically, it‘s a compelling work. As Collier and McAlpine implore whoever‘s listening to “take me back” to the window, the door, where they left one another “sitting on the floor”, this is musically supported by expert production, harmonic change, and moments of climax. While many complain that Collier‘s complexity is alienating, this beats a four-chord pop song. At its essence, however, it‘s still exactly that: a Grammy nominated pop song. 

Jacob Collier is, if you excuse the cliché, a little like marmite. To many, his music is either gobbledygook or pretentious, to others the gems of the modern-day Bach. He has achieved what seems unattainable to many: mastery of many instruments and genres, with a style that bridges the gap between ‘serious’ and ‘casual’ music listening. Is criticism of Collier jealousy of what feels close to impossible, almost godly? It seems a valid underlying cause. What’s undeniable is that, in his enthusiasm for and knowledge of every complexity of music, Collier can influence our musical landscape irrevocably.

Image from Wikimedia Commons