Electric and Harmonious, Jacob Collier’s Sonic Explosion in Cleveland Is Worth the Wait (Photos)

CLEVELAND, Ohio — Lightning strikes again.

That’s the best way to describe Jacob Collier’s electric performance Wednesday night at the aptly named Jacobs Pavilion, where almost a year to the day his show at the same venue was canceled after a lightning strike.

This time around, Mother Nature more than cooperated, throwing a lovely evening at the picturesque venue – about three-quarters full – on the banks of the Cuyahoga River, while the six-time Grammy Award winner, playing the final show of his current tour, provided more than two hours of grandiose moments.

“Welcome to my lodge,” he laughed. “Who was here last year?” It’s very nice to have you back. As things stand, there are no storms.

He later added: “My heart broke into Cleveland-shaped pieces. It feels good to be back.”

Hyperbole aside, there really is no other artist working on the scale of this mad multi-instrumental genius today.

Dressed in a yellow jacket, pink pants and mismatched socks, the spiky-haired Collier let the Cleveland audience into his laboratory where – backed by a six-piece band – he roamed the stage playing the guitar or bass, adding keyboards or percussion while singing his heart out throughout.

The end result was an array of sounds, sounds, styles, moods and splendid moments that tickled his studious audience who longed to sing the night away.

That’s exactly the role they dutifully played from the piano opener “100,000 Voices” through the closing cover of Queen’s “Somebody to Love,” which was interpolated with her version of “Can’t Help Falling in Love” by Elvis Presley.

Throughout the evening, Collier showed off her musical diversity – ranging from the lush pop sounds of “She Put Sunshine” (tagged with “There She Goes” by The La’s), a tender falsetto for “Little Blue” and a tinged ambiance from Latin on “Mi Corazón” to the groovy “WELLLL” and “Cinnamon Crush”.

The latter featured backup singer/guitarist Lindsey Lomis at center stage. In fact, the generous frontman often stepped aside and allowed his backup singers — including Alita Moses and Erin Bentlage — to shine in the spotlight.

So did the enthusiastic crowd, which Collier led like a choir several times throughout the set.

One of the most anticipated moments of the evening was invariably a cover of Simon & Garfunkel’s “Bridge Over Troubled Water” from their recently released album “Djesse Vol. 4.”

The classic track was deconstructed in typical Collier fashion. While perhaps void of the cathartic emotional crescendo heard on the original, the impressive moment was built more around nuance and vocal performance.

Considering the Rock & Roll Hall of Fame urban show was the 33rd and final concert of an eight-week stateside getaway, something he mentioned repeatedly throughout the night, Collier n did not disappoint with its energy and surprises.

Emily King joined the singer for a jazzy cover of his song “Georgia,” followed by her soulful solo rendition of Ray Charles’ “Georgia on My Mind,” ending appropriately with her singing “Cleveland on my mind.”

At the end of the night, Collier gave his rabid fans – these “Cleveland-shaped pieces” – the lightning show in a bottle they had been waiting for.