Few artists command a stage with the kind of effortless sincerity that Jordan Rakei does. Returning to Sydney for a long-awaited performance at the Opera House’s Concert Hall, the New Zealand-born, Australia-raised multi-instrumentalist delivered a night of intricate, soulful compositions that spanned his impressive six-album catalogue. From the moment the first notes rang out, the audience was enraptured by his singular blend of R&B, jazz and electronica, all elevated by his unmistakably warm, expressive vocals. 

Opening with Learning, Rakei set the tone for the evening with an intimate, almost meditative transition into an a cappella jam. His voice, rich and resonant, filled the cavernous space with ease. “So good to be here - none of us have ever played here or even stepped foot in the building,” he admitted before promising to attempt playing songs from across his entire discography. The audience was more than ready for the journey. 

He launched into Mad World from his 2019 album Origin, bathed in scattered lamp light and deep red overhead hues. Backed by a formidable band, the interplay between drums, percussion, electric guitar, keys and synth created a lush sonic tapestry, while a bouquet of native flora atop the grand piano added a grounded, organic touch.

The atmosphere shifted with Freedom, where an aquiline striation of blue light washed over the stage. Here, Rakei stepped out from behind the piano, his presence at the front of the stage amplifying the song’s slow-building ecstasy, driven by an anaphoric vocal passage that left the room spellbound. 

Speaking candidly about the inspiration behind The Loop, he reflected on the resentment and anger that fuelled its lyrics, dedicating Royal to “all the angry people in the front row.” A slow but hard-hitting confessional, it pulsed with vulnerability, drawing the audience further into his world. A mood shift followed with Wind Parade, a deep purple-lit, funk-infused number that loosened up the room and allowed the band’s groove to shine. 

Picking up a guitar, Rakei paid homage to his formative years in Brisbane. “Walking to school for the last three years of high school I played three artists religiously: Jill Scott, D’Angelo and Bilal,” he recalled. As he began State of Mind, a technical hitch saw his guitar strap detach, but rather than falter, he continued singing while a sound technician fixed it. The moment encapsulated his poise and professionalism—nothing was going to break the spell he had cast over the audience. 

Clouds emerged as a standout, a stripped-back vocal-centric piece that evolved through three distinct sonic spheres—deep introspection, ascent and eventual soaring catharsis. Then came Wildfire, its electric purple lighting engulfing the stage in an atmospheric haze. The song’s falsetto-laden breakdown was brief but utterly sublime. 

Reflecting on his move from Brisbane to London 11 years ago, he reminisced about his early struggles with the city’s relentless grey weather. “Guitar music like Jeff Buckley and Radiohead was my shining light out of that first melancholy year,” he shared, leading into Eye To Eye. His delivery was tender, his voice carrying the weight of that emotional transition with understated power. 

Stripping things back completely, he moved to the microphone alone for Flowers, allowing his vocals to take centre stage. Then, with the line “You cannot compare yourself to me,” the energy shifted as he transported us back to his Cloak days with Talk To Me. The intensity and groove of this track felt like a refreshing contrast to the more introspective moments of the night, a reminder of Rakei’s versatility as an artist. 

Returning to The Loop, he introduced Cages as a song “about looking up and embracing reality,” punctuating it with subtle, intricate bass work. Seamlessly, this led into a masterful cover of Bill Withers' Who Is He (And What Is He to You)?, which faded into an ethereal echo, lingering in the air long after the last note. 

“Come on, let’s get funky for a second,” he grinned, launching into Trust from the new album. This effortlessly merged into Add The Bassline, a nod to his earlier work. The infectious groove was met with flourishes of backing vocals and instrumental embellishments that kept the energy soaring, a celebration of his evolution over the years. 

For the encore, Rakei gave his bandmates a moment to shine before stepping up himself. “I let all of them have a solo, so I thought it was my time to one-up them,” he joked before settling into Hopes And Dreams, a deeply personal dedication to his son and family in attendance.

The night concluded with Mind’s Eye, a sombre yet striking finale marked by lamp lights flickering in rhythmic synchrony. It was a poetic, almost hypnotic ending to an evening that showcased not just Jordan Rakei’s immense talent, but his ability to connect on a deeply human level. 

For an artist who has spent years refining his craft and for his initial and long-standing fans, this Opera House debut felt like a culmination of everything he has worked toward. A masterclass in musicianship, storytelling and soul, it was an evening that left no doubt.