Live Review: Saba

Touted as a talented up-and-coming star of the Chicago rap scene, Saba made his Sydney debut in the intimate setting of the Opera House’s The Studio. Twenty-four-year-old Tahj Malik Chandler did not disappoint, whipping the crowd into a frenzy in a matter of moments.

Saba presents as one of those rare artists, toeing the line between artistry and mainstream appeal. His lyrics reflect a profound perspective on life, echoed specifically in his single LIFE from his critically acclaimed second studio album, CARE FOR ME.

Reviewers might try to make comparisons with one of his biggest inspirations, 2Pac, or Chicagoan predecessors Kanye West and frequent collaborator Chance The Rapper, but his syncopated demand in LIFE says it all: “Stop comparing me to people, no I am not them.”

Saba’s performance was absolutely electrifying; a high-energy mishmash of crowd-pleasing hooks combined with flow to match that of a waterfall.

The crowd raised and swung their hands in unison as if in a collective trance, under the rapper’s benevolent spell.

The sound was, as always, crystal clear, making the performance incomparable to if it had been at any other venue. Saba clocked the moment perfectly, stating, "I had only ever seen the Opera House on TV up until an hour ago... It was a really long flight but you all made it worth it."

The love in the room was palpable, caught in glimpses as the lights whirred through The Studio, faces full of hope and joy. Saba’s music is a success precisely because he makes us believe in something above and beyond the sad monotony of life. He reflects on the sad times, yes, but he also looks forward to a better day. His choruses are simple, infectious and engage the crowd with ferocity: "Smile, smile, smile, smile."

Far from the drill music that originated in his neighbourhood, Saba has an upbeat and unique jazzy style he has been developing since he started handing out mixtapes in high school. He made reference to his roots, sharing with the audience, "I recorded these next two songs in my grandma’s basement." The songs were dedicated to his cousin and Pivot Gang collaborator John Walt, who Saba referred to as Walter.

Saba moved between older tracks from ComfortZone and newer tracks from CARE FOR ME in a masterclass fit for the ritzy setting.