A brilliant concert from Destra Garcia

NIGEL CAMPBELL

Destra Garcia, in front of a sold-out Winifred Atwell Auditorium of the Queen’s Hall, St Ann's, proved her worth as more than simply an iconic soca artist, but a sublime vocalist who easily ascended to the top of the list of singers, in any genre, from this country.

Her concert, Destra: Reflections, was a showcase for another side of the self-proclaimed Queen of Bacchanal (QoB). On April 12, she delivered a vocal masterclass and succeeded in diversifying her 25-year-plus recording career out of the circumscribed Carnival music silo and in so doing, added layers of recognition that has only been hinted at previously.

The dynamic flexibility and broad range of her vocal instrument was put to the test for two hours over 18 songs that covered contemporary urban gospel ballads, Christian praise-and-worship songs, hymns and Sankeys (short Spiritual Baptist choruses).

On a striking stage designed by creative director Brian Mc Farlane, that expanded the audience’s perspective above and beyond the traditional proscenium stage layout, Destra, in a flowing white gown, reminiscent of a wedding dress, strode down the curved ramp to deliver Whitney Houston’s I Look To You as an opener. In fine voice, this set up the expectation of a programme set to deliver powerhouse evocations of faith and spirit.

Destra admitted at the beginning to nervousness as she was aware that this was a leap of faith pivoting away from her ingrained and popular QoB and Lucy images. Her opting out of the 2025 Carnival music season was both a sign of her recognition that something new had to happen in her career, and that despite her inclusion of a gospel song on her first album – Red, White, Black (2003) – many people were unaware of her faith and inner spirituality.

The “nervous energy” was effectively radiated in a set list of impressive covers of songs by the likes of gospel music superstars Yolanda Adams, Open My Heart; Helen Baylor, Sea of Forgetfulness and More than A Friend; Sinach, I Know Who I Am; CeCe Winans, Goodness of God; Tasha Cobbs, Break Every Chain; and Andrae Crouch, My Tribute (To God Be The Glory). The inspirational songs of Tamela Mann, God Provides, and JoAnn Rosario, More, More More were also covered.

The production value associated with this concert was high. The aforementioned stage design incorporated the balcony wings of the hall as extensions for the movement of One Love Choir to optimum effect, the use of a projection screen as a backdrop transformed the space into moving visual metaphors for mountains to be climbed and the forgiving seas, and created impressive vistas of Calvary Hill and a stained-glass cathedral, almost sanctifying the theatre.

Video interludes featuring her Destra Garcia Foundation's charitable work, her accolades and awards over her career beyond these shore, and her father testifying to her faith and upbringing in a religious home – her parents are an ordained reverend and deaconess in the Spiritual Baptist church – tied the whole production into a seamless treat for the senses.

Destra made three costume changes from her original white gown that veered towards a Disney princess aesthetic in muted colours, but solidified into an impactful red gown and gold cap for her last three songs. These combinations of costume and setting pushed the envelope of how local audiences view Destra beyond skin-tight and sexy. They worked well in taming expectations of excess and enhanced the focus on the song and singer.

She used two choirs to make a statement and expand the idea of faith-based songs being solitary reflections. The Maria Regina Grade School choir came onstage from the aisles of the hall bearing electric candles as the hymn Jesus Love Me accompanied the children who followed this with Sinach’s hit I Know Who I Am. The adult One Love Choir, understood to be created for this project, delivered a rousing version of You Raise Me Up made popular by Josh Groban and others, to much applause.

The appearance onstage of Destra’s 15-year old daughter, Xaiya, was a highlight of the evening. First, performing a duet with mother on the old hymn, His Eye On The Sparrow, and later playing solo piano on the medley of The Prayer sung originally by Celine Dion and Andrea Bocelli, and Leonard Cohen’s Hallelujah, Xaiya beamed confidence that would suggest that stage presence is a genetic trait. Her inclusion and sharing the stage with her daughter were acts of pride for Destra, with ebullient praise and a visible smile.

Pride in her heritage beyond the inclusion of family on video and on stage was the inclusion, at the end of the concert, of a medley of Sankeys from the Spiritual Baptist faith of her family. This inclusion elevated the energy of the show with African-descended rhythms and choreographed dancing to a high point of ovation.

Whether hymns or contemporary songs from Beyonce (Bigger), Jody Watley (It All Begins With You), and Simon and Garfunkel (Bridge Over Troubled Waters), the music and songs of the concert solidified the idea that Destra is a premier singer in these islands. At no point in the show was there a break of voice or a stumble. What was apparent was her power and control as she handled key changes with aplomb.

Awkward nervousness at the beginning of the show made for uncomfortable interaction with the audience; the fourth wall was marred by a rigid repetition of the right song notes and words with limited banter, but as the evening progressed, that voice warmed up to a plangent tone that signified that greatness would be the final verdict of the night.

Testimonies to her faith were flowing, that banter that seems to be a problem for many with Destra the soca superstar was not an issue for Destra the singer of faith. Audience interaction was palpable with screams and ovation as the show progressed.

That confidence and brio that she is known for during any Carnival in all the islands of the Caribbean and its diaspora cities were happily evident. Her reflection at this 25-year mark in her career was proven to be a high-water mark for other Carnival artists to contemplate. This concert, Reflections, places Destra Garcia in a rare pantheon of artists who can move easily between genres and be successful.

Her album of the same name, already released, will be a tangible keepsake for anyone looking to be inspired by what is possible in the face of a transitioning music career in this country. Her new fan base, present in the hall that night, mingled post-show to press the flesh of a new star in the gospel industry here.

Her father’s video testimony that, “Destra is an evangelist. She is a winner all the time,” is apt. Gospel music is said to be the second most popular genre behind soca with multiple radio stations, highly-streamed recordings, and organised collectives for music distribution. Destra’s entre into this sector got off to a brilliant start with the concert. What the future brings in terms of more concert and albums of faith and spirituality is to be seen.