Last Wednesday, jazz singer/bassist and Best New Artist Grammy winner Esperanza Spalding treated Oberlin to a concert with her band, the Chamber Music Society, at Finney Chapel. The night was mostly comprised of songs from Spalding’s new album Chamber Music Society, an eclectic, classically-influenced record that serves as a dramatic departure from her funkier and more pop-oriented debut, Esperanza.

During a pre-show Q&A with students at the Kohl Building, Spalding described Chamber Music Society as “different from what we were doing two years ago — I’m not egging the audience on to like it. The concert is really quiet, and the reaction is totally different … it’s conceptual and sometimes people get it, and sometimes they don’t.” However, during Wednesday night’s performance, Spalding’s concerns that some audience members might not “get” Chamber Music Society were for naught: her freakish talents for (simultaneously) singing, bass playing, songwriting and even whistling made every audience member’s jaw drop.

The Q&A provided an opportunity for the 26-year-old Spalding, who has also modeled for Banana Republic, to prove that she was much more than a pretty face by speaking articulately and passionately about her craft. For instance, when asked about the difference between learning in a conservatory vs. learning on the streets, Esperanza said, “If you’re at a school like [the Oberlin Conservatory], you intend to contribute something to music from a unique artistic perspective. You pursue what you think will bring depth to your own music and what you love from your guts.” Additionally, when asked about the secret to her success, Spalding replied, “One important turning point was learning the craft of [presenting oneself] and preparation. Your presentation could be ‘I don’t care what I look like, and either you like the music or you don’t,’ [but] that’s still your presentation. If you can discipline yourself to be over prepared and over think every aspect, you will be ready for every possibility.”

Clearly, Spalding takes every aspect of her own presentation seriously, a concern that was reflected in the stage design of the show itself. A large, comfortable armchair in the middle of the Finney Chapel stage allowed the audience to feel like they were sitting in a living room, enjoying an intimate conversation with the artist (albeit one that happened to include a three-piece string section). Indeed, every moment of Spalding’s performance was meticulously planned out, with detailed lighting cues that were more reminiscent of a theatrical production than a concert.

Spalding’s musical arrangements were just as tight as the show’s lighting cues, and the performance, while relying heavily on improvisation, also followed a similarly stringent roadmap. While the band did a fantastic job of supporting each other, it almost seemed as if the arc of each solo was pre-determined before the show. The most powerful moments of the show were also the most concise: Because Spalding has a tendency towards meandering melodies, the most well-received songs during the concert also had the most cohesive melodies, as was the case with opener “Little Fly” and the encore “Fall In.”

Additionally, Spalding’s constant presence was sometimes overwhelming. Spalding sang the melody, took a vocal solo, and took a bass solo on nearly every tune, and while her multitasking was impressive, the music could have benefited from the strong presence of another voice. The addition of a horn player could have solved this problem and more input from the rest of the band, which included the masterful and underused drummer Terre-Lynn Carrington, would have been similarly appreciated.

Despite Spalding’s phenomenal bass and voice solos, the group spontaneity inherent in a great jazz performance was somewhat wanting. This perceived lack of spontaneity was reflected in one of Spalding’s comments during the Q&A, which explored the relationship between artistry and performance. “When I’m singing a song, I pretend like I’m acting — no I’m sorry, I act — no, I don’t act, cause you’re not supposed to act when you’re acting — acting is the reality of experience,” she told students. “If I can sincerely connect with the music every night, the arc of the storyline is that much more likely to be received. Sincerity is the main thing people connect with musically.”

Spalding is a good actress, but unfortunately she is still acting. The artist’s true sincerity may have been inhibited by her lack of spontaneity in the performance later that evening. Still, at 26, Esperanza continues to prove that she’s a force to be reckoned with. And as she matures and expands, she has the potential to be a defining artist of the next generation.