Bria Skonberg Quintet At Miner Auditorium

Bria Skonberg
Miner Auditorium
San Francisco, California
November 5, 2025

Bria Skonberg took the stage at SFJAZZ's Miner Auditorium with the confidence of an artist who knows that joy is compelling. The 90-minute set was a lively, good-humored, rhythm-driven performance that blended New Orleans roots, swing, blues, and pop as parts of a shared, generous language. The audience responded right away.

She set the tone early. "We are going to have some fun tonight, it is classy, but still brassy," she told the packed house, and the performance stayed true to that promise. She opened with her original "Elbow Bump," a lively, rhythmically sharp piece that showcased her current priorities: music that swings, music that grooves, and music that invites listeners into the story.

The trumpeter then introduced her all-star quintet, starting with her pianist, Mathis Picard Picard first met Skonberg 12 years ago while playing a late set at Dizzy's in New York. The talented, young, Juilliard-educated jazz pianist was the driving force behind the band and often received thumbs-up and smiles from Skonberg for his jaw-dropping solos and fills.

Liany Mateo, the newest and youngest member of the band, played upright acoustic bass and was recently featured on Downbeat magazine's 25 For The Future list. Skonberg's on-stage saxophone sidekick was Grammy-nominated Patrick Bartley Jr. On drums was Darrian Douglas, who has performed with Ellis Marsalis and Jason Marsalis, and has launched a nonprofit called the Second Line Arts Collective that teaches musicians the business side of music.

What made the evening compelling was how the musicians listened to each other. Picard's piano lines drove the music forward with clarity and wit. Douglas shaped the sound from the back of the stage with light, bouncy timing and well-placed cymbal accents. Bartley's tenor added warmth in the middle of the ensemble, giving Skonberg a partner for quick exchanges and background figures. The result was a group sound that felt more conversational than hierarchical.

The program played a series of New Orleans-influenced tunes that demonstrated Skonberg's commitment to the tradition. "Petite Fleur," "Do You Know What It Means to Miss New Orleans?," and "Cornet Chop Suey" followed each other, reminding us that early jazz can still feel fresh when played with skill and warmth. Skonberg shared that the past few years had led her back to the music that first sparked her love for jazz because that music continues to bring comfort, joy, and stability.

Midway through the concert, she cooled the room with a tender pairing of John Lennon's "Beautiful Boy (Darling Boy)" and Count Basie's "Lil' Darlin.'" She talked about becoming a parent five years ago and how that experience changed the way she hears songs of care and reassurance. The band shifted into a softer dynamic without losing clarity, and the audience listened intently.

A highlight was "Of Liberty," a new song she introduced as a reflection on her son's fascination with the Statue of Liberty and her own move from Canada to the United States. The piece began with close dialogue between Skonberg and Picard, and gradually expanded into a steady groove, over which she floated her trumpet line. It was thoughtful, tuneful writing, and it demonstrated how confidently the quintet could craft a narrative together.

Later in the set, she turned to Duke Ellington's "Mood Indigo." Skonberg shaped the blues with both sultry and rougher colors, and at the end she climbed and held a single note for a solid twenty seconds. The band dropped away so the room could hear the strength of her voice. It was a moment of command, fully earned by the unforced energy of the rest of the evening.

Before the end, she mentioned she would release an "obnoxious" amount of new music in the coming year, including a holiday project, then led the band into a lively, audience-engaging version of "The Beat Goes On." They finished the night with a call-and-response on "Night Time Is the Right Time." It was a joyful sendoff that kept the audience energized and on their feet.

This concert succeeded because Skonberg treated tradition as an active resource and because her quintet met her with energy, clarity, and generosity. Miner Auditorium was treated to a band that knew how to swing, how to listen, and how to demonstrate why this music still matters. Skonberg turned a November evening at Miner Auditorium into a celebration of shared rhythm and history.

Setlist

"Elbow Bump," "Petite Fleur," "Do You Know What It Means to Miss New Orleans?," "Cornet Chop Suey," "Beautiful Boy (Darling Boy)" / "Lil' Darlin," "In the House," "Of Liberty," "Mood Indigo," "Blackout," and "The Beat Goes On" Encore: "Night Time Is the Right Time."

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