| The London-based singer delivers a relaxed set of jazz standards with a tight three-piece band, wrapped in an atmosphere where subtle fashion cues quietly elevated the night’s aesthetic. |
| On 8 November 2025, Ziqing Weng presented a jazz evening at Chats Palace in London. The theatre room was simple, with warm lighting, a low stage and rows of chairs set close together, giving the space a quiet, listening mood. Even before the music began, her understated sense of style blended seamlessly with the intimate setup, creating a soft fashion-forward tone without distracting from the performance. |
She walked out calmly, wearing an oversized blazer over lace and a felt hat that quickly became part of her look on stage. The outfit suited the calm tone of the night. The ensemble added a subtle fashion statement—simple, elegant, and aligned with the understated chic often seen in contemporary jazz settings. She took her place at the microphone and gave the room a moment before starting the first tune.
Beginning with Dream a Little Dream of Me, Ziqing eased the audience in with a soft, unhurried delivery. Her styling, much like her vocals, leaned into quiet sophistication—nothing loud, but everything intentional. Her phrasing sat comfortably behind the beat, and the trio—piano, double bass and drums—kept the arrangement light and steady. It set a calm start to the evening and gave the room an easy pace to settle into.
Slower standards followed, including Cry Me a River and Misty. Ziqing kept her approach minimal, leaving space between lines and letting the room settle into the quieter moments. Her voice stayed warm throughout, and the band followed her gently, letting each song move from one section to the next at an easy pace.
The atmosphere lifted slightly with Can’t Smile without You and Autumn Leaves. Both songs had a lighter feel, and she lifted her voice to match it. The drummer sharpened the rhythm, while the bassist added more definition to the line. Even with the shift in energy, the overall feel stayed relaxed and cohesive.
A small but memorable moment came during Too Young to Go Steady. Midway through the tune, she added an improvised run that pushed the melody into a new direction for a moment. It mirrored the way her minimalist outfit played with form and texture—simple elements elevated with small, expressive choices. The pianist picked it up right away, adjusting his chords to follow her idea. It was a quiet exchange, but it showed how closely the group listened to each other.
Audience reactions stayed mostly quiet during the songs, but each ending was met with warm applause. During Fly Me to the Moon, Ziqing ended with the lyrics “I love you”, and someone from the audience responded with “I love you too”, drawing soft laughter across the room. It felt natural, reflecting the ease that had built between performer and crowd.
The evening ended with a short encore that kept the same calm feeling as the rest of the show. She sang in a steady and relaxed way. Each line had space, and nothing felt pushed. The room stayed warm and quiet, and the trio followed her closely. The night closed on a soft final line, and the audience stayed with her until the end.（written by: Megan Hartley）
