In my brain, Nubiyan Twist and emotional euphoria are inextricably linked. The first time I saw the collective play at Glasgow’s Hug And Pint in 2019, I had just clocked off from a stressful week of work experience at a daily newspaper. Inside an already sweaty basement, my body still processing the adrenaline secreted from trying to survive at the bottom of a newsroom food chain, Tom Excell and his band crammed onto a tiny stage, tripping over multiple saxophonists and percussive instruments en route. With everyone gathered around drummer Pilo Adami, who was uncharacteristically on lead vocals this particular evening, the show began.

   Whether due to relief of having survived my first proper journalism shifts or the cosiness of dancing shoulder to shoulder with fellow fans, Adami’s memorable rendition of ‘Straight Lines’ in his native Portuguese caused all tensions of the past week to leave my body. 

Some time later, on the home stretch of covid regulations and a good year since I had seen any form of live music, finally one (albeit socially distanced) gig was going ahead: Nubiyan Twist’s Freedom Fables album launch at Islington Assembly Hall. The album had been out for a few weeks, and judging by the queue outside, I could tell everyone was twitching with anticipation to feel the explosive horns of ‘Tittle Tattle’ and deep groove of ‘Buckle Up’. Upon entry, reality set in: chairs were spaced out next to signs that read ‘please remain seated’, while men in hi-vis vests circled the parameters like it was a dystopian school talent show. 

But we didn’t let that extinguish our excitement levels. An overhead voice saying the show was about to start evoked a disproportionate level of applause, before a near-hysterical welcome began for the musicians as they positioned themselves around the large stage. So far, everyone was abiding by seating rules, but during one rousing drop on the album’s fifth track ‘Keeper’, a brave comrade in front of me leapt to their feet. 

An angry neon vest was summoned almost immediately, but before the dancer could be convinced to sit back down, another person flew up in the opposite corner. Then another and another. It was a protest of dance, and positively thrilling. When it became clear this game of human whack-a-mole couldn’t be won, the crowd (now more like caged animals than naughty school children) were left to stand, united in movement. Invigorated and full of joy once again, I made my way back home.

Now, I know Nubiyan Twist’s late-night performance at this year’s festival will (presumably) not feature such feral antics, nor will it compare to seeing them for the first time in a 120-capacity basement, high on stress hormones. Yet my excitement to witness this dynamic collective conjure up a slightly different flavour of their signature jazz-fusion cocktail is just as present. Fortunately this time, the crowd’s heartfelt grins won’t be hidden by surgical masks.

Nubiyan Twist play at George Square Spiegeltent on 22 July, 11pm as part of Edinburgh Jazz & Blues Festival.