There are a total of five musicians on stage when the ensemble is introduced as Notes of a Native Song — an allusion to writer and critic James Baldwin’s 1955 collection of essays, Notes of a Native Son. From the beginning, it is clear that the show will be marked by poignant use of language, even as the guitar riffs unfold with the lyrics of the first song. Being unfamiliar with the literature that inspired the show does not seem to be a problem, as singer-songwriter Stew’s deliberate delivery and engagement with the material creates an atmosphere of trust among the audience members.

The connection between the two performers Stew and Heidi Rodewald is profound as they have been working together for decades and share similar tastes in music. Their strongest connection, however, is manifested in Baldwin’s presence, both in a physical sense as colorful mash-ups of his countenance are projected onto the screen at the back of the stage, as well as in a less tangible one, as his ideas and words permeate every song that is delivered directly to all listeners in the Black Box theater.

It appears that such a presence is almost a necessity as the messages communicated in song are not light or simple. Stew’s humorous delivery makes these messages more approachable as he takes time to jokingly engage with the crowd and even puts on a hat for dramatic effect. Lines such as “a heart like a cavity, no respect for black gravity” are exemplary of the particular mode in which Stew delivers his repertoire of songs. Strong rhyme and rhythm are coupled with a dark, unsettling subject matter that inspires engagement. Baldwin’s concerns with racism, sexism and revolutionaries are explored in terms of their interconnectedness.

Interludes sprinkled throughout the performance break the progression from song to song and intensify the performers’ impact. Although each band member plays his or her instrument with significant flair, they are also in a separate discourse with frontman Stew.

The core intention of Notes of the Native Song is to uncover the shortcomings of grand figures. Stew recounts that it was a particularly painful moment for him to realize that his idols were human — something which took him a long time to accept. It is therefore important to “embrace the failure of someone who is also amazing.” Stew’s attempt to do so is also mirrored in the centrality of place in his work, as Florida, Harlem and Istanbul are made into song centerpieces while also being the crux of Baldwin’s preoccupations and life.