JESSIE REYEZ at Danforth Musich Hall, Monday, December 3. Rating: NNNNN
At the first of a two-night stand on Monday night, Jessie Reyez celebrated a homecoming that just a few short years ago felt like a wish and a prayer: two sold-out gigs at the Danforth Music Hall, the final shows of her biggest headlining tour yet.
It came in true rock star fashion for the NOW cover star: a supercharged audience chanting her name, singing along to nearly every one of her songs. A few bras – real nice ones – as well as a pink-inflated penis, thrown onto the stage by enamoured fans. “A bitch is home, boy. A bitch is home!” the singer/songwriter roared after taking the stage like a heavyweight champ in a black hoodie and cap that obscured her face. Fire-red lights sparked behind her as she spit the lyrics to Dear Yessie, fiercely, as if she were in a battle.
She was supported throughout by her DJ, Junia-T, and a stellar band that included a keyboard player, guitarist and drummer. Occasionally, like on Sola, she sang solo and you could hear the full strength of her voice. It reached aching peaks on Apple Juice, singing “I’ll teach you how to love me,” as fans joined her.
It’s impossible to deny Reyez’s star quality. You don’t go from busking in Kensington Market to singing on two Eminem tracks without having it, but seeing her live only confirms she has talent and stage presence big enough to fill stadiums. Her stunning vocals seamlessly flitted between R&B, pop, rap and ballads, even revealing 90s-Mariah Carey level octaves on Shutter Island.
She’s grounded by an intense gratitude. The show ended 30 straight days on the road in support of her EP Being Human In Public, and she repeatedly thanked the crowd for welcoming her home. She shared that the tour has made her appreciate the diversity of this country and shouted out her Latina community, as well as immigrants and children of immigrants. At times, she became a Tony Robbins-type inspirational speaker, even leading a communal meditation. “Shut the fuck up and take a deep breath,” she instructed, which silenced the entire audience.
She shared motivational tips for the hustlers and dream chasers who feel like giving up. “If you pray for something and you work hard for something, and you bust your ass and God or the universe, or whatever it is delivers and it comes into your life but the shit doesn’t look like exactly what you wanted, don’t fuck up the prayer, man,” she preached. “Don’t fuck up the opportunity. Take that shit.”
Later, she shared a second message, which she confessed made her feel vulnerable because the audience included family and friends, about how she survived a bout of depression that left her 20 pounds lighter than she is now. “Cry,” was her gentle advice. “Take your time. Be sad. You have to have your own back.”
The empowering, sometimes vulgar gospel of Reyez was as much about self-love as it was about self-empowerment. “Toronto, can we get mad deep for a second?” she said while sharing the story behind Gatekeeper, her ominous song about a predatory producer (revealed to be Noel Fisher, aka Detail). She then asked for the lights to be raised and asked the crowd if they knew what #MeToo stood for. Displeased by the lackadaisical response of a few who feigned naïveté, she made it clear that in her presence the movement would not be dismissed. “I want you to look to your left and I want you to look to your right, and if you see someone that’s not fucking reacting to this, I’m not trying to have them fucking here,” she said, igniting thunderous cheers.
“So, I’m going to say again, man, who here knows what the #MeToo movement is?” This time it was greeted by near unanimous support. “I’m talking about motherfuckers who don’t want to see women in power. That’s what this is for!” she roared. “I love my smart, supportive, if-I-see-something-I’m-going-to-speak-up type of men. Only those type of men.”
Things eventually took a lighter turn as she brought out her friend and collaborator Daniel Caesar, returning the favour from his own breakout-culminating performance at Danforth Music Hall last year. They came together on their duet Figures, before she ended the show much like she started her career: just her and her acoustic guitar.
