Joy Oladokun @ Beanfield Theatre

On a chilly Saturday night in Montreal, Joy Oladokun turned the intimate Beanfield Theatre into a sanctuary of soul, humour, and introspection. With a blend of acoustic intimacy and full-band energy, the evening felt like a beautifully woven tapestry—equal parts confessional, concert, and comedy show.

The theatre was still filling up before the main event began, and Oladokun, always adept at multitasking, opened for herself. Equipped with an acoustic guitar and a sharp wit, Oladokun set the tone with a handful of stripped-down numbers. Her first song, The Hard Way, delivered a tender introduction, with her velvet voice sweeping through the room like a warm embrace.

During this opening set, she shared a humorous yet frustrated anecdote about her bandmates being denied entry into Canada. Despite the logistical hiccups, she performed with a temporary bassist and keyboardist, both of whom blended seamlessly into her sonic world.

The acoustic set featured a stirring rendition of Leonard Cohen’s Hallelujah and a new song that may be called My Mind’s Always on You. Even in its raw, unfinished form, the track sparkled with heartfelt longing and lyrical vulnerability.

After a brief intermission, Oladokun returned with her makeshift band for the main set, shifting gears into a more electrified and dynamic performance. Kicking things off with Drugs, a hypnotic anthem about escapism, she immediately pulled the crowd deeper into her orbit. Her music—layered with pop, folk, and R&B elements—felt expansive yet never lost its emotional core.

Tracks like Jordan and Sunday showcased Oladokun’s knack for marrying profound storytelling with infectious melodies. The former, a gospel-inflected reflection on faith and acceptance, resonated deeply in the acoustically rich theatre. Meanwhile, Sunday—a lush meditation on relationships—brought a hush over the crowd, as if the audience collectively held its breath to savour every note.

One of the standout moments came with Black Car / Blackbird, a haunting fusion of originals and covers. Oladokun’s voice soared effortlessly, blending pain and beauty into every note. Her decision to step away from the mic at points, letting her voice fill the theatre naturally, only added to the raw authenticity of the performance.

Another highlight was We’re All Gonna Die, a deceptively upbeat number that had the audience singing along to its existential humour.

The encore featured Oladokun alone once more with a gut-wrenching mashup of Breathe Again and Bonnie Raitt’s I Can’t Make You Love Me. Stripped to its emotional bones, this performance left the room in a reverent silence, punctuated only by the occasional sniffle.

Oladokun’s ability to traverse such a wide emotional spectrum—from the playful to the profound—sets her apart. While her influences are evident (hints of Tracy Chapman’s introspection, Joni Mitchell’s poeticism, and Hozier’s spiritual depth), she has carved out a sound and presence that are distinctly her own.

There were moments of imperfection, sure. Her playful looseness sometimes veered into self-deprecation that felt unnecessary—an artist of her calibre doesn’t need to downplay her gifts. And occasionally, the pacing of the set felt uneven, with quieter acoustic moments jostling against more bombastic numbers. But these small quibbles only added to the charm of a performer who values connection over polish.

Setlist

Acoustic Opening Set

1. The Hard Way

2. Purple Haze

3. STRONG ONES

4. Hallelujah / QUESTIONS, CHAOS & FAITH

5. Somebody Like Me

6. (Unknown – New: “My Mind’s Always on You”)

7. Flowers

Main Set

8. DRUGS

9. AM I?

10. if you got a problem

11. Taking Things for Granted

12. sunday

13. jordan

14. Sweet Symphony

15. Changes

16. Black Car / Blackbird

17. I’D MISS THE BIRDS

18. look up

19. We’re All Gonna Die

Encore

20. breathe again / I Can’t Make You Love Me

Review & photos – Steve Gerrard

Share this :
FacebooktwitterredditpinterestlinkedinmailFacebooktwitterredditpinterestlinkedinmail