Kali Uchis’ triumphant return to Montreal (or in this case, Laval) was a highly anticipated one. Since cancelling her Palomosa appearance a year ago, almost to the day, fans were eagerly shuffling into Place Bell to take part in a night they wouldn’t forget anytime soon.
The opening band was one I was very excited to see be part of Kali’s Sincerely, tour. I saw Thee Sacred Souls last year when they absolutely captivated a sold-out MTelus, and I had no doubt that their retro soul and RnB sound would easily translate to a larger room.
They wasted no time, kicking things off with their biggest hit and set-closer from their last Montreal show, “Can I Call You Rose?” Immediately, the crowd was hooked on the 11-piece band’s throwback sound, and the band comfortably played through their set with swagger and perfect haircuts.
Though frontman Josh Lane didn’t use the cul-de-sac shaped walkway that was no doubt meant for Kali, he was still happy to jump the barricade and serenade the audience up close during “Will I See You Again?” He kept it going during “Running Away,” and spent nearly 10 minutes of their 40-minute set moving through the audience. You could feel the energy shift throughout the room as screams followed him to the most surprising corners of the crowd.
Lane was a force on the mic whether or not he was singing. Between songs, he sent his love to Kali, to her fans, and he preached love and understanding, while denouncing the genocides in Gaza, Congo, and Sudan, to roaring applause.
As the lights dimmed, and a speech honouring the power of women echoed through the excited crowd, a massive, stage-wide curtain lifted, exposing a previously unused upstage area, with Kali sitting on a suspended swing and dry ice flowing underneath.
As she confidently walked downstage in a white wedding veil and a bedazzled microphone, her voice was as ethereal as the stage design carved out for her. It was clear that visuals would be a big part of her concert. A large part of this upstage area was obscured by a video screen from my section, and though I didn’t mind, simply knowing my ticket cost $180, I’d feel pretty shafted if I paid full price for a heavily obstructed view. Still though, the screens were showing all that was happening, and Kali made plenty of use of the catwalk.
Around halfway through the set, VHS footage of home movies rolled on screen while a speech praising the Latinos and immigrants that built America was heard overtop. Kali then transitioned to the Spanish portion of her set, where she sang songs in the foreign language, with a surprising amount of fans singing along. Despite the language barrier to some, the energy didn’t die down, and those who didn’t comprehend the lyrics stayed mesmerized by the continuously impressive stage setups, lighting cues, and choreographed movements between Kali and her dancers.
The setlist wasn’t a regular one either. She jumped from song to song very quickly, often only performing a verse and chorus before moving on. I rolled my eyes when she said she’s playing her whole discography, and though I don’t think she touched everything, she came pretty close.
The show ended with her hit “Moonlight.” Then, after the curtain dropped and an end card ushered us goodbye, the crowd prompted a type of encore from the darkness that I haven’t yet witnessed in the hundreds of concerts I’ve seen.
Kali came back out to thank the audience and sing a few requests completely a cappella. It was a sharp contrast from the airtight production of the concert itself. From gorgeous visuals, elaborate set pieces, fantastic backup dancers, to this: no rehearsed songs, no backing tracks, no flashy visuals. Just her, a microphone, and a few happy fans who got some things signed as she took their requests.
It was surprising. It was raw, genuine, a little underwhelming, yet everything an encore should be. A demand from the audience for more when the show comes to its planned, intended end.
Though Kali Uchis might not be a household name like the Gagas and Grandes of the pop world, I’m convinced that her live show goes toe to toe with the best of them.
Review – Mathieu Perrier
Photos – Samantha Vargas
