The Corona Theatre was a super groovy love fest on Saturday, May 13th, with two phenomenal soul singers who brought it and brought it good.
Montreal’s very own Hanorah, fresh off her UK tour, opened the show with “Good Love,” setting the tone for an incredible evening. With her backup vocalist Christan and keyboardist Annabelle, Hanorah delivered a short but very sweet set, gaining new fans who were clearly captivated by her smooth and sultry voice.
Her energy was super high as she humbly admitted that if you had told her a few years ago that one day she would be opening up for Lee Fields, she would not have believed it.
Before singing “Afterlife,” Hanorah looked up towards the balcony and called out to her mom. It was a touching moment as the song is about losing loved ones. As she hit her high notes in the chorus (“I still believe in love”), I looked into the crowd and not a single soul blinked or even moved. The spell was cast.
I really enjoyed “Solution,” where Annabelle did a very cool keyboard solo while Hanorah strummed her acoustic guitar.
Saving the best for last, she ended with “Slingshot,” leaving us wanting more. She announced that she will be performing at the Montreal Jazz Fest on July 8 at Esplanade PDA Club Montreal TD. If you haven’t seen her perform before, don’t miss it, and it’s free!
Setlist:
- Good Love
- If Life Were a Movie
- Coffee
- Saturn Return
- Afterlife
- Skeletons
- Solution
- Candle Wax
- Slingshot
A little after 9, The Expressions appeared on stage, looking sharp as hell in their stylish suits, ready for anything. They took their time with their funky intro, slowly easing us into a steady groove, building excitement for what was about to happen. Exchanging mischievous grins while waiting for the man to appear, they knew exactly what was up. When the guitarist hollered out, “Get ready for Mr. Lee Fields,” he wasn’t simply introducing Mr. Fields; he was telling us to buckle up.
Mr. Fields didn’t even have to say a word because his presence did it all. From his megawatt smile down to his golden boots, everything about him radiated love, and every single person in that room felt it. When he sang “You can count on me,” we believed him because there he was, at 73 years old, doing exactly what he has been doing for longer than most of us have been alive. And he is still killing it. His latest album, “Sentimental Fool,” is supremely deep, passionate, and full of that raw vocal energy that cannot be compared to any other living artist. (I purchased a vinyl copy after the show.)
“I’m not trying to outdo any singer, but I can interpret the feeling. I can make someone cry if I want to. It’s always the challenge of trying to make something deeper. On this record, I go deeper than I’ve ever gone.” – Lee Fields
I started dancing from the moment the band came on, and I did not stop until the very end, which is why my reels were all shaky. I honestly lost count of how many times Mr. Fields called out to the audience, asking, “Are you happy?” to which we all deliriously replied, “Yes!” When was the last time somebody repeatedly asked you if you were happy, and you immediately responded by yelling out “Yes!” at the top of your lungs?
He did switch it up a bit with a few bluesy tracks, “Sentimental Fool” and “What Did I Do” from the new album. His voice, full of angst and emotion, is still as powerful as ever. The way he captures that ’60s Motown sound (Percy Sledge, Otis Redding, and of course, James Brown) and a ’70s funk sound while still sounding so current is one of those rare gifts that make Mr. Fields such a unique artist. His longevity is a testament to his talent, and his talent flows from his heart.
His joy was infectious as he danced along with the fairly young crowd with supernatural energy, ordering us to jump up and down, wave our hands up, and clap.
He offered some great relationship advice before singing “Two Jobs,” which is one of my favourites from the new album with its marvellous keyboard arrangement. And he really let loose on “Money is King,” spinning around and screaming, with sweat pouring from his temples. He did not remove his jacket until the encore. And why would he want to? That suit was something to behold—a rich brocade with golden threads, covered in green, blue, and turquoise flowers, with a wide white satin lapel.
He closed the show with “Honey Dove” as his encore, pouring every last ounce of emotion into each lyric. We all sang along in unison, wishing the night would never end, but we were spent. Mr. Fields no longer needed to ask us if we were happy.
I’m no doctor, but I firmly believe that attending a Lee Fields concert can release enough endorphins to extend your life by at least 10 years.
Review – Annette Aghazarian
Photos – Kieron Yates
