Jessie Ware et Tsatsamis

After charming the hell out of Osheaga-goers back in August, Jessie Ware made a welcome return to Montreal on Tuesday at the Théâtre Corona Virgin Mobile for a notably more intimate set. Coming on stage wearing her huge trademark gold hoops and signature slicked back hair, the UK chanteuse wasted no time getting into the thick of things with the smooth jazz-infused number No To Love, and then immediately chatting up the crowd and grabbing some lucky fans’ hands.
The interaction with her fans cannot be overstated because it actually comes off as genuine. She was as personable in front of thousands of rained out concertgoers at Osheaga as she was in front of a few hundred at the Théâtre Corona, and actually brought up her rainy set multiple times throughout the night (not to mention the already famous Osheaga catering). There were clearly many repeat fans in attendance, this reviewer included, and their love for Ms. Ware seems to have increased tenfold in the few months since her last appearance.
The night was peppered with funny tour anecdotes, fist pumping and crowd teasing. She pointed out a dancing couple during Sweet Talk while proclaiming that this was the 1 year anniversary of the first time she noticed a couple dancing at a Dublin show. She took a moment to thank opening band The Invisible, and particularly singer and guitarist Dave Okumu who produced and wrote many of the tracks off her debut album Devotion, including the title track. She orchestrated a little dancing interlude on her beat machine before launching into a cover of collaborator Julio Bashmore’s Battle for Middle You and then declaring Montreal to be “such a fun audience, I love you!” She took a bit of time to introduce her very well groomed band before closing the night with her two biggest hits Wildest Moments and Running.
While Jessie declared she “never does encores,” she did come out to perform a brand new track she wrote for her sophomore album about “someone back home” (we’re guessing her new fiance). I’m usually skeptical about artists who proclaim to never do encores, but I am actually inclined to believe Ware this time as half the band’s equipment was in fact unplugged and the lights had been already been turned up. But the crowd was adamant about wanting just a little bit more Ware before the end of the night and she gratefully obliged. And while the sound suffered a bit from some of the missing instruments, a “proper scrappy” version of the as yet untitled track as she put it, I nevertheless had chills from what is sure to be a standout song. I can’t wait to hear the recorded version and feel privileged to have heard its demo version.