The OLG Stage at Fallsview Casino was transformed into a celebration of soul, rock and community on April 21 as Joss Stone and Melissa Etheridge delivered a double bill that exceeded expectations. Both artists, each a powerhouse in her own right, offered performances that were as distinct as they were complementary, with Etheridge’s set elevated by a stirring collaboration with the Guelph Collegiate Vocational Institute Chamber Choir. Here’s an exclusive, balanced review-ten paragraphs for each artist, in the order they performed, weaving in setlists and the candid stage banter that made this night unforgettable.
Etheridge took the stage to a hero’s welcome, launching into “Ain’t It Heavy” with the kind of raw, unfiltered energy that has made her a legend. Her voice, already celebrated for its smoky power, seemed even more robust and expressive than at her previous Canadian stops. Her stories about the wildness of the ‘80s and her children’s curiosity about that era added a relatable, human touch.
The setlist was a journey through Etheridge’s storied catalogue. “Similar Features” and “No Souvenirs” were delivered with emotional weight, her confessional lyrics resonating with longtime fans. The crowd sang along, turning the theatre into a chorus of shared memories.
“Don’t You Need” and “I Want to Come Over” were performed with urgency and intimacy, Etheridge’s guitar work sharp and her vocals unwavering. She invited the audience into the performance, making the vast venue feel like a communal living room.
A deeply personal moment arrived with “The Letting Go,” performed solo at the piano. Etheridge recounted the story of finally acquiring her own baby grand piano, and how it became a wellspring for her creativity. The vulnerability in her voice was unmistakable, adding gravity to the performance.
The highlight of Etheridge’s set-and arguably the entire night-came when the Guelph Collegiate Vocational Institute Chamber Choir joined her for “You Can Sleep While I Drive” and “Chrome Plated Heart.” Etheridge welcomed the students warmly, encouraging them to “take a big deep breath” before launching into the songs.
The choir’s harmonies elevated both numbers, adding depth and a sense of community. On “You Can Sleep While I Drive,” their voices blended seamlessly with Etheridge’s, transforming the ballad into a communal experience. “Chrome Plated Heart” followed, the choir’s energy infusing the song with fresh vitality.
The audience responded with thunderous applause, recognizing the significance of the collaboration. Etheridge’s willingness to share her stage with young local talent underscored her generosity as a performer and her belief in music’s power to unite.
The energy built steadily as Etheridge powered through “Come to My Window,” “Bring Me Some Water,” and “I’m the Only One.” Her harmonica solos and extended jams showcased her musicianship, while her rapport with the crowd kept the atmosphere electric.
Etheridge’s encore, “Like the Way I Do,” was a tour de force. She delivered an extended guitar solo and a playful drum duet, tossing drumsticks into the audience and ensuring the night ended on a high note. Her gratitude for her Canadian fans was evident, and the inclusion of the GCVI choir was a testament to her commitment to community and mentorship.
Joss Stone began the evening, immediately establishing that she is far more than an opening act. Seven months pregnant, Stone entered with radiant confidence, her presence undiminished by the physical demands of pregnancy. The set began with “Pillow Talk,” her voice wrapping the audience in warmth and vulnerability, setting a tone of intimacy that would define her performance.
The first half of Stone’s set was stripped back, with just guitar, cello, and two backing vocalists, creating a chamber-like atmosphere that let her vocals shine. She joked about her nomadic life and her move to Tennessee, sharing stories about motherhood and her musical mentors, including the legendary Betty Wright. Her British humour and candidness made the crowd feel like confidantes.
“Understand / Less is More… Down to the River to Pray / Wildflowers” showcased Stone’s interpretive prowess, blending genres and moods. She moved fluidly from soulful originals to rootsy covers, her voice effortlessly shifting from a gentle caress to a full-throated wail.
The intimacy of the seated numbers was a necessity, but it never felt like a compromise. Stone’s banter about being “really pregnant now” and the comfort of sitting down drew laughs and empathy, while her storytelling deepened the connection with the crowd.
The set’s energy shifted as Stone rose for “Let It Go,” a James Bay cover, and “Walk With Me.” Drums and keyboards joined in, expanding the sound and raising the energy in the room. Stone’s vocals adapted seamlessly, commanding the stage with ease.
The medley of “Midnight Train to Georgia,” “I Say a Little Prayer,” and “It’s a Man’s Man’s Man’s World” was a highlight, her band providing a lush, dynamic backdrop. Stone’s delivery was both reverent and inventive, honouring the originals while imprinting her own style.
“Super Duper Love (Are You Diggin’ on Me?), Part 1” and “I Put a Spell on You” saw Stone at her most playful and dynamic. Her vocal agility was on full display, and she danced across the stage with infectious joy, the crowd rising to their feet.
The closing medley “Tell Me ‘Bout It,” “Young Hearts Run Free,” “Get Down Tonight,” and “We Are Family”-was a jubilant finale. Stone led a collective celebration, her magnetic presence undiminished even as she alternated between sitting and standing.
Stone’s set was a testament to authenticity and resilience. Her willingness to share her journey-musical, personal, and maternal-created an atmosphere of genuine connection.
The OLG Stage at Fallsview Casino Resort was the scene of two singular performances: Joss Stone’s soulful, intimate set-equal parts vulnerability and power – and Melissa Etheridge’s cathartic, communal rock show, elevated by an unforgettable collaboration with a local choir. Together, they delivered a night that was as much about connection as it was about music, leaving the audience with memories that will linger long after the final note.
All photos by Dan Savoie
Melisssa Etheridge:
Joss Stone:
