Sarah McLachlan walked onto the stage at The Colosseum at Caesars Windsor on Saturday night and immediately made 5,000 people feel like they were part of something special. The 57-year-old Canadian icon was there to celebrate the 30th anniversary of Fumbling Towards Ecstasy, the album that turned her into an international star, and from the first notes it was clear this wasn’t going to be just another greatest-hits tour.
The show had been a long time coming. Originally scheduled for 2024, the tour was postponed after McLachlan developed acute laryngitis, leaving fans waiting an extra year for this moment. But if there were any lingering concerns about her voice, they vanished the second she opened her mouth. Her vocals were stunning, rich with the depth and warmth that only time and experience can bring.
She started strong with “Sweet Surrender,” letting the driving rhythm fill the room before sliding into “Building a Mystery.” Then came “I Will Remember You,” performed at the piano, and the crowd was already singing along. These three hits served as proof that McLachlan’s catalog runs deep, and the audience was ready to go wherever she wanted to take them.
The Colosseum proved to be an ideal venue for the evening. Unlike the vast arenas McLachlan typically plays, the theatre’s acoustics gave her voice a gorgeous, intimate quality that made every seat feel close to the stage. The sound was crisp and full, allowing every nuance of her performance to come through with clarity and power.
McLachlan looked radiant in a shimmering gold and silver dress that caught the stage lights beautifully. She was relaxed and chatty between songs, sharing stories and making the large crowd feel like old friends catching up. Whether standing with her guitar or seated at the grand piano, she commanded the stage with an ease that comes from decades of performing.
The first half of the show featured a mix of fan favourites and newer material. “Adia” was delivered with emotional weight, while “World on Fire” reminded everyone of her ability to blend personal storytelling with broader themes. She also performed “One in a Long Line” from her recent album, a song that crackles with anger and features McLachlan dropping a few well-placed expletives as she sings about being a livewire.
After a brief costume change into black leather leggings and a lacy camisole, the main event began. McLachlan had mentioned earlier that her daughter, a devoted Taylor Swift fan, had insisted on the outfit change, joking that she’d been “bullied into it”. The 90-second transformation brought laughs, but it also signaled a shift in the evening.
The lights dimmed and “Possession” began, its haunting melody filling every corner of the theatre. This marked the start of Fumbling Towards Ecstasy performed in full, front to back. The album, released in 1993, remains a landmark in Canadian music, and hearing it live was like stepping into a time capsule.
What’s remarkable about Fumbling Towards Ecstasy is how well it has aged. The songs still feel fresh and relevant, their themes of love, loss and self-discovery resonating across generations. McLachlan’s band, featuring longtime collaborator Vince Jones on keyboards and the husband-and-wife duo of Luke Doucet on guitar and Melissa McClelland on bass and vocals, provided lush and precise backing throughout.
The album sequence delivered highlight after highlight. “Ice Cream” sparked a joyful singalong, while “Mary” showcased McLachlan’s ability to build tension and release it with soaring vocals. “Fear” was particularly stunning, with McLachlan hitting octave-jumping notes that seemed almost impossible. Doucet’s guitar work added sharp edges to songs like “Circle” and “Witness,” preventing them from slipping into soft-rock territory.
For the encore, McLachlan returned alone to the piano for “Gravity,” a new ballad she wrote about healing her relationship with her eldest daughter. She was then joined by the opening act, Boston-based trio Tiny Habits, for a stripped-down version of “Angel” that featured six voices and one piano.
Tiny Habits proved to be an inspired choice as an opening act. The folk-pop trio, formed at Berklee College of Music by Maya Rae, Cinya Khan and Judah Mayowa, has built a devoted following through their signature three-part harmonies and intimate acoustic sound. Their set included compelling originals alongside reverent covers of Heart’s “Alone” and Fleetwood Mac’s “Landslide,” offering both a perfect primer for the headliner and another reminder of McLachlan’s influence on a new generation of artists. While they may not yet be accustomed to playing rooms this size, their talent and stage presence suggest that won’t be an issue for long.
All photos by Dan Savoie
Sarah McLachlan:
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