There’s something about hearing a voice that shaped a generation echoing through an arena that makes the years fall away. Sarah McLachlan proved that on Sunday night at Canada Life Place in London, where she brought her Fumbling Towards Ecstasy 30th anniversary tour to an enthusiastic crowd. The show was a celebration not just of an album, but of the enduring power of songs that have managed to remain relevant through changing musical landscapes.
McLachlan has been crisscrossing the country on this tour after postponing the original 2024 dates due to acute laryngitis. If anyone in London harboured concerns about her recovery, those worries evaporated within the first few minutes. Her voice was in remarkable form, displaying the kind of control and depth that comes from years of experience and careful vocal stewardship.
The set opened with a trio of career-defining hits that got the arena on its feet immediately. “Sweet Surrender” kicked things off with energy and confidence, followed by the instantly recognizable guitar riff of “Building a Mystery”. McLachlan then settled at her piano for “I Will Remember You,” and the crowd’s collective voice rose to meet hers in a moment that demonstrated just how deeply her music has embedded itself in Canadian culture.
Canada Life Place provided a different atmosphere than the more intimate theatre settings McLachlan has been playing. But rather than being swallowed by the larger space, her performance filled it completely. The arena’s sound system delivered her vocals and her band’s instrumentation with impressive clarity, ensuring even those in the upper sections felt connected to what was happening on stage.
McLachlan wore a stunning gold and silver metallic dress that shimmered under the arena lights, her blonde hair cascading over her shoulders as she moved between her guitar and piano. She was in an animated mood, frequently engaging the audience with stories and jokes that made the large venue feel smaller and more personal. At 57, she looked and sounded like an artist completely comfortable in her own skin.
The first portion of the evening featured a selection of fan favourites mixed with newer material. “Adia” drew huge applause, while “World on Fire” showcased her ability to balance introspection with bigger thematic concerns. She also delivered “One in a Long Line” from her recent work, and the song’s raw anger and occasional profanity added an unexpected edge to the evening. It was a reminder that McLachlan has never been content to simply repeat herself.
McLachlan returned in a costume change that she jokingly attributed to her Taylor Swift-obsessed daughter’s insistence. Dressed now in black leather leggings and a lacy camisole, she looked ready for the main event: a complete performance of Fumbling Towards Ecstasy. The album, which turns 30 this year, transformed her from a respected Canadian artist into an international phenomenon.
The familiar opening notes of “Possession” signaled the beginning of the album sequence, and the arena went quiet. The song’s dark exploration of obsession and desire remains as powerful today as it was in 1993, and McLachlan’s vocal performance was nothing short of spectacular. It set the tone for what would be a deeply emotional journey through one of the defining albums of the 1990s.
McLachlan’s band, anchored by longtime collaborator Vince Jones on keyboards and featuring the married duo of Luke Doucet on guitar and Melissa McClelland on bass and vocals, provided exceptional support throughout. Their arrangements gave the songs breathing room while maintaining the intimacy that made them special in the first place. Doucet’s guitar work, in particular, added texture and bite to tracks that could easily slide into overly polished territory.
The album performance delivered moments of pure joy and deep reflection. “Ice Cream” turned into a full-throated arena singalong that had McLachlan beaming from ear to ear. “Mary” showcased her remarkable ability to build a song from whisper-quiet beginnings to soaring, powerful conclusions. And “Fear” featured some of her most impressive vocal gymnastics, hitting notes that seemed to defy both gravity and age.
For the encore, McLachlan returned to the piano alone for “Gravity,” a newer ballad she’s described as being about mending her relationship with her eldest daughter. The song was a tender and vulnerable moment that showed her songwriting hasn’t lost any of its emotional punch. She then welcomed opening act Tiny Habits to the stage for a stunning version of “Angel” that featured six voices blending around a single piano. The arrangement was simple and devastating, providing a perfect end to the evening.
The Boston-based folk-pop trio Tiny Habits, comprised of Berklee College of Music graduates Maya Rae, Cinya Khan and Judah Mayowa, opened the show with a set that demonstrated why McLachlan chose them for this tour. Their three-part harmonies were exquisite, and their originals showed sophisticated songwriting beyond their years. They also delivered heartfelt covers of Heart’s “Alone” and Fleetwood Mac’s “Landslide” that paid tribute to the artists who clearly influenced McLachlan herself. While the arena setting might be new territory for them, their talent suggests they’ll be headlining these rooms themselves before long.
All photos by Dan Savoie
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