The R&B singer-songwriter finally performs in Toronto after years of unexpected cancellations

By Tristan Grajales

Two years after dropping out of Kultureland Festival and five months after postponing The Magic Hour Tour for a second time in Toronto, Jhené Aiko breathed new meaning into her lyrics as she sang the very words, “I’ve been missing you for ten thousand hours,” to a devoted audience on her Nov. 29 rescheduled show at Scotiabank Arena. Throughout her 90-minute set, the Grammy-nominated artist stood before a screen of ocean sunsets, outer space and other scenery, transforming the venue into an immersive experience that rivaled the projections inside of Disney World’s Spaceship Earth attraction. 

In the spirit of “the most magical place on earth,” Aiko screened a short cartoon that offered the crowd a unique glimpse into her mind. It brought to life a psychedelic hallucination referenced in the opening track of her 2017 album, Trip. Even when Aiko instructed the crowd to close their eyes and meditate with her, these captivating visuals were impossible to ignore. For her first headlining arena tour, Aiko successfully blended the high-budget experience expected of a large venue with the raw, intimate connection she’s more accustomed to offering. She reached new levels of grandeur with her choreography, joined by a group of female dancers in tracksuits — perhaps a nod to her association with the early 2000s R&B group, B2K.

Before Aiko arrived on stage in a mechanical lotus flower, the arena hosted a series of openers — Kiana Ledé, UMI, Shenseea and Tink. Their performances were strong and upheld the overall themes of nature and empowerment with individual set pieces like flower-covered mic stands and acclamations to all the independent women in the audience. However, the crowd ultimately grew restless through the elongated performances, many eventually heading for concessions. 

The extended lineup seemed to be a precautionary measure to ensure the concert met the demands of a large-scale venue. However, it resulted in the audience’s energy being noticeably drained before the main act took the stage, exacerbating the already slow start to her set. While Aiko did an admirable job incorporating a wide array of songs from her catalogue, it came at the cost of uneven pacing. Verses were cut for time and choruses were no longer repeated. These tonal shifts disrupted the emotional momentum that her original songwriting so expertly built.

Regardless of these challenges, Aiko’s gift of enchanting an audience with her vulnerability is undeniable. While the concert engaged in the spectacle of a stadium show, Aiko’s music transcends factory-produced and chart-driven formulas. Her music is unmistakably personal, deeply spiritual, and specifically designed to heal. From sound bowls to crystals, Aiko introduces a series of mystical elements on stage to align chakras in the audience.

When the stripped-down JC Brown’s Jazz Lounge takes over the arena, Aiko flutters her fingers through intricate vocal runs alongside a solo pianist. Fans are brought to tears by emotional renditions of songs such as “Lotus – intro” and “Pray For You,” where she addresses themes of toxic relationships and the tragic loss of her brother. In the sea of waving phone lights, the collective grief in the arena is palpable. “If any of these stories sound familiar, it’s not by chance,” Aiko declares. “You are right where you’re supposed to be — here with me in Toronto.”