Leith Ross performs at majestic theatre
Graphic by Rosi Martens
Photos by Eva McNally
Canadian singer-songwriter and internet phenomenon Leith Ross brought their I Can See the Future Tour to Madison, Wisconsin, on a clear, crisp October evening in support of their recent album of the same title. I Can See The Future, Ross’s sophomore project, although distinctly Leith Ross flavored, builds upon their earlier, folk-driven and more acoustic-focused work, including more sonic elements akin to jazz, alternative rock and even pop.
For this record, Ross collaborated with American musician, record producer and songwriter Rostam Batmanglij, who Stereogum has hailed as one of the greatest pop and indie-rock producers of his generation. Batmanglij, a founding member of Vampire Weekend, has also worked with big-name artists such as Charli XCX, Clairo, Maggie Rogers, Carly Rae Jepsen and HAIM. His catalog is as diverse as it is deep; this partnership between Ross and Batmanglij represents a new and exciting development in Ross’ musical career.
A Leith Ross concert will simultaneously destroy you and then build you right back up, tenderly, piece by piece. Known for their soul-bearing lyricism, gentle yet mesmerising voice, borderline painful self-awareness, and their unmatched ability to articulate complex, often impossible to name, emotions, I Can See The Future is a testament to Ross's sensitivity to the world around them and acute attunement to others that can only truly be brought to life in a live setting.
A room full of people sharing just shy of three hours together was something quietly monumental, larger than just one person. It was impossible not to tear up during their set, almost overwhelmingly so. And yet, there was a subtle, palpable feeling in the room. Amidst the debilitating melancholy was an undercurrent of hope and joy. Ross has an incredibly special gift for transforming the mundane into something profound. It was amazing to see strangers, lovers, friends, and even the venue staff giving Ross their undivided attention, watching on in awe, swaying to the music, struck by Ross’ gentle, yet powerfully poignant lyrics.
Emma Harner, supporting Ross for part of the tour, delivered a captivating opening set. The Boston-based self-proclaimed “guitar girl” and “math folk enthusiast” performed a handful of songs from her latest EP, Taking My Side. Her set included the title track of the EP, “Do It,” and “Yes Man.” She also played “Gale,” an unreleased tribute to her beloved pet chicken that met her demise at the hands (or paws) of a fox. Her technical prowess on the guitar was immediately apparent, and only further fortified when she introduced one of her songs with a very unconventional tuning and time signature. There is no doubt that Harner is just getting started.
After Harner, Ross’s five-piece band took to the stage, opening up the set with “Point of View.” The band consists of bassist Zoe Sparks, percussionist Vania Lee, keyboardist Keiran Placatka and guitarist Soona Lee-Tolley. Paired with the brilliant instrumentation and background vocals of the four other musicians, Ross' voice soared, liquid smooth and crystal clear. The track set the scene for the set ahead, during which they would play all thirteen songs from the album, plus a few fan favorites, of course.
After the third song of the set, Ross grabbed their mic stand and stepped out to the front and center of the stage. “I’ve never done this before,” they said, “but this next song is about doing things that scare you.” The audience encouraged Ross with their cheering, earning a nervous, yet genuine smile from the musician before they played “Terrified.”
“What if it hurts me? / What if I die? Well, what if it feels good? / If I feel alive?” Ross sang. At the conclusion of the song, they were met with applause and thanked the audience. It was a beautiful moment of vulnerability, understanding, support and trust on the part of both Ross and the crowd.
Halfway through the fifteen-song set, the band vacated the stage, leaving Ross and their acoustic guitar alone in the spotlight. (More on being alone later.) Ross announced they would play a song requested by the audience. After a slight hesitation from the crowd, the room erupted into a cacophony of voices as people shouted the songs they hoped to hear. For the sake of simplicity (and everyone's ears), Ross decided to pick three from the crowdsourced responses. Audience members raised their hands as if in class. — it was endearing. The three selected songs, “Guts,” “Monogamy” and “Everyone I've Never Met,” were put to a vote, the winner decided by the crowd's volume. “Guts” received some commotion, but “Monogamy” was almost unanimous, so much so that Ross deemed “Everyone I’ve Never Met” didn’t even need to be voted on. I can confirm: the cheering was deafening.
Between songs, Ross’ chatty demeanor and playful banter were refreshing and incredibly humanizing, adding an unmistakable sense of intimacy to an already intimate performance at the cozy 600-person capacity venue. They talked about their day in Madison, their lovely breakfast at Marigold just down the road, and enjoying the beautiful day. They laughed at someone whistling in the audience, only to cause more whistling and more laughter. Ross’s authenticity, both as a person and musician, is incredibly admirable.
Ross wasn’t the one doing all the talking. As they tuned their guitar, during several instances of a comfortable lull in the performance, the audience took the liberty to converse with those around them. Ross commented on how good it was to hear people talking to one another, only further reinforcing the importance of togetherness in this space, albeit even if only for a short time.
The track “Alone” was a standout. Before launching into the song, Ross told a brief anecdote about how the people in their past don’t know who they are now, and the people in their present don’t know who they were then. They explained how you’re the only one who knows every version of yourself, and how terrifyingly beautiful that is. As Ross repeated “I am alone, I am alone, I am alone,” over and over again, like an incantation, the song swelled to create an intense and cathartic crescendo. This song ponders the realization that you are your only eternal companion in life; it is an incredibly raw, honest, and introspective take on the dichotomy between loneliness and being alone.
Towards the end of the set, before performing the album's titular track, the band played a beautiful rendition of the slowed-down and stripped-back “Grieving - Reprise” then seamlessly transitioned into the more upbeat but equally devastating “Grieving.” Ross disclosed that it was the first song written for the album, following the loss of their grandfather. I Can See The Future is an album that is overflowing with love and grief. “Grieving,” the album’s opening track, is a reminder that grief and love are intimately intertwined and more alike than we may tend to think. After all, grief is proof that love ever existed. Ross expressed their gratitude for having the experiences to write these deeply personal songs, despite the pain. They rounded out the main set with “You On My Arm,” during which the audience danced and sang in tune. Ross and the band filed off the stage, bidding their farewells as the audience cheered.
Ross quickly returned to the stage and cracked a joke about what the final song of the show would be. It was only appropriate to conclude the evening with “We’ll Never Have Sex.” The song has garnered over 177 million streams on Spotify after going viral on TikTok in the summer of 2021. Ross was barely audible over the crowd; every single person in the room seemed to sing along. It was a beautiful moment and a reminder that music has the power to bring people together, no matter where they come from or where they are going.
The North American leg of the I Can See The Future Tour concludes on November 23 in Seattle. Then, in the new year, towards the end of February, the band will travel across the pond and play over a dozen shows throughout Europe. Ross is also playing across Canada from mid-April to early May.
Though I admittedly cannot see the future, I can only hope that yours includes seeing Leith Ross.
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