It was a cold night in the first week of February, but Philadelphia’s Union Transfer was bustling as the room filled up ahead of Joy Oladokun’s appearance. Oladokun, opening for themself, first played a solo acoustic set with no shortage of fan favorites. Highlights of the opening set included a mashup of “STRONG ONES” and “QUESTIONS, CHAOS AND FAITH,” and a cover of Elton John’s “Rocketman” that has become a staple of Oladokun’s shows.
Oladokun incorporates covers tastefully into her own set, often folding them into her songs – combining “black car” with the Beatles’ “Blackbird,” for example. It feels like a nod to musical inspiration, a true act of appreciation, and Oladokun’s voice brings something entirely new to each song.
Oladokun’s original music is largely characterized by meaningful lyrics. She has been open about “LETTER FROM A BLACKBIRD” being about her struggles in Nashville as a Black, queer artist, singing “Sometimes I think that if I got lost / And drowned out in the river / No one in this town would cry / They’d just breathe sighs of relief.” Other songs explore family, love, and mental health. The vulnerability of Oladokun’s words translates into an intimacy between performer and crowd; it’s clear from the reactions of the audience that these songs mean something to so many.
At Union Transfer, Oladokun’s set struck a balance between older songs like “smoke” and “Sweet Symphony” and tunes from her most recent album, OBSERVATIONS FROM A CROWDED ROOM, including “AM I?” and “I’D MISS THE BIRDS”.
Her voice, in turn light and grounded, is even more powerful live than recorded, every note placed just right. Her stage presence is fun and honest – at one point, they described themself as “like if a care bear did acid once” – but above all, what comes across is their skill. Oladokun is a technically astonishing artist to watch, their command over their guitar unparalleled. At one point in the set, Oladokun set a loop with their acoustic guitar, put that instrument away, pulled out an electric guitar and riffed over their own playing – extraordinary.
Oladokun’s touring band was a remarkably cohesive unit, pulling off a polished and extremely well executed set. Oladokun remarked that she hopes “the shows get better and better,” and as a repeat viewer, I can confirm that they do. Back in 2023, the last time I saw Oladokun, the set was impressive. But over the past two years, it’s clear that Oladokun and her team have put in the work to take themselves to the next level.
The encore was the highlight of the night. Along with her band, Oladokun played rousing renditions of “DRUGS” and “We’re All Gonna Die,” leaving the crowd dancing and singing along. To close the show, Oladokun performed a moving solo mashup of “flowers” and Bruce Springsteen’s “Dancing in the Dark.” I was left awed by the show Oladokun and their band put on, and looking forward to my next chance to see them.
