HERMOSA BEACH, CA—Kiesza’s journey back to the stage has been nothing short of inspiring. Known for her breakout hit “Hideaway” in 2014, which catapulted her into the international spotlight, she faced a life-altering car accident in 2017. The injuries she sustained kept her from the stage for years, but her determination to return to music never wavered.
Earlier this year, she released Dancing and Crying: Volume I, a new EP that serves as a testament to her resilience. Critics have praised the EP as a stunning comeback, noting her ability to blend electronic beats with the emotional depth of her experiences. Dancing and Crying showcases Kiesza’s exploration of the struggles she’s faced, including themes of isolation and recovery, while embracing the dance-floor energy that made her a household name. As Rolling Stone noted, “Kiesza’s return proves that not even life’s hardest hits can keep her from creating music that moves both heart and feet.”
Before Kiesza took the stage at Saint Rocke, the audience was treated to a lively set by Bonnie McKee, an artist whose journey I’ve followed for over seven years. The last time I saw her live, it was in a different era.—one where we could gather without a second thought, pre-Covid. Yet, even during the quieter moments of the pandemic, Bonnie McKee never faded from my mind. Her humorous social media posts and candid reflections on her experiences in the music business became a highlight of my online feed. McKee has a knack for reminding listeners of her impressive songwriting resume, having penned hits for some of pop’s biggest names, including Katy Perry and Britney Spears.
But on this night, it was her own music that took center stage. McKee delivered a set packed with catchy, unapologetically pop anthems, including “Don’t Get Mad,” “Jenny,” and “Forever 21,” each one a glittery reminder of her ability to craft earworms. The audience buzzed as she performed a medley of “Bombastic” and “Sleepwalker,” transitioning seamlessly into tracks like “Easy,” “Slay,” and the ever-energetic “American Girl.” Having spent the better part of the past week finishing up my taxes, her bright, feel-good tunes were the perfect antidote. There’s a certain catharsis in bopping along to pop bangers that revel in their fun without apology, and McKee’s performance was a reminder of just how essential that kind of joy can be. Her stage presence, honed over years of navigating the highs and lows of the industry, felt as vibrant and confident as ever.
As the lights dimmed and the anticipation in the room grew, Kiesza made her entrance. This wasn’t my first time seeing her this year; she performed a short but energetic set at Outloud Festival for WeHo Pride. But at Saint Rocke, she had the time to spread her wings and take us through a full showcase of her talents. Her set was divided into three distinct sections, each highlighting different aspects of her musical repertoire.
The first part of the night was a high-energy affair, reminding the audience why they fell in love with Kiesza in the first place. She opened with tracks like “Dancing and Crying,” “Run Renegade,” and “Passenger,” each song delivered with the same vigor that made her a dance-pop sensation years ago. Her powerful vocals soared through the room during “All of the Feelings” and “Piano,” while the emotional weight of “Sound of a Woman” and “Crave” added depth to the electric atmosphere. It was a masterclass in how to blend infectious beats with heartfelt storytelling.
In the second section, Kiesza swapped the synths for strings, picking up a ukulele and inviting the audience into a more intimate space. This part of the set included a touching rendition of Nirvana’s “Heart-Shaped Box,” a song she has covered in the past with a surprising twist of vulnerability. I recalled seeing a recording of her performing the song for NME magazine in 2014, but witnessing it live added a new layer of poignancy. She also shared a personal story behind the song “Heads Fucked Up,” touching on her experience with a medical condition that made her question her sanity—a moment that underscored her resilience. It was during this portion of the night that Kiesza hinted at her desire to expand her acoustic repertoire, referencing a stripped-back performance she did last year at Hotel Cafe. It’s a direction that promises to reveal even more layers of her artistry.
Kiesza closed out the night with a final act that fused her theatrical side and the anthems that first drew attention to her name. Her performance of “The Mysterious Disappearance of Etta Place” was fun and theatrically excurious, as she brought the story to life with the help of her guitarist (Matt Pynn) and dancer (Jaylen Brown), crafting a narrative that felt part stage play and part concert. This theatricality seamlessly transitioned into the driving beats of “Phantom of the Dance Floor” (which featured Matt’s impressive baritone vocals), “Go Back,” and “Strangers,” tracks that filled the room with a kinetic energy that had the crowd moving in sync. As the night drew to a close, she delivered her iconic hit “Hideaway,” along with newer tracks like “I Go Dance” leaving the audience wanting more.
Reflecting on this performance, it’s clear that Kiesza has reclaimed her place in the music world. While her set at Outloud Festival earlier this year was a captivating teaser, her Saint Rocke performance painted a fuller picture of her growth as an artist. She has an impressive ability to weave between different styles and moods, showcasing both vulnerability and unbridled joy. Kiesza’s journey back to the stage may have been marked by setbacks, but she’s emerged with a broader artistic palette and a story that is far from over. I, for one, am excited to see what new colors she adds to her ever-evolving tapestry.
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