Sarah McLachlan w/ Allison Russell at Starlight Theatre, Kansas City MO (24 July 2026)

Still building a mystery, even if it’s better broken—

After being warm and rainy most of the day, it was as if Mother Nature knew that Canadian singer-songwriter Sarah McLachlan had a concert to play that night, outdoors at Kansas City’s Starlight Theatre, and moved any storms further east so the show could go on (though the dense humidity would linger- “I’m sticking to everything”, McLachlan remarked after several songs in).

We had caught her live at this same venue, two summers ago, where the occasion was both her return to live touring, and the 30^th anniversary of her heralded album, Fumbling Towards Ecstasy.

Then, we were treated to a single new song from an upcoming full-length in progress, and now, this tour celebrates its release- Better Broken is McLachlan’s tenth studio album, released last September, via Concord Records. And, with three Grammy Awards, 12 Junos, and both Canadian Music Hall of Fame and Songwriters Hall of Fame inductions already under her belt, the new album can only add to her many accolades.

The 105-minute set began with McLachlan behind her piano, playing the title track from the new record, and those self-confessing lyrics coupled with her enduring voice and unmistakable angelic lilt and range that she’s been known for since 1988’s Touch, when we first were made aware of her. “Hold On” and “Possession” followed, both more familiar to the audience and found them singing along and swaying in their seats to those late ‘90s radio hits.

McLachlan has not only managed to persevere and thrive through the decades as musical tastes changed, but she and her songs have elegantly aged with grace and gone on to inspire new generations (case in point- Olivia Rodrigo, and specifically with her Lilith Fair-like Daisy Chain Fields Festival [with McLachlan appearing] happening in late August in Irvine, CA), further solidifying Malachlan’s influence and legacy.

Not relying on effects or stage spectacle, McLachlan and her crack band (featuring guitarist Luke Boucet, who first joined her in 1991, at the age of 19!) was the main attraction; but dramatic lightning, lushly projected patterns (some of which cleverly merged on-screen with the playing band members, making it look like they were playing amongst fireflies, stars, or sparkled patterns) and a clear, crisp sound mix, only further enhanced the songs.

The new, Country-leaning “Reminds Me” she mentioned as being one of her happiest songs, written for her partner as an anniversary gift; and she thanked everyone for buying a ticket, a portion of which will be donated to help support her School of Music, perhaps the proudest of all her charitable endeavors.

The song selections and arrangements seemed to bloom forth naturally, with the quieter moments evoking as much importance as the loud climatic parts, and McLachlan’s comments between songs, felt as comfortable as an easy chair or a conversation with a close one at a neighborhood cafe.

She openly spoke of her shortcomings as a friend (dated her best friend’s ex) and as a mother (struggles in raising oldest daughter India, only healed by therapy, time, and more understanding), which re-affirmed the new album’s title and the fact that we’re all flawed in our own ways.

“One in a Long Line” is McLachlan’s angriest song in years- discontent but resilient, and which paid tribute to the females that came before her, both personally and in history, made more effective by an additional edge to her vocals. 90’s hits “Sweet Surrender” and “Ice Cream” reminded the crowd that good songs don’t fade way, but evolve like a fine wine, and the main set ended with the spanning title track from her third album, 1993’s “Fumbling Towards Ecstasy”, repeatedly singing “I won’t fear love” with a renewed passion.

The three-song encore began with the new “Gravity,” an aforementioned song we heard in 2024 and inspired by the emotional weight of raising her daughters, then moved to the classic, “Angel” (a song inspired by the death of her musician friend Jonathan Melvoin and whose sister, Wendy [of Prince, and Wendy & Lisa fame] played on the new album, making it a sort of full circle).

The evening ended with “Fear”, a deeper 1993 cut that balances vulnerability with protectiveness, a theme that could be applied both personally and in wider world events as McLachlan sang, “We have so much to lose, I have nothing to give, I have so much to lose” signaling some resignation, but also a glimmer of hope of what’s to come.

With music (both new and old) that continues to offer comfort, strength, and hope, Sarah McLachlan continues to rise beyond nostalgia with songs that grow more meaningful with time and remind us that it’s ok to be better broken in an imperfect world.​

Before the headliner, Grammy-winning Montreal-born and Nashville-based musician, poet and actor Allison Russell and the three additional musicians that formed the Rainbow Coalition set the tone with an uplifting performance that blended folk, Americana, gospel, and roots music. She opened with spoken verse and her stage presence and authenticity immediately won over the audience.

Her debut solo album Outside Child was released in 2021, followed by The Returner in 2023, and the latest is the just-released In The Hour of Chaos, via Concord/Fantasy Records. Russell and band’s performance was rooted in a joyous optimism (which counters the current dour times) and the songs both honored her heritage, with 2026’s “Cold April” even lyrically leaning into a Prince reference, and was open with her vulnerabilities, such as on the closing “Really Real”, an in-studio collaboration with Norah Jones. ​​

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National / International act coming through the Midwest / Kansas City area? Please email details to johnc@weheartmusic.com with a good lead time to be considered for Show Preview and Show Coverage consideration.