{"id":46,"date":"2026-05-16T23:05:20","date_gmt":"2026-05-16T23:05:20","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=46"},"modified":"2026-05-16T23:05:20","modified_gmt":"2026-05-16T23:05:20","slug":"has-raye-already-busted-into-the-pantheon-of-great-21st-century-entertainers-this-years-smashing-tour-has-told-the-tale","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=46","title":{"rendered":"Has Raye Already Busted Into the Pantheon of Great 21st Century Entertainers? This Year\u2019s Smashing Tour Has Told the Tale"},"content":{"rendered":"
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\n\tAdele was in the audience for the closing night of Raye\u2018s U.S. tour this week at the Greek Theatre, which naturally led to all kinds of murmurings about torches being passed. One imagines Adele being the type to give up a torch only when it\u2019s pried out of her cold, dead hands, but it\u2019s safe to say that a certain flame is now at least being shared<\/em>. It\u2019s not casual hyperbole to say that with this tour, the 28-year-old British singer has crossed some kind of threshold to earn a place in the pantheon of great 21st century entertainers. The barrier to entry may seem like it\u2019s lower than it used to be, for what constitutes a first-rank diva, but in her current prime Raye meets all the bars, past and present.<\/p>\n

Read more Harry Styles Electrifies Amsterdam on Opening Night of \u2018Together Together\u2019 Tour: Concert Review<\/a><\/p>\n

\n\tThere is a lot more to being a great diva than just having a great voice, of course. Where Raye really shows she is up to Adele\u2019s standard is in being a great talker. There\u2019s a great tradition among female belters of being masters of repartee and prolific oversharing, but it was more the province of Vegas entertainers than arena-level pop acts until Adele more or less made it into its own artform, particularly on her \u201c25\u201d tour a decade ago. You could say that Adele walked so that Raye could run in that regard, but the more truthful way of putting it might be that Adele ran her mouth so that Raye could also run hers, with endlessly charming results in both cases. The gift of gab might be only fifth or sixth on either woman\u2019s list of talents, but it\u2019s one of the most essential parts of why they\u2019ll both be selling out shows for the rest of their lives.<\/p>\n

\n\t\u201cI saw a TikTok the other day that said, \u2018Rae talks too much during her shows,’\u201d the singer shared during Wednesday\u2019s show\u2026 in the middle of a six-minute monologue. \u201cAnd you know when you start spiraling, when you\u2019re like, \u2018Oh, oh, no, oh, no. Rein it in. Rein it in<\/em>. Get to the point!\u2019 Not that that would destroy me. I\u2019m still gonna be me. But for those of you who do think I talk too much, I am<\/em> sorry, all right? But this is just me.\u201d Perhaps the woman doth protest too much about protesting too much; the audience\u2019s whoops and hollers made it clear that, for them, the more mouthing off, the merrier.<\/p>\n

\n\tOf course, diversions work best on their way to a destination, and as the rhythm-guitar noodling under her soliloquy promised, Raye had a hell of a landing point in mind with \u201cNightingale Lane,\u201d the big centerpiece ballad off her recent \u201cThis Music May Contain Hope\u201d album. Before she got there, the singer urged the crowd to take a load off: \u201cFeel free to take a seat, ladies and gentlemen. I mean, this is a seated venue. I love sitting down so much. I think it\u2019s one of life\u2019s greatest pleasures.\u201d (Preach, sister.) Then came an explanation of how, in life, most people have a \u201cmain ex,\u201d not to be confused with \u201ca couple of side exes\u201d whose memories don\u2019t evoke so much trauma, and this one is about hers, and about how even a fragrance in the air while \u201cyou\u2019re on your way to get some eggs\u201d can heighten the anxiety that a chance encounter might be about to occur. Then, through a show of hands, she surveyed the audience for how many people were single, made an estimate of that, carved out her own exclusions for how many in that portion she figured might be happily<\/em> single, and then finally introduced \u201cNightingale Lane\u201d as being \u201cfor the 17% of us that\u2019s left.\u201d<\/p>\n

\n\tShe may or may not have a career as a statistician if a backup plan were required, but it seems pretty clear the storytelling thing is just always going to work out.<\/p>\n

\n\tIn case any of the above makes Raye\u2019s show sound like an exercise in pure intimacy, that may be giving the wrong impression. So let\u2019s back up. A red curtain opened at the top of the 125-minute set to reveal about as big a band as it\u2019s possible to take on the road, including seven horn players on one side of the stage and seven string players on the other, with Raye in a red gown in the middle, flanked by two female singers in tuxedoes. It not only looked but sounded like someone\u2019s fever dream of Vegas \u2014 pre-Sphere and even pre-Celine \u2014 with Keely Smith dressed up as Marilyn Monroe to be her own one-woman Rat Pack. It was literally as well as figuratively brassy as Raye didn\u2019t waste much time getting to her biggest domestic hit, as the album-opening \u201cI Will Overcome\u201d led right into \u201cWhere Is My Husband?,\u201d with the singer doing a lot of sharp hand-and-arm choreography with her two androgynous backup vocalists, but also proving that her dress was not so<\/em> tight as to forestall the entire hourglass being put into motion.<\/p>\n

\n\tThe singer included a few distinct segments in her set, starting with a \u201cRaye\u2019s Jazz Club\u201d bit, set up with a door being brought out for her to walk through bearing that name. Raye did establish during the night that she likes being seated, so she and the string players all took to chairs around tables with tiny lamps as she sang some of her jazzier numbers as well as the night\u2019s one cover, \u201cFly Me to the Moon.\u201d (Coincidentally, Kaye Ballard\u2019s original 1954 recording of that standard was named to the National Recording Registry just a few hours after Raye\u2019s show ended.)<\/p>\n

\n\tAs blithe as most of the show was, Raye did build a serious-as-a-heart-attack section into the setlist at the two-thirds point, with a song dealing with rape, directly followed by what amounts to her suicide prevention song, \u201cI Know You\u2019re Hurting,\u201d from the new album. She conceded that this stretch amounted to a left turn \u2014 enough so that she gave voice to the idea, at least, of just canceling it for the night. \u201cThis song I\u2019m gonna sing for you, I\u2019m not in the mood to sing tonight, to be honest,\u201d she said, deep into a roundabout intro. \u201cAs you can tell, I\u2019m like avoiding\u2026 Oh, God. Should we just skip it?\u201d It seemed like an honestly awkward moment, not just setup schtick. \u201cThe subject of this song is horrible\u2026 and I\u2019m gonna say it very plainly is sexual assault \u2026 horrible words, but they are words that I have decided I\u2019m gonna stop apologizing for saying out loud, because they are a reality for so many of us.\u201d <\/p>\n

\n\tOnce she committed to the mood change, tears came easily, as she said \u201csome evil person doesn\u2019t get to walk into my life and tell me that I\u2019m now gonna be a depressed person. Some evil person doesn\u2019t get to walk into my life and tell me, \u2018You are now gonna be half of the person that you once were.\u2019 What? Some evil person gets to walk into your life and tell you, \u2018You\u2019re not gonna trust human beings anymore. You\u2019re gonna bring this trauma into every relationship you\u2019re in\u2019? No, I rebuke that\u2026I know it\u2019s easier said than done, but we\u2019ve got one little life and we\u2019ve gotta try. So I just wanna encourage anyone to fight with every blood cell that you have to not let that evil person steal another second of the person that you were born to be.\u201d <\/p>\n

\n\tA wrenching number like that needs a twin, for the purposes of live performance, since there are few songs in any repertoire that make for a natural segue out of sexual assault. She has come up with one, in \u201cI Know You\u2019re Hurting,\u201d which, similarly, would be an awkward entree into a setlist without some setup. Claiming that, statistically, \u201csomebody in this audience might have been considering giving up altogether,\u201d she went into preacher mode, doing her best to break down barriers between show biz, therapy and church: \u201cI wanna tell you that there is no one else on this planet like you. You are uniquely and divinely you. I wanna tell you, you\u2019re not here by accident. When I say here, I don\u2019t mean this concert, I mean this earth.\u201d The song itself was nearly anticlimactic after this sermon, but only nearly \u2014 she has the goods, obviously, to bring these messages home in song as well as speech, as a diva-empath.<\/p>\n

\n\tThe final distinct segment of the night seemed designed almost as an escapist response (like, literally, with \u201cEscapist\u201d being the encore\u2019s title) to the more emotionally fraught segment that had come before. A sign bearing the letters \u201cR-A-Y-E\u201d descended, with the \u201cY\u201d slipping off to be replaced with a \u201cV,\u201d for an EDM-style last act that included a medley of dance numbers she\u2019s led or been a featured guest on. Mindless jumping in the air never felt more justified than it did coming so soon after Raye was invoking sexual trauma and self-harm. This is a woman who knows her emotional dynamics\u2026 and also her musical ones, as a night that began with a lot of very crowd-pleasing retro elements came to a conclusion in a distinctly 21st-century mode.<\/p>\n

Read more \u2018Slow Horses\u2019 Banner See-Saw Signs $50 Million Multi-Year Film Financing Deal With Entourage Ventures (EXCLUSIVE)<\/a><\/p>\n

\n\tGood humor was still the overall hallmark of the evening, those couple of more harrowing bits notwithstanding. In one moment as a song was starting up, she called out a vocal flub we might otherwise have missed, remarking: \u201cI just went flat there. It was upsetting. I hurt my own feelings.\u201d<\/p>\n

\n\tEven in lines that seemed a bit more rehearsed, there was a winning candor, as she announced, \u201cI\u2019m gonna go get changed now,\u201d as she exited for her one costume switch, from red to equally curvy black. At another point, she admitted, \u201cLadies and gentlemen, this next section of the show has been called the weakest section of the show,\u201d setting up a sign-holding bit in which she demanded that everyone get their cameras ready before finally holding up a QR code for purchasing the new album. (\u201cWe may be in a lovely, sold out Greek theater, but I am still an independent artist with an album to sell. Take a picture.\u201d)<\/p>\n

\n\tShe even offered self-commentary on some of her musical choices. Nearing the end of \u201cNightingale Lane,\u201d Raye told the crowd she would be opting for a subtle finish. \u201cI\u2019m gonna land soft, I think\u2026 We\u2019ll do some big stuff later.\u201d Thanks for the warning\/promise! It was the opposite during her EDM medley, as she said: \u201cDare I say, there is no moment more perfect than a musical climax, and ladies and gentlemen, guess what? We have one heading straight for us!\u201d Maybe you had to be there, but these sorts of asides are a big part of her charm, finding a way to bring the audience with her as if they are insiders on exactly how she\u2019s plotting the night from moment to moment. It\u2019s a fun way to spread the joy, to wryly let the crowd know exactly what\u2019s coming, when what\u2019s coming is guaranteed to be fairly awesome any which way.<\/p>\n

\n\tRaye has a great vocal trick that\u2019s worth pointing out, that she first pulled out at the end of \u201cWinter Woman,\u201d then reprised later on. She breaks into a pure soprano, as if to add some kind of emotional formality to her feelings for a moment, and then she goes back into her more natural-sounding jazz or soul-singer voice. It\u2019s a show of prowess, to be sure, and also serves to let you know that things could<\/em> get operatic but she intends to stay down-to-earth. <\/p>\n

\n\tThe audience on her second and last night at the Greek got to witness a few scenes that were special for the last night of the tour, some of them loose and one more monumental. The sense that the evening might have a goofier atmosphere at times was evident right at the start, as Raye stood in front of the red curtain and some of her compatriots showered her with copious confetti, which apparently is not a normal part of the act. \u201cYou bastards,\u201d she exclaimed, chortling as she dashed behind the curtain to somehow get it all out of her hair. She got back at them later on during the Jazz Club segment by narrating a section in which she described her horn players tickling and stroking one another, which they were obliged to follow. \u201cIt\u2019s the last night, so anything goes,\u201d she declared.<\/p>\n

\n\tThe surprise was on her, again, when Hans Zimmer emerged to play the synth on their highly orchestral collaboration from the new album, \u201cClick Clack Symphony.\u201d Her shock at the sudden appearance of the Zimmer and his gear was clearly not feigned, and the famed film composer \u2014 a former rock band member who now does the occasional symphonic tour \u2014 seemed to enjoy being Hams Zimmer for a night nearly as much as she was ebullient to have him.<\/p>\n

\n\t\u201cClick Clack Symphony\u201d is the busiest song on a very busy album. \u201cThis Music May Contain Hope\u201d is almost hilariously overstuffed, with so many different ideas happening from song to song and even from measure to measure that it can almost feel more like a prog-rock album than standard pop-R&B fare. You might feel like you have to take a rest between numbers, as Raye determines to make what is only her second album into her \u201cSgt. Pepper\u2019s,\u201d almost, already. But given the choice between too many ideas or too few, which is where just about everybody else lands these days, it\u2019s not hard to figure out where to cast your lot. <\/p>\n

\n\tRewards for that creative ambition, as well as acknowledgements of her sheer vocal talent, are sure to follow. We might as well call this her \u201cPre-Grammys Tour 2026.\u201d But a concert like this makes you wish there was such a thing as Grammys for live performance as well as recordings. Because until you\u2019ve seen how captivating and in control she is on stage at this early stage in her career, you can\u2019t really take the full measure of why Raye really may belong in the company of the greats who\u2019ve come before her \u2014 something that 12,000 people who just saw her at the Greek are keenly aware of now. That she comes off as a BFF rather than prima donna may be the cherry on top that makes her one for the ages. \u201cMy plan is, fingers crossed, to be doing this till I\u2019m at least 76,\u201d she declared at show\u2019s end, \u201cso hopefully in-between then and now I\u2019ll get to see your beautiful face again.\u201d Here\u2019s vouching that the 50-year plan looks to have some validity.<\/p>\n

\n\tRaye had two opening acts for the tour, Amma and Absolutely, who, concertgoers quickly learned if they didn\u2019t know already, are two of Raye\u2019s three younger sisters. Both are operating in their own distinct stylistic niches, both engaging performers. When the three of them appear together at the climax of Raye\u2019s set, for the aptly named \u201cJoy,\u201d you might think for a minute you\u2019re seeing one of the most engaging sister act this side of Angelica, Eliza and Peggy.<\/p>\n

\nSetlist for Raye at the Greek Theatre, Los Angeles, May 13, 2026:<\/strong><\/p>\n

\n\tGirl Under the Grey Cloud
I Will Overcome
Where Is My Husband!
Skin & Bones
Beware\u2026 the South London Lover Boy
Winter Woman
Hard Out Here
Genesis, pt. ii
Fly Me to the Moon
Worth It
Nightingale Lane
Ice Cream Man
I Know You\u2019re Hurting
Life Boat
Oscar Winning Tears
Click Clack Symphony (with Hans Zimmer)
Prada\/Secrets\/Bed\/You Don\u2019t Know Me\/Black Mascara
Joy (with Amma and Absolutely)
(encore)
Escapism<\/p>\n

Read more How Stars Leverage Themselves as Investors: Serena Williams, Eva Longoria and Kevin Yorn on Venture Capital, Vision and Dealmaking<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Raye’s U.S. tour-capping show at the Greek in L.A. established she’s one of the great talkers as well as great singers in the biz. Hans Zimmer guested.<\/p>\n","protected":false},"author":1,"featured_media":45,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[52,53],"class_list":["post-46","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-hans-zimmer","tag-raye"],"yoast_head":"\nHas Raye Already Busted Into the Pantheon of Great 21st Century Entertainers? 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