Jaguar II? More like Jaguar Tour II good!
Victoria Monét wants you to stop overlooking her artistry.
photo taken by Sydney Cook.
It's only been up for Victoria Monét since the MTV Video Music Awards told her it was "too early" in her career to perform on the main stage. Monét has since gone on to score a Billboard Hot 100 chart entry with "On My Mama" from her latest album JAGUAR II, alongside seven GRAMMY nominations—including Record of the Year for the same song. Not only has she written and produced several songs that we know and love—like “7 rings” by Ariana Grande—she's also, undoubtedly, made herself quite the name in R&B. It should go without saying: the VMAs screwed up. Monét is a class-act performer and a seasoned professional, and although she couldn't show this on the VMAs stage, she's certainly pulled through on the Jaguar Tour.
Chicago’s second sold-out night at House of Blues brought in a huge, diverse crowd, with people forming long lines outside the venue. LAVI$H, an opener whom I was previously unfamiliar with, left me curious about his catalog. Singing primarily alternative R&B, with other influences mixed in, his raspy, raw vocals won the crowd over with one attendee asserting, “This is what GIVEON thinks he is giving!” He was, I think, a perfect addition to Monét’s big act.
Going in, I had high expectations for Monét. I had watched a few of her performances online and I fell in love. I have to say, seeing her live and in full effect was a whole different beast. Moving from seeing her through a phone screen to on stage, I felt her passion, and I understood why “[she] wants that jungle kind of love.” The titular track “Jaguar” was certainly a big crowd pleaser: the audience was “supersonic” and in accord with Monét as she implored us to “get wild!”
photo taken by Sydney Cook.
I had never really been the biggest fan of “Moment,” the opening track on JAGUAR, but seeing its translation live put it back in my rotation. She opened the show with it, wearing a bedazzled mesh head cap, a flowy brown robe, and a jaguar face mask, and after singing the first two lines, took everything off to reveal a shimmering brown two-piece outfit underneath. The final chorus solidified my new love for the song, as Monét sang out the high notes. The live band accompaniment also shined on songs such as “Stop (Askin’ Me 4Shyt)” and a performance of The Supremes’ “Stop! In The Name Of Love.”
Something I especially appreciated about the show was how Monét managed to show us those who have influenced her artistry through her choices of interludes and transitional songs. The Supremes’ song is an obvious example, but incorporating Sister Nancy’s “Bam Bam” and Beyonce’s “Baby Boy” into her performance of “Party Girls” was something I truly didn’t expect. Fans have compared her performances to those of solo-debut Beyoncé, and I have to say, I see it. That said, while Monét has studied her influences, she’s still made something of her own, a fact that manifests in her charisma, her outfits, and her performance skills.
Outkast’s “SpottieOttieDopaliscious” seamlessly transitioning into “Cadillac (A Pimp’s Anthem)” was incredibly clever: both songs are groovy with an infectious bass line. One thing about Victoria Monét is that she loves brass instruments, specifically horns, and both these songs are championed by them. For this song, Monét stepped out in a men’s suit and danced around doing tricks with a cane to really drive her line “It's funny how y’all don't think we be pimps, too” home.
That said, this is the part where I have to plug what other live music enjoyers have been saying: phones are ruining the live music experience! “Cadillac” was the song I’d wanted to see live the most. It had become one of my favorite tracks on JAGUAR II, and I knew she’d nail the performance. The real thing, however, left me feeling disappointed: I couldn’t see what was happening on stage, with her footwork and her cane tricks, because people (even those way in front of me) had their phones up, blocking the view. This sort of thing is inevitable, though—especially for standing-only venues—and not unique to Monét’s audience. A bummer, but I had a great time listening, nonetheless.
A standout from the show was “Monopoly,” which I rediscovered in late June, due to its feel-good vibe that makes it the perfect “spring-to-summer” song. With the energy and hype from the crowd, I couldn’t help but jump up and down, move my hands, and try to recreate the moves from Monét and Ariana Grande’s quirky music video.
photo taken by Sydney Cook.
But “Monopoly” walked so that “Smoke” could run. It was such a delight hearing everyone around me scream, “It’s a bisexual blunt, it can go both ways,” as Monét was in full command of the audience. Monét and her dancers brought the same electric energy to Trillville's "Some Cut," starring a prominent, playful bed squeak in the background that, later, transitioned into her own, more poetic sort of sexual anthem, "Dive," and both songs explore Monét's sensuality really well. “F.U.C.K.” and “Touch Me” also elevate Monét’s queerness, featuring her “entangling” with female dancers and challenging the heteronormative perspective that the original lyrics might suggest.
A couple of other highlights included hearing “How Does It Make You Feel,” which is arguably one of her best songs. The stage lighting and her beautiful vocals made me feel like I was watching a sunset on a blissful evening. Monét has a lot of authentic, R&B soul to offer, and it definitely came out in this performance.
She also interacted with the crowd on numerous occasions throughout the show, and, unsurprisingly, “We Might Even Be Falling In Love” was the best. She started by singing the interlude herself and turning the mic toward the crowd to complete the lyrics. The crowd did not miss a beat enthusiastically singing right back to her. It was magical hearing the outro’s “Ooh love love love.” I felt like I’d been transported back to the Renaissance Tour this past July, fighting for my life on the ascending scales in Beyonce’s “Love On Top.” This, though, was thankfully tamer.
The set was a bit short, though, around one hour, which left me hungry for more. I wish she would have performed “Goodbye.” It’s the perfect closing track! “On My Mama,” however, was an outstanding choice, and its performance was the show’s liveliest moment. I felt like the floor was about to collapse. Everyone was up, screaming the lyrics, and, honestly, you couldn’t blame them. Monét recreated her video’s choreography, and her breath control and vocal technique in the midst of it all was mesmerizing to witness. She hit every note flawlessly, without ever sounding out of breath.
Everyone was “so deep in [their] bag like a grandma wit' a peppermint,” and some even tried to recreate the dance moves despite the crowded space.
But it’s this exact energy that makes a Victoria Monét show. She, ultimately, deserves all the success and recognition she’s receiving. Someday—and I pray this day is sooner, rather than later—people will realize how versatile and great of an artist she is.
Who needs the VMAs anyway?
photo taken by Sydney Cook.
edited by Nicole Millan-Ortiz.
photos taken by Sydney Cook.
