Lauren Spencer Smith in Ottawa

Lauren Spencer Smith Brings her 'The Art of Being a Mess' Tour to Ottawa

Lauren Spencer Smith’s The Art of Being A Mess Tour made its Ottawa stop at The Bronson with a lineup that showcased three distinct approaches to modern pop. Blending cinematic visuals, stripped-back songwriting, and high-energy production, the night moved seamlessly from intimate moments to full-scale crowd engagement. The evening highlighted emerging and established voices alike, each artist bringing their own style to the stage while maintaining a cohesive tone. From polished pop arrangements to acoustic-driven storytelling, the performances built steadily in scale and intensity, culminating in a confident and tightly produced headlining set. With a sold-out room and an audience ready to sing every word, the tour stop demonstrated not only the strength of the headliner’s catalogue, but also the depth of talent supporting the bill.

Maisy Kay

The Ottawa stop of Lauren Spencer Smith’s The Art of Being A Mess World Tour, the Bronson Centre was transformed into a glittering fairytale kingdom thanks to opener Maisy Kay. The English singer-songwriter turned LA local, who describes herself as a whimsical, ethereal pop artist with a love for fantasy, floated onto the stage like a true local fairy princess. Recently signed to a worldwide deal with BMG, Maisy proved she’s stepping confidently into a new era.

She opened with “Technicolour Honeymoon,” immediately setting a dreamy, cinematic tone. The follow-up, “Almost Touch Me,” marked a special moment marking her first time ever performing the song live. Beaming at the crowd, she shared that it was also her first time in Ottawa, earning a wave of warm cheers that seemed to genuinely touch her. Mid-set, she stunned the room with a powerhouse cover of Adele’s “Rolling in the Deep.” The deep, reverberating bass rattled through the Bronson Centre as the audience sang along wholeheartedly, turning the performance into a collective moment.

Maisy was magnetic in all ways. She sang soulfully into her custom rhinestone butterfly microphone, dressed in knee-high red leather boots and a red sparkly, whimsical fairy ensemble that fit like a glove. The aesthetic matched the music. Ethereal, romantic, and unapologetically her.

One of the most vulnerable moments of the set came with “Love Is a God,” a song she revealed was written for her boyfriend before he broke up with her just one week after her first world tour. The emotional weight built to an impressive whistle note that sent cheers and actual whistles ringing through the crowd. She closed with “Vantablack,” a fierce anthem about shutting her heart off for good declaring that men are more trouble than they’re worth. Dedicated “to the girls, the gays, and the theys,” it felt like both a battle cry and a bonding moment. With that, she thanked Ottawa warmly and skipped offstage, leaving behind a little sparkle and a lot of new fans.

Sadie Jean

Next up to the stage was Sadie Jean, the American singer-songwriter whose debut album dropped in October 2025.

She opened with “Move On First,” immediately commanding the room. At the end of the song, she grabbed an extra drumstick to add an extra punch to the beat, an electric moment that sent the crowd into a frenzy. Without losing momentum, she followed with “Just Because,” then eased into “Slow Burn,” a soft acoustic track about falling for a friend. Before starting, she joked that falling for a friend is overrated, setting the tone for the song’s tender, confessional feel. The stripped-back guitar and hushed delivery had the audience hanging onto every word.

Next came “She’s Dating My Boyfriend.” She put the guitar away but kept the soft, intimate vibe through the intro, letting the lyrics carry the emotion. In between songs, she teased the crowd: if you like Lauren, you probably like sad music like (Sadie) does and you probably have an ex you never got over. The room laughed knowingly before she launched into another gentle acoustic moment with crowd favourite “Locksmith” which was met with an eruption of cheers and applause. The catchy rhythm had the audience swaying side to side and singing along. She flowed straight into “Somebody’s Everything” without pause, bathed in playful yellow and purple lighting that shifted the mood just enough while keeping the warmth intact.

Closing with “WYD Now?” she shared that it was the first song she ever released at 19. The crowd sang along loudly, nearly overpowering her at points which was a full-circle moment that felt both nostalgic and triumphant. With a warm thank you and an almost giddy skip off the stage, Sadie Jean left the audience buzzing and smiling.

Lauren Spencer Smith

Closing out the evening was none other than Canadian singer-songwriter and Juno Award nominee Lauren Spencer Smith. The crowd was buzzing with anticipation, chanting her name more than ten minutes before the scheduled start time and erupting into deafening cheers when she finally emerged, proudly waving a Canadian flag.

Smith kicked things off with the explosive hit “Lighting the Flame,” immediately setting the tone for the night. That energy carried seamlessly into “28,” where Smith began interacting with the customized stage design. She opened the song seated on a large white bench before making her way across the stage, finishing atop a stack of three white boxes on the opposite side, dancing confidently as the crowd roared. Next came “Bigger Person,” which had the audience singing along at full volume, their voices filling the auditorium in a powerful, unified chorus. Keeping the momentum strong, Smith introduced “Worse” with a playful question, asking who in the room had an enemy they’d like to get revenge on, a prompt that sparked an enthusiastic response from fans.

Midway through the song, a phone on stage began to ring. Smith answered it, triggering a pre-recorded message that transitioned flawlessly into the deeply emotional “Bridesmaid.” The mood shifted again with “Parallel Universe,” during which the entire venue glowed as concert-goers lifted their phones, flashlights illuminating the space in a sea of soft white light.

Throughout the set, the bass thumped heavy and the beats hit hard, complemented by dynamic flashing lights, creative set pieces, and infectious choreography. From start to finish, it was an enthralling and captivating performance. With Montreal up next on her The Art of Being a Mess tour, we can’t wait to hear how the next sold-out night unfolds!

Closing

Overall, the Ottawa stop of The Art of Being A Mess Tour delivered a well-paced and thoughtfully produced evening of live music. From strong opening sets to a confident headlining performance, the night highlighted the range and depth of today’s pop landscape. As the tour continues on to its next sold-out date, it’s clear this run is resonating with audiences across the country.