Without a trace of cynicism or any hint of self-importance, she seems to be hosting the ultimate house party: a gathering where strangers are dancing closely, the playlist is a mix of diverse yet relatable tunes, and everyone is welcomed (“I don’t discriminate - I like straight people too,” she jokes after dedicating ‘Fantasy’ to her loyal LGBTQ+ fans). Entering the vibrant atmosphere of her upcoming act are the album pairings ‘Self Saboteur’ and ‘Lip Service’, as she glides across the stage on a large ring-light prop with the effortless style reminiscent of mid-2000s Madonna. After all, JADE is a true pop performance expert: every dance move is flawlessly synchronized (even the presumably tricky chair segment during ‘Glitch’), and not a single moment is left to chance (when she briefly steps away for a quick costume change, a frenetic mashup of Cascada, Bryan Adams, and Guru Josh Project keeps the audience engaged). This is perhaps her most remarkable achievement; whatever persona she decides to take on—be it a sexually liberated provocateur in ‘Midnight Cowboy’, a campy girl boss in the Confidence Man collaboration ‘gossip’, or the genuine South Shields girl-made-good in the heartfelt ‘Silent Disco’—she does so with complete authenticity. In achieving this, she effectively conveys the core message of ‘THAT’S SHOWBIZ, BABY!’—that she is at once a product, a victim, and a proud representative of the pop industry—on stage with remarkable conviction. Therefore, it's fitting that she introduces tonight's grand finale, ‘Angel Of My Dreams’, with a bridal theme that includes wedding vows—a clever reminder that, for better or worse, she is forever a part of this complicated family. JADE doesn't shy away from her origins, not at all. Yet tonight's performance clearly demonstrates that she is much more than just that.
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