Jensen McRae brought her “The Praying for Your Downfall Tour” to Europe, and on June 16, she landed at Le Hasard Ludique in Paris. Jensen makes music for the soul, with deeply meaningful lyrics, beautiful melodies, and a powerful voice. She tells stories that reflect her experiences in the world as a woman of colour. In many of her songs, God is mentioned and religion is questioned. I was really excited to finally attend one of her live shows and see how well her mostly somber discography would translate on stage.

Jensen often emphasizes on her socials how important it is to her that masks are worn at her shows. I brought mine, and at the venue, there were signs explaining why masks were encouraged, along with free masks available if needed. Unfortunately, not many people actually wore them during the show.

Daphne Brixton, a French artist, opened the night with a beautifully emotional set. As she described her project: “Instead of writing a secret journal, I write and sing in front of everyone. Most of the time about what makes me sad and unhappy.”

But unexpectedly, she didn’t just bring tears to the stage—she also made little jokes between every song and told short stories to introduce each one. She seemed completely at ease on stage, and it was truly beautiful to witness.

One of the most memorable moments of the night was when she asked us to sing along to an unreleased song called “I Make Boys Cry.” As she did each time, she cracked a joke: “I only see my therapist in three weeks, so if you don’t sing along, it’s gonna be very hard.” Naturally, everyone joined in, and we all screamed “I make boys cry” during the final chorus.

Jensen McRae arrived on stage at 9:20, alone—which surprised me, as I had been expecting a full band setup. Instead, what we got was just Jensen and her guitar, delivering an entirely acoustic set. Any initial surprise quickly gave way to appreciation, because the stripped-down format brought a quiet intensity to the evening. Her voice filled the room with raw emotion, and the lack of instrumentation let the lyrics take center stage. It felt deeply personal, almost like we were being let into her inner world for the night. The result was a powerful, intimate performance that resonated with everyone in the room. She briefly introduced herself and her first song, “God Has a Hitman.” As soon as the first few notes played, I heard fans behind me whisper “Oh my God” before immediately bursting into tears.

She played songs from across her entire discography, which made the fans in the room very happy—tracks from her debut album Are You Happy Now?, her newest project I Don’t Know How But They Found Me! (which she mentioned being very proud of from start to finish), singles, and even songs that aren’t available on all streaming platforms, like “Fever Dream” from her live EP It Wasn’t Supposed to Be Like This…, which can be found on YouTube.

When introducing “Savannah,” a track from her latest project, she shared how strange it feels to perform it outside the U.S. She pointed out that, just as she doesn’t know every city in Europe, she wouldn’t expect people elsewhere to know a random town in Georgia—yet here she was, hearing people from another country sing about it. She also revealed that “Savannah” is the first song she wrote for I Don’t Know How But They Found Me!

Between her heartfelt songs, she also made jokes, which added a lighter touch to the night. For example, while introducing “Novelty,” she mentioned that the first line includes “911”—the emergency number in the U.S.—and joked that maybe she should change it when performing in other countries… but she doesn’t actually know the local numbers. A fan shouted “18,” then another yelled “15,” and someone else added “112” (yes, we have a few). The multiple emergency numbers genuinely surprised her, and her reaction got a good laugh from the crowd.

She shared many insights throughout the night about her songs, writing process, and emotions, creating an intimate experience that wouldn’t have been possible with a full band and production.

Among the stories she shared, three stood out to me. First, she said she never thought she would actually perform “White Boy,” but it’s the song that connected her to the people who helped launch her music career. Similarly, “Adam’s Ribs” marked the beginning of her partnership with her first producer, Rocky, who produced her entire debut album and encouraged her to be authentic in her writing. She revealed that she went into the session for “Adam’s Ribs” almost ready to quit music, but meeting Rocky was a turning point for her artistic future. Lastly, she performed an unreleased song—likely called “Call It Even”—which she said might never be released. It was the first song she ever wrote on guitar around age 18 (her first instrument was piano).

The last moment that still stays with me was during the song “Let Me Be Wrong.” Inspired by her time opening for MUNA and performing “Silk Chiffon” with them on stage, Jensen realized she wanted a song that was just as fun in her own live set. What really struck me was the line “Fuck those girls got everything,” which everyone screamed at the top of their lungs.

I can’t not mention Jensen’s amazing vocals, which were truly the highlight of the night. The intimate acoustic setting only amplified the power and raw emotion in her voice, making every note feel even more impactful. I still vividly recall the strength and vulnerability she poured into songs like “White Boy” and her unreleased track “Call It Even.” Those moments were electric—her voice rising effortlessly, filling the room with a mix of intensity and tenderness that captivated everyone. Throughout the night, she received countless acclamations and applause, and each time, her face would light up with a genuine, grateful smile. It was clear how much she appreciated the connection with her audience, making the whole experience feel even more personal and special.

She closed the night with two powerful songs: “Praying for Your Downfall” and “Massachusetts.” The emotional weight of these final performances left a lasting impression, perfectly capturing the depth and honesty that define Jensen’s music. As the last notes faded, the room was filled with a sense of connection and reflection—an intimate experience that stayed with everyone long after the show ended.

FOLLOW JENSEN MCRAE : INSTAGRAM | YOUTUBE | MERCH | TOUR | SPOTIFY | APPLE MUSIC

FOLLOW DAPHNE BRIXTON : INSTAGRAM | YOUTUBE | SPOTIFY | APPLE MUSIC

FULL SETLIST JENSEN MCRAE PARIS JUNE 16TH

God Has a Hitman

My Ego Dies at the End

Fever Dream

Novelty

Savannah

I Can Change Him

Guilty as Sin? (Taylor Swift cover)

Dead Girl Walking

Good Legs

White Boy

Adam’s Ribs

Call It Even (Unreleased)

Let Me Be Wrong

Praying for Your Downfall

Massachusetts