JoJo took centre stage at London’s KOKO last night (Tuesday 17th January) and treated her fans, both new and old, to some of biggest hits and songs from Mad Love, her third album that has been a decade in the making.
Poised for global superstardom at the tender age of 13, the star’s last studio album The High Road was released in 2006. Soon after she was embroiled in a messy and lengthy legal battle against her former record label, which saw her third album postponed indefinitely. Now under new management, JoJo released her third studio album Mad Love in October 2016 and received mass critical acclaim.
Much like wine, JoJo, now 26, showed the sell-out crowd at KOKO that she has only gotten better with age. Dressed in a skintight, glittery body suit, she performed her most loved classics including Leave (Get Out) and Baby It’s You. She even gave one fan a jaw-dropping lap dance as she performed the irresistibly sexy High Heels, from the new album.
The biggest take away from the concert was without a shadow of a doubt her voice. Verging on 15 years in the industry, JoJo’s voice has only gotten better. At no point did it feel like she was showing off or over-egging her abilities. When singing When Love Hurts, JoJo mixed in Mariah Carey’s Vision of Love and showed she could hold her own even with the best of them.
Some of the most captivating moments of the show were during her acoustic set. JoJo gave a heart wrenching performance of the autobiographical Music that saw her almost breakdown in tears and then had the whole crowd singing along to cult classic Too Little Too Late and her famous cover of Drake’s Marvin’s Room.
It wasn’t all sad songs bashing boys however, JoJo got the 1500+ audience on their feet and gave high octane performances of F**K Apologies, FAB and the MNEK produced Good Thing, which by the audience’s reaction would make a great single here in the UK.
There is a lot to be said about JoJo’s relentless determination and passion for music. Along with her fans, she credits her love for music as the driving force that kept her going during her years in limbo.
If she is able to raise her profile again and get proper support from radio as well as her label, then each one of her contemporaries should definitely be worried.