Joy Oladokun Headlines Two Nights at The Troubadour

Joy Oladokun took the stage on Wednesday for one of two nights at The Troubadour. Joining the ranks of innumerable iconic acts who have graced the stage at the hallowed West Hollywood institution, Joy did it her own way. Playing two different sets—first a stripped-down, acoustic performance, followed by a full-band set—Joy showcased her incredible range and musical depth, solidifying her place among the greats who preceded her.

She opened the acoustic set with "The Hard Way," one of my personal favorites, before seamlessly transitioning into a mix of tracks spanning her discography, along with a few covers that paid homage to iconic artists. A standout moment was her powerful mashup of "Questions, Chaos, and Faith" with Jeff Buckley’s "Hallelujah," followed by an equally stunning fusion of Oladokun’s "i see america" and Nirvana’s "Smells Like Teen Spirit." Joy has a remarkable ability to capture the raw intensity of songs with just her voice and guitar, a talent on full display during the acoustic set. She closed this intimate first half with a delicate, acoustic rendition of "Purple Haze," a bonus track from Proof of Life.

For the second half of the night, Joy returned to the stage backed by her band, delivering a set filled with expert-level shredding, perfect stoner energy, and a three-song encore. Throughout the evening, Joy took moments between songs to reflect on the struggles she faced growing up religious and queer, sharing how much more at home she feels in her own skin now—both as a performer and as a person. These themes resonate deeply in her latest album, Observations from a Crowded Room, a reflection on identity, resilience, and self-acceptance. Being a Black queer country artist isn’t exactly a walk in the park, yet Joy continues to carve space for herself and other artists like her with authenticity and grace.

While the entire set was phenomenal, the final stretch of songs encapsulated Joy’s artistry perfectly. She moved seamlessly from the tender, introspective "Changes" into "NO COUNTRY," followed by a mashup of "Black Car" and "Blackbird"—a song long associated with The Beatles but now, rightfully, reclaimed by Beyoncé. She rounded out with "I’d Miss The Birds" (my favorite track from Observations from a Crowded Room), the newly released "All My Time," and finally closed with "DUST/DIVINITY." For the encore, she played "DRUGS," "We’re All Gonna Die," and ended the night with just her and a guitar for "look up."

This was my second time seeing Joy live, and both experiences have been nothing short of… joyful. There really isn’t a better way to describe it! Joy has endured so much, and still, she shares—weaving her struggles into songs that implore others who have struggled similarly to keep going. She is a prolific songwriter, a gifted musician, and a fearless voice in an industry where the status quo prefers that women and minorities shut up and sing—if they’re acknowledged at all. Where many artists fall flat, Joy’s soft authenticity fills a room, making her a timeless artist and performer who easily stands with the greats.

One of my favorite Joy moments, both on and off the stage, was when she called out Zach Bryan on Twitter after he claimed Noah Kahan was “robbed” at the 2024 Grammys when Victoria Monét won Best New Artist. She didn’t mince words:

"i say this as someone who loves noah: shut the fuck up zach. black women are more than accessories to your award season bids. don’t disrespect someone’s lifetime of work cuz your buddy didn’t win."

It was too good—because she was absolutely right. It’s both unsurprising and disappointing that the burden of calling out this kind of behavior so often falls on Black women, but Joy continues to be a beacon of honesty and integrity, both in her music and in real time. I am especially grateful to Joy for giving me a connection to country music that I can embrace without hesitation.

And that’s the thing about Joy Oladokun—she doesn’t just make music, she makes space. Space for honesty, for vulnerability, for resilience. Space for people who have been told they don’t belong in country or folk or rock, or anywhere at all. Her voice is a reminder that music is at its best when it tells the truth—unvarnished, unfiltered, and unafraid. If Joy’s name isn’t already on the list of future legends, it should be.

If you haven’t yet, give Joy’s latest album OBSERVATIONS FROM A CROWDED ROOM a listen.