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The Danforth Music Hall, Friday, March 8, 2024

She was a conduit of emotional catharsis.

On Friday night at a nearly-packed Danforth Music Hall, Montreal-born, Nashville-based Canadian treasure Allison Russell let the music wash through her body, air her laundry and cleanse her soul in what turned out to be a musically unforgettable International Women’s Day.

Switching between the unlikely choices of clarinet and banjo, the Grammy-and-Juno-award winning singer-songwriter, Joni Mitchell inner circle acquaintance and survivor of the Great Prairie blizzard of 2024 that ended up postponing and cancelling a few of her Canadian tour dates, offered a potpourri of styles ranging from R&B and soul to folk rock to Americana that soared despite the sobriety of the topics her songs often depict.

For example, “4th Day Prayer,” from her album “Outside Child,” is about Russell enduring the sexual abuse of her adoptive father. The Grammy-winning “Eve Was Black,” from her current album and tour “The Returner,” calls out racism. Both were transformed into powerful anthems as Russell, barefoot, attired in a light olive evening gown and hair worn in a ponytail, raised her arms and sang and danced defiantly, with the confidence of someone who has confronted her demons, addressed them and consigned them to the past, utilizing her music as a catalyst for healing.

And in case you missed the point, she talked about it candidly enough that some of it was overwhelming. And yes, some of it was soapbox — advocating for anti-racism (“Equality or bust!”), the general welfare of children and the importance of community — but there was a lot of gratitude, humility and generosity toward her four female bandmates that formed a semi-circle around her, and other “sheroes” she has met during what she terms a “surreal” year of the 21 she spent in music getting to this juncture.

Propelled by the rhythm section of Caoi de Barra — poised behind a drum kit where the cymbals were all set at waist level, and alternating between sticks and mallets — and bass player Ganessa James, Russell’s music embraced a wide range of dynamics from the roaring vocals on the melodically appealing “Stay Right Here” to an almost tender whisper on “Persephone,” an acoustic rendition of a number that the star divulged was about the first person who taught her how to love unconditionally.

“Demons” was a call-and-response favourite of the crowd’s; “Springtime” offered a catchy refrain as Russell took centre stage, dancing and crouching as the song wound down — and a debut attempt at Sarah McLachlan’s “Angel” was a tastefully sensitive delivery of the popular ballad.

, reaffirming that not only is she an important artist whose potential is only beginning to be recognized, but one who successfully confirms that trauma can be triumphed, using music as a medicine of emotional restoration as much as recuperation.

And in this troubled world, that is welcome comfort.

The evening wasn’t just confined to women, however: É«É«À²-by-way-of-Sandy-Lake-First-Nation performer Evan Pang — better known as Aysanabee — also thrilled the audience of 2,500 or so with a solo set that featured his booming voice, a couple of guitars and a bunch of pedals, one called “The Harmonizer” and another that offered a drum loop to strengthen his presentation as a one-man band.

Releasing one of the most mesmerizing albums in recent memory with late 2022’s “Watin,” the given name of his grandfather, another victim of the residential school system that is a black eye in Canadian history, Aysanabee offered stories behind the selections of his heartfelt tales to the point where the audience didn’t want him to leave the stage.

While “Watin,” robustly represented by the songs “Ego Death” and “War Cry,” chronicles the memories of his late grandfather’s life, Aysanabee’s newer music speaks more to a recent romantic breakup, as the riveting “Somebody Else” attests. His acoustic guitar prowess was also something to behold, and although his solo stand was entertaining, one couldn’t help but wonder how much more impactful Aysanabee would be with a full band behind him.

But even without the additional backup, he, like the headlining act — two phenomenal Canadian musicians — were rewarded with a rousing ovation.

As for Allison Russell, she declared that the Danforth Music Hall has been the biggest venue she’s played in É«É«À².

However, that will be eclipsed by her performance on the Budweiser Stage, when she returns to the city on June 19 to open for Sarah McLachlan.

Get there early — you won’t want to miss her.