I walked into the venue with a little trepidation. Tate McRae was playing in Orlando, and while I’ve seen her grow from her early YouTube days into a bona fide pop phenomenon, I knew this show was going to be different from the spectacle-heavy tours of the past. For one, the stage was bare. There were no massive LED screens, no over-the-top pyrotechnics—just a simple, almost minimalist setup. Her band was dressed down too, jeans and t-shirts, no glitter or glam, no costume changes to speak of. In a world where pop stars lean on elaborate visuals, it was striking to see her stripped back to the music itself.
I have to admit, this was both exciting and terrifying. Tate’s songs are built around personal storytelling, heartbreak, and raw emotion, but I’ve never experienced her in such a stripped-down context. Would it work? Could she fill a venue without the visual theatrics that usually define her performances? I’d soon find out.
The show was divided into four sets, with an encore, and I managed to catch almost all of it except for the tail end. I had to duck out during “Revolving Door” to get across town for another concert—which, to be honest, I was already dreading—but more on that later.
Set 1: Establishing the Mood
The lights dimmed, and Tate McRae stepped onto the stage with nothing but her voice, her presence, and a bare-bones band. The opening song, Miss Possessive, hit immediately. There’s something about hearing that song live without layers of production that makes the emotional intensity hit differently. The rawness of her voice in that intimate setting made the possessiveness in the lyrics almost palpable, and the audience reacted with an immediate surge of energy. People were screaming along, not just because it was the hit, but because they were connecting with her honesty.
Next came No I’m Not in Love, which was shortened for the live setting. Even abbreviated, it landed hard. There’s something about hearing it in this format—it’s stripped of the polished production, and it’s just Tate’s voice carrying the emotional weight. In that moment, the minimalist setup worked in her favor. Every inflection, every pause, felt purposeful, and it emphasized how much of her artistry is in the vocal performance itself rather than the spectacle around it.
2 Hands followed, and suddenly the crowd was on its feet, waving and singing along to every lyric. Her voice was perfect, crisp, and emotional, navigating the melody with precision. The band, while unassuming in their jeans and t-shirts, created the perfect backdrop for her. The drumming wasn’t overbearing, the guitar lines were understated, and the bass provided just enough groove to keep the songs grounded. It felt intimate yet electric.
Guilty Conscience closed out the first set, and by this point, the energy in the room was palpable. I was fully sold on the stripped-down approach. Seeing Tate command the stage without visual distractions reminded me that at her core, she’s a performer who doesn’t need gimmicks—her voice and her songwriting are compelling enough.
Set 2: Digging Deeper
Set 2 began with Purple Lace Bra, one of her newer tracks, and the mood shifted slightly. There’s a flirtatiousness to the song, a playful undercurrent that contrasts with the rawer songs from Set 1. In the stripped-down context, it almost felt cheekier—there’s nowhere to hide when the focus is entirely on the music, and Tate embraced that fully.
Like I Do followed, and the crowd was immediately singing every word. There’s something remarkable about how her songs translate to a live setting. Even with minimal production, the energy between her and the audience was enough to make the arena feel alive.
Uh Oh, Dear God, and Siren Sounds continued the set, each song landing with precision. Dear God especially resonated in the intimate setting—the vulnerability of the lyrics was amplified by the absence of stage effects, and it felt almost confessional. Siren Sounds had the crowd swaying in unison, and it was clear that Tate’s ability to command attention without theatrics was not just effective, it was mesmerizing.
Set 3: The B Stage and Closer Connection
Set 3 moved to the B stage, closer to the audience. This is where the night got really interesting. The proximity made everything feel personal, like Tate was performing for a room of friends rather than thousands of strangers. Greenlight opened this set, and the energy shifted again—more playful, more immediate, and more connected.
Nostalgia was next, and in this setting, it became almost haunting. The lyrics about longing and memory cut deeper when delivered in a stripped-back live format. That Way started, but I only caught part of it. Even in snippets, the emotional weight was undeniable.
From here, things became a little fragmented for me. I caught parts of Rubberband, Feel Like Shit, and You Broke Me First, but I was already thinking about having to leave to catch the other show. Still, seeing her walk through the crowd during Run For the Hills was one of the highlights of the night. She made eye contact, smiled, and waved to fans as she moved through the audience. It was a moment of connection that the massive main stage could never replicate.
Set 4: Emotional Crescendo
By the time Set 4 began, the energy in the room was palpable, almost electric. Exes kicked things off, and the crowd was already singing along like it was the finale of the night. The stripped-down band created the perfect tension for the emotional peaks of her songs, and each chord seemed deliberate.
BloodOnMyHands followed, and it hit harder live than I expected. There’s a catharsis in hearing it without visual distraction—the weight of the lyrics felt tangible.
She’s All I Wanna Be was a treat. It’s a song that really benefits from live energy, and the audience responded with full force. By this point, the room was vibrating with excitement and participation, proving that even without flashy visuals, Tate’s music commands attention.
Revolving Door began, and this is where my night had to take a turn. I had to leave early to make it across town for another show, a concert I’ll generously call a “garbage” experience. But even in the short stretch I caught, Tate delivered, and it was clear that the songs were as strong live as they are recorded.
It’s Ok I’m Ok closed Set 4, and while I didn’t get the full impact live, the audience response alone was telling. People were singing every lyric, waving their phones, and cheering as if the night were just beginning.
Encore: Finishing Strong
I missed most of the encore, which included Just Keep Watching, Sports Car, and Greedy, but from what I caught on my way out, the energy was infectious. It was one of those moments where you wish you could freeze time. The stripped-down approach gave the songs room to breathe, and it was a reminder that sometimes less really is more.
The Experience
Seeing Tate McRae in this format was an eye-opener. Pop concerts today are often defined by their visual spectacle—LED walls, dancers, choreography—but this show stripped all of that away and reminded me why we listen to her music in the first place: her songwriting, her emotional honesty, and her ability to connect with an audience.
The stripped-down band, dressed casually, and the bare stage could have been a liability, but it became the show’s strength. Every song felt immediate, every lyric mattered, and every vocal nuance was highlighted. The B stage set added intimacy, and her walk through the crowd during Run For the Hills was a perfect example of how connection trumps spectacle.
Of course, I don’t have the full experience of the night—I missed the tail end—but what I saw and heard was enough to make a lasting impression. There’s a bravery in performing without the crutch of visuals, and Tate McRae pulled it off with authenticity and charm.
It’s rare that a pop star can carry a concert without an elaborate show, but Tate did it. She reminded everyone in that Orlando venue that at the heart of it all, music is about connection, emotion, and shared experience. For anyone who doubts her staying power, this night should erase any lingering skepticism. Tate McRae is growing into a performer whose live shows will be memorable long after the lights dim, even without a single flashy visual.
The night ended for me with a sense of gratitude—and slight regret that I didn’t get to hear the full encore—but also with a reinforced admiration for an artist who knows her strengths and trusts them. There’s something raw, human, and entirely compelling about watching a pop star take a stage and simply sing—and Tate McRae did just that in Orlando, 2025.
Setlist Recap:
Set 1:
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Miss Possessive
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No I’m Not in Love (shortened)
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2 Hands
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Guilty Conscience
Set 2:
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Purple Lace Bra
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Like I Do
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Uh Oh
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Dear God
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Siren Sounds
Set 3 (B Stage):
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Greenlight
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Nostalgia
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That Way (partial)
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Rubberband (partial)
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Feel Like Shit (partial)
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You Broke Me First
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Run For the Hills (walked through crowd)
Set 4:
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Exes
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BloodOnMyHands
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She’s All I Wanna Be
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Revolving Door
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It’s Ok I’m Ok
Encore:
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Just Keep Watching
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Sports Car
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Greedy