Review: Billie Brouse's THINKING OUT LOUD Brought Heart and Humor to Don't Tell Mama

There are entrances…and then there are Billie Brouse entrances. When the Canadian-born songstress stepped into the showroom at Don’t Tell Mama on Tuesday, November 18, the packed house erupted with the kind of whoops and cheers usually reserved for rock legends returning from stadium tours. Whether it was friends, fans, or simply admirers of a woman who radiates warmth and charm, the reception set the tone for what would become a thoroughly enjoyable evening.

Backed by a solid band including multi-MAC Award winner Matt Scharfglass on bass, Eric Hart on drums, and music director John Fischer at the piano (also lending some beautifully blended background vocals through the show) - Brouse delivered the sixth performance (and third encore) of her show Thinking Out Loud. 

Brouse is a late bloomer to the cabaret community, having first arrived in New York in the 1970s. But she carries the stage with the ease of someone who’s lived a thousand show-business lives! Her “moving to New York” narrative alone could be a full musical: it includes a landlord with a gun, summers spent working the Canadian carnival circuit, and working with an eccentric songwriter.

Director Kelly Wohlford’s thoughtful tech design positioned Brouse in silhouette for her opening moment. Lit from behind, it was a striking visual. She then launched into a gleaming rendition of Stephen Schwartz’s “Corner of the Sky,” immediately proving that her crisp vocals are as expressive as they are technically sound. A subtle country twang was evident in her voice, too, and was put to excellent use in a spirited, heartfelt “My Church” (Maren Morris). She also regaled the audience with the story of meeting songwriter Moogy Klingman, a charmingly curated anecdote which led into a performance of his song "Let Me Just Follow Behind."

One of the strongest sequences of the evening came when Brouse shifted gears into romance: the reveal of her love story (culminating in a recent marriage to her wife), was paired with a soulful “Me and Mrs. Jones.” This slid perfectly into a buoyant, disco-ball illuminated mashup of “Ain’t No Mountain High Enough” and “My Girl,” which had the crowd dancing in their seats.

At one point, Scharfglass vamped a solid bass line (into Ed SHeeran’s “Thinking Out Loud") as Brouse paused to "locate" the lyrics - a "human" moment she handled with endearing warmth. Cabaret is, after all, in this reviewer's opinion, built on connection and authenticity, not polish.

Her “Working” Medley, which bore the unmistakable fingerprints of director Lennie Watts (the undisputed king of medleys and mash-ups), was smartly structured, narratively driven, and one of the evening’s highlights. If Chappell Roan’s “Pink Pony Club” felt like an unexpected stylistic turn, the customized New York-centric lyric tweaks showed Brouse's savviness in its delivery. In all, Thinking Out Loud is a heartfelt, humorous, and solid debut cabaret. 

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Keep an eye out for an encore performance in February 2026 (yet to be listed as of this writing). Follow Billie Brouse on Instagram @billiebnyc

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