It might have been 5 or 6 – it was a little overwhelming to keep count
It’s best to describe FKA Twig’s 3am Primavera Sound set in the order it happened, rather than jumping to when she’s 10 feet up a pole in a bejewelled two-piece doing the splits upside down to a track of ‘Lights On’ – a moment so brilliantly void of subtlety that you question if you imagined the preceding 40 minutes.
plays performs for an hour in total, splitting her new high-concept show into four acts (I think).
We hear Twigs before we see her, as a pre-record talks plainly of “a woman’s worth” and “a woman’s prerogative” (a motif we’ll hear again at the start of Act Two). It’s been a while and it’s a reminder of who Twigs is – a young female artist who’s found power an inspiration in rejecting gender shame.
She half glides/half scuttles on in a semi-mechanical fashion that has clearly be thought and re-thought about, setting the agenda for a highly stylised hour that mixes contemporary dance and movement, West-End musical ballads, costumes and set staging, and Twig’s own brand of half speed trap beats and arias about fucking. For now, though, she’s on her own in billowing white that looks like it’s been design by John Galliano, and a French aristocrat hat; not even a band, DJ or pretend music source with her. She picks her most delicate songs first. Her voice is beautiful and pin sharp, but it’s the boldest of moves at 3am at a festival. A lot of people seem oblivious to the music as they continue their convocations, but this will change. Others are already being pulled towards the stage by the simplicity of Twigs and her music. Every now and then I think about how weird and miserable our digital editor Greg and I must look to the groups of friends around us. I don’t think Greg’s blinked and we’ve stopped talking to one another.