I
It may come as a surprise to some that Kim Petras’s song “Unholy” reached number one worldwide early on in her set tonight, but this is a testament to the unique type of fame held by the German-born, LA-based pop star. While her collaboration with Sam Smith in 2022 brought her mainstream success and made her the first openly transgender artist to win a major Grammy award, her devoted and largely LGBTQ+ fanbase has been eagerly consuming her bold dance-pop since her debut in 2017. In other words, there aren’t many casual listeners in the audience tonight, just dedicated fans ready to hear all of her hits.
Display the image in full screen mode.
Although last year’s Euro-dance flavoured Feed the Beast was officially her debut album, Petras has released enough distinct EPs and mixtapes to structure tonight’s show as her own personal Eras Tour. The opening section is chaotically gothic: Petras appears dressed as a robot Regency heroine against visuals of CGI demons and stained glass windows, frolicking with her dancers in a witchy circle. Thanks to the consistent heavy drops of King of Hearts and Personal Hell, the horror anthology vibe somehow works.
The next part features a hyperpop pornography fantasy centered around Petras’ two Slut Pop EPs. In a schoolgirl outfit, she puts on a fast-paced megamix while dancing on air vents and with Y2K webcam footage playing in the background. The impressive production, dynamic visuals, and lively environment create an atmosphere similar to a stadium concert at an underground LGBTQ+ club. It’s entertaining to watch a queer individual manipulate traditional heterosexual themes for the enjoyment of a queer crowd.
Following the intense excitement of the first half, the second half adopts a more traditional pop show structure. The tracks from Petras’s second album, Problematique, which addresses criticism regarding her collaboration with producer Dr Luke, attempt to embrace a more refined sex-pop style but ultimately come across as a weak imitation of Madonna’s original 90s version. While her debut single, “I Don’t Want It at All,” still holds up well, the concluding greatest hits section suffers from its simplistic presentation, revealing the repetitive nature of some of her songs. Petras shines brightest when surrounded by elaborate AV effects and embraces her chaotic, excessive side.
Source: theguardian.com
