to address the audience at Brooklyn’s King’s Theatre, and even that was a brief “Hi, thank you, has anyone ever had their heart broken?” After that, we simply got a “Thank you, New York” at the end of the show, as she bowed with her dancers and her band.
Because Magdalene is not a concert, per se -- a barrage of greatest hits with quippy banter interspersed -- Magdalene is a, a performance in a gorgeous historic theater that demanded silence from her fans to allow for dramatic breaks, and one that felt outside the scope of the indie touring circuit, combining several styles of dance and intricate staging with gorgeous pop, R&B and electronic music.
Magdalene is named after Twigs’ album of the same name, a record that was released two weeks ago to universal acclaim. The record explores the pits of her loneliness following the demise of a relationship and focuses on self-discovery . The live show followed suit, not only in her question to the audience, but in the choreography, lighting, staging and Twigs’ generally mystifying presence and performance.
Twigs spent the first half-hour of the show onstage by herself, recapping some of her earlier singles, like “Pendulum” and “Water Me,” before being joined by four dancers for “Figure 8” and “Video Girl.” It was seven songs in that she launched into the songs from
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