![\"\"](\"\/wtbu\/files\/2018\/10\/30727573_10155941639072199_8497841738640914153_n.png\")
<\/p>\n<\/p>\n
By Christian Jaeger<\/span><\/i><\/p>\n <\/p>\n Indie pop singer-songwriter Lykke Li performed a sold-out show of her <\/span>So Sad So Sexy<\/span><\/i> world tour at the Paradise Rock Club on Sunday, October 7.<\/span><\/p>\n The Swedish artist\u2013though her music is primarily in English\u2013has a sound as unique as her stage presence. If one could describe Lykke Li\u2019s style in a few words, it would be something like the title of her latest record, <\/span>So Sad So Sexy<\/span><\/i>. <\/span><\/p>\n Her fourth studio album, <\/span>So Sad So Sexy<\/span><\/i> is something brand new for the listener\u2013a new Lykke Li. Straying from her calm and indie-alternative roots, she experiments with trap and R&B, producing her best work yet. Nonetheless, the soothing and melancholy elements of her prior records\u2013<\/span>Youth Novels<\/span><\/i>, <\/span>Wounded Rhymes<\/span><\/i>, and <\/span>I Never Learn<\/span><\/i>\u2013are all evident here.<\/span><\/p>\n Setting the stage for our headliner was TiRon & Ayomari, a Los Angeles rap and R&B duo with a killer band behind them and a knack for getting the party started. To be memorable, a lot is demanded from opening bands: they set the scene, show off something new, and can\u2019t be boring for a second. TiRon & Ayomari succeeded with this very task; they were more than memorable.<\/span><\/p>\n After about a seven-song set, the talented group had created enough energy, leaving the audience on their toes waiting for the artist to enter the vicinity. The lights cut out, a fog filled the stage, and the hum of her title track began to play. Through the red and black lights that slowly began to alternate on stage, Lykke Li and company appeared.<\/span><\/p>\n You know it\u2019s a bold move to open with the title track of the tour, but how could you not with a name as chic as \u201cso sad so sexy.\u201d Wearing her custom-designed <\/span>So Sad So Sexy<\/span><\/i> jacket over a black latex bodysuit, Lykke Li walked in ready to knock this one out of the park.<\/span><\/p>\n Following the title track came \u201cNo Rest for the Wicked,\u201d a fan favorite from <\/span>I Never Learn<\/span><\/i> that almost immediately had the crowd singing. With her soulful, wonderfully distinct voice serenading the audience, she would soon delve into a lineup of songs from her most recent record.<\/span><\/p>\n The arrangement would include \u201ctwo nights,\u201d \u201chard rain,\u201d \u201cjaguars in the air,\u201d and \u201cbad woman,\u201d the first two stealing the limelight. One of the strongest tracks from <\/span>So Sad So Sexy<\/span><\/i>, \u201ctwo nights\u201d would make the audience want to dance and cry\u2013the perfect combination of sad and sexy. The other the opening song to the album, \u201chard rain\u201d blends Lykke Li\u2019s gorgeous vocals with her experimental electronics and powerful beats.<\/span><\/p>\n The artist would then begin to jumble all of her music, playing both new and old. When it was time to dance, she would perform \u201csex money feelings die\u201d (this song for which the performers would share a choreographed dance), and when it was time to cry, she would perform \u201cbetter alone.\u201d <\/span><\/p>\n The song of the night would be \u201cdeep end,\u201d a dance and sing-along among the crowd and one of <\/span>So Sad So Sexy<\/span><\/i>\u2019s very best. Magic would take place during this song; energy was channeling from Lykke Li and her band to the audience and vice versa, the two entities fueling each other. It was here that Lykke Li could bring sexy to its boiling point.<\/span><\/p>\n Another highlight was \u201cI Follow Rivers,\u201d the artist\u2019s biggest hit in her collection. With the energy building throughout the entirety of the night, fans who had earlier been holding back could finally let go; to add, the DJ remix of the conclusion only intensified everything that was already so prominent in the club.<\/span><\/p>\n Lykke Li ended her first set with \u201cI Follow Rivers,\u201d but soon returned with \u201clast piece,\u201d again balancing the sexy with the sad. The artist would interestingly close with a cover of Usher\u2019s \u201cU Got It Bad,\u201d something she recently recorded for a Spotify session.<\/span><\/p>\n Backed by a phenomenal band that adds to the power on stage, Lykke Li can follow a weepy ballad with a trap-infused R&B number. She is the master of sad and sexy; her versatility is an exciting feat.<\/span><\/p>\n Lykke Li is at the top of her game, and that\u2019s saying something because she\u2019s been in the game for over a decade. The way that she carries herself on stage with such drama in her face and movement in her feet simply says that she\u2019s had her fair share in the spotlight and her fifteen minutes is nowhere near over.<\/span><\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" By Christian Jaeger Indie pop singer-songwriter Lykke Li performed a sold-out show of her So Sad So Sexy world tour at the Paradise Rock Club on Sunday, October 7. The Swedish artist\u2013though her music is primarily in English\u2013has a sound as unique as her stage presence. If one could describe Lykke Li\u2019s style in […]<\/p>\n","protected":false},"author":13221,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1525],"tags":[33,26,97,327,530,117,31,531,25],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/3021"}],"collection":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/users\/13221"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/comments?post=3021"}],"version-history":[{"count":2,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/3021\/revisions"}],"predecessor-version":[{"id":3030,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/3021\/revisions\/3030"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media?parent=3021"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/categories?post=3021"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/tags?post=3021"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}