{"id":53632,"date":"2026-03-26T14:55:34","date_gmt":"2026-03-26T18:55:34","guid":{"rendered":"https:\/\/sites.bu.edu\/wtbu\/?p=53632"},"modified":"2026-03-26T14:55:34","modified_gmt":"2026-03-26T18:55:34","slug":"fka-twigs-mgm-music-hall-3-22","status":"publish","type":"post","link":"https:\/\/sites.bu.edu\/wtbu\/2026\/03\/26\/fka-twigs-mgm-music-hall-3-22\/","title":{"rendered":"FKA Twigs @ MGM Music Hall 3\/22"},"content":{"rendered":"

Photography by Owen Butler<\/span><\/span><\/p>\n

Review by Jonny Malyon<\/span><\/p>\n

FKA Twigs, born Tahliah Barnett, is an English artist, currently on her \u201cBody High\u201d tour in support of her recently released album \u201cEUSEXA\u201d and companion album \u201cEUSEXA Afterglow.\u201d She is best known for her musical abilities as a singer, songwriter, and producer, but it is difficult to box her artistry in. Barnett\u2019s performance definitely showcased these skills, but also highlighted her talents as a dancer, performer, and artistic visionary, as well.<\/span><\/p>\n

The set opened with a single spotlight shining down on Barnett atop a large bed laid with a keyboard and microphone center stage. She opened with \u201cmirrored heart,\u201d a song off her 2019 album, \u201cMAGDALENE,\u201d over a sparse instrumental accompaniment being played off stage, while lights swirled around her, and even the bed itself began to light up. Two dancers moved through this introductory section of the set beside Barnett, eventually joining her on the bed and on the keyboard. For the next song, \u201cmeta angel,\u201d off her 2022 mixtape, \u201cCAPRISONGS, \u201d Barnett grew more animated and started lightly dancing around the bed. She followed with an unreleased song, \u201cBlue Bird,\u201d playing the keyboard herself while one of the dancers wrapped his body around her and held her microphone, while the other sat next to her, accenting her vocals with what looked like a bass clarinet.<\/span><\/p>\n

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Following \u201cFigure 8,\u201d the opening track off her 2015 EP \u201cM3LL155X,\u201d the lights darkened, the bed was pulled off stage, and the black backdrop fell, revealing the full stage setup. Each stage wing had large metal structures that resembled pieces of a jungle gym. There were areas to climb, platforms to dance on, and hanging structures to house either poles, chains, or ropes, which could be switched out in between songs. Atop the structure on stage right were the instrumentalists. One of them looked in charge of an electronic drum kit and sampling machine, while the other seemed to be switching between a synthesizer setup, guitar, and bass.\u00a0<\/span><\/p>\n

As the set carried on, Barnett traversed through her catalog, alternating between her high-energy dance tracks and her more intimate, vocally challenging songs. Up to seven dancers swirled around her at a time, with an additional hype man bringing energy to the stage as well. The dancers alternated between tight group choreography, which Barnett would join from time to time, to each dancer taking their own place on the stage to let the music flow through their bodies more independently. I was impressed with Barnett\u2019s ability to project such a clear and pure vocal tone while keeping up with her dancers. She floated so effortlessly between singing, dancing, and merely enjoying the music and being on stage. The dancers were able to display what felt like the peak of beauty and expression that the human body is capable of. Barnett took to a pole herself during a couple of songs and showcased her beautiful dancing ability, strength, and body control.<\/span><\/p>\n

The \u201cBody High\u201d tour was a celebration of the human body. Many of Barnett\u2019s costume changes occurred on stage. During one of them, she joked about how she might as well do them in front of the crowd, since she doesn\u2019t have much to hide anymore. She opened up about how this tour came about while she was feeling very \u201cbody low\u201d and wanted to aspire to something different. She thanked the audience for being there, for being together in the community of dance music and art, and for representing the kind of individuality and bravery that she has always aspired to cultivate and embody.<\/span><\/p>\n

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The sprawling set ended with likely the most moving vocal performance I will ever witness. Accompanied by a single piano, Barnett performed the lead single off her 2019 album, \u201cMAGDALENE,\u201d \u201ccellophane.\u201d She took her time with each lyric and vocal swell, the keyboardist following her inflections attentively. Each phrase was filled with emotion, as if she had just penned the vulnerable lyrics only moments before. By the end of the song, she was back on the bed, with a single spotlight, all but sobbing into the microphone as she bared her soul for all of us to see. The audience was rapt with attention.\u00a0<\/span><\/p>\n

Barnett closed the set by bringing all of her dancers, instrumentalists, and stagehands out on stage for a final bow together. She called them family, and the unity they all shared was obvious. It was a privilege to watch someone who effortlessly floats in her music and dance rest so firmly in the present moment with her friends on stage and the audience there to be with her. Her commitment to her fans, to community, and to being present in her body was on full display and was felt by us all.<\/span><\/p>\n

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Photography by Owen Butler Review by Jonny Malyon FKA Twigs, born Tahliah Barnett, is an English artist, currently on her \u201cBody High\u201d tour in support of her recently released album \u201cEUSEXA\u201d and companion album \u201cEUSEXA Afterglow.\u201d She is best known for her musical abilities as a singer, songwriter, and producer, but it is difficult to […]<\/p>\n","protected":false},"author":25732,"featured_media":53633,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1895,1525,1523,15,1530],"tags":[33,517,327,2680,1920],"_links":{"self":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/53632"}],"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\/25732"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/comments?post=53632"}],"version-history":[{"count":1,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/53632\/revisions"}],"predecessor-version":[{"id":53640,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/posts\/53632\/revisions\/53640"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media\/53633"}],"wp:attachment":[{"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/media?parent=53632"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/categories?post=53632"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.bu.edu\/wtbu\/wp-json\/wp\/v2\/tags?post=53632"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}