Last Tuesday, Marina & The Diamonds took Montreal’s Metropolis stage & snatched a few weaves to say the least. Charisma, uniqueness, nerve & talent, she had all it takes to make you say See you next Tuesday! – Hope you caught that double pun right there.
Before we start delving deep into the gems, let’s discuss the slayage of the opening act, which was one hell of a surprise.
Suited up in velvet blue, Christine & The Queens was able to set fire to the venue despite her unknown status to most spectators. Not only did she show off her amazingly trained vocals & swishy footwork, but she also genuinely reached for the crowd’s heart & held it tight for a moment. Even after waiting all day in the frosty weather to get a barricade view for Marina, The Diamonds were carelessly grooving to Saint Claude’s beats, nearly forgetting the purpose of their presence.
Needless to say, she did not hesitate to address a few words between the songs she performed, charmingly connecting with the public via her foolish words & silly gestures. Inter alia, she insisted on getting her inner Beyoncé out on stage in order to slay – or slayer, as she stated in French – & invited everyone to do the same.
Above all, what made her so special – apart from her undeniable talent & unique spirited style – was the way she carried herself so lightly; an artist who doesn’t take herself too seriously is always much more accessible & relatable.
Please take into consideration that these pictures were captured with a broken iphone 5S, how unfortunate.
Now let the sparkles take place! First & foremost, The Neon Nature Tour was divided in three sets, each one outlining a different era of Marina’s discography. Thusly, The Family Jewels kicked it off with one peculiar jungle spectacle. Dressed in an apricot-tangerine Aladdin hippie like ensemble, Diamandis was serving us her usual deep demonic vocals in front of an enormous set of screens displaying matching content. In fact, in terms of visuals, a large number of emojis & additional animated imagery were featured in order to please & entertain.
Altogether, even though I wish she sang Hermit The Frog – a clever commentary on double standards regarding female sexuality – the Greek goddess chose & performed enjoyable tracks, including the stripped down Obsessions on keyboard.
As Marina left the stage to proceed with a costume change, we witnessed the magical birth of Electra Heart, which showcased a shout out to Britney’s iconic Toxic – I was totally here for this. Keeping in mind that this alter ego was created as part of her sophomore, which was an obvious attempt to reach upper-class stardom, resulting in slickly produced American electro co-written bops, the Spears reference makes absolute sense.
Subsequently, as the performer made her way back to the stage in what was a bubbly pink & futuristic equivalent of her initial outfit, the audience was jumping, fist bumping, screaming – & even screeching – from Bubblegum Bitch to Primadonna. It then got hold of itself for the fifth & last song of the set, Lies, which is a slower & much more emotional piece.
Next off was the death of Electra Heart, leading to the birth of FROOT, aka the come back of the real Marina. As a matter of fact, with this third album, Marina decided to go back to her roots by throwing the American producers overboard & writing every song all by herself. Sequentially, given that she always liked sounding like a band – although she is NOT a band – she also brought back this sonic element. & Although she did co-produce it with Faultline, the album essentially remains her own work. Therefore, despite her previous album not necessarily being dishonest, this last one came off as much more genuine & personal.
Long story short, every song on the album illustrates a characteristic of hers, an observation about society, &/or basically a life lesson she has learned as an endlessly growing individual; every living soul’s fleshing out follows a cycle, just like a froot on a tree.
Ok back to the show! At this point, the peachy performer is wearing a sparkly blue overall with a matching gauze cape, topped off with a glittery blue cherry headpiece. Undoubtedly, she’s decided to wear three different versions of the same outfit to portray the symbolism of every era – bring on the garments! Anyhow, Marina proceeded to play five definitely unequaled songs off FROOT – Froot, Savages, Can’t Pin Me Down, I’m a Ruin, Forget – as well as Immortal, which is not necessarily a highlight of the album, but doesn’t have outstanding rivals either.
As for the encore, it consisted of Happy & Blue, which are arguably two of the finest tracks off her third effort – apparently, I’ve classified more than half of the album as first-rate, but what can I say, it’s that good. Moving on! Considering that it joins the most emotional & the most upbeat frooty songs, it was a splendid way to end the show.
Ultimately, with the exception of MarinaMeets being cancelled, which automatically terminated every fan’s chance of meeting her – trying very hard not to be pressed here – I couldn’t have asked for more; Marina’s vocals were blue chip, the aesthetics were precisely chosen to fit each era, & her usual heartwarming approach was all it took to loop the loop.