Dorian Electra’s Fanfare album tour proves that the singer is not only a hyperpop-powerhouse; they also have theatrics and stage presence to match that of rock icon Alice Cooper.
With Fanfare drafting aspects of classical music, techno and rock as opposed to the more rigidly Hyperpop nature of their previous two albums, Flamboyant and My Agenda, I wasn’t exactly sure what the dress code would be for such an event.
Opting for for simple jeans and a t-Shirt as I made my way to the SWG3 Warehouse (a well-deserved size upgrade, they were originally set to be in the TV room at the same venue.)
I generally think of my chequered laces as quite flamboyant but began to feel underdressed as I passed people in anything from leathers to ravewear.
Image Credit: Dorian Electra Official Website
Quickly upon entry we are all inducted into Electra’s Baroque Empire, red and gold military style jackets adorn the bodies of both Electra and their two dancers, cutting a striking figure under the lights as the starting trumpets of ‘Symphony’ blast through the room.
From the first song the crowd is hooked, chaotic and bouncing – yelling the lyrics alongside the artist themselves. Smoothly the artist switches from song to song, the dancers following along with energy that I’m impressed to say they kept up the whole performance.
The theatrics ramp up at the start of ‘Puppet’ where a giant puppet double Electra’s size appears to be controlling the performer. Have you ever seen someone give a puppet head on stage?
Tragically soon after, Electra lost theirs during the performance of ‘Yes Man’, a song that tells the dramatic story of a paranoid man surrounded by sycophants. The performer was blindfolded, led to centre stage, surrounded by the dancers and a large shadowy puppet that loomed from behind. With an exclamation of ‘Cut the F*cking Fanfare’ the dancers hold blades high and decapitate the singer, holding up their head for all to see.
Obviously, this wasn’t Electra’s actual head, and thank god! The crowd was so amped up that we might have torn the roof down if the show had to end so soon. This performance bought time for the star to change costumes. In the meantime, mournful music played over the speakers as a Pierrot style clown ripped bloody chunks of hair from the decapitated head throwing it into the eagerly awaiting crowd.
When buying the tickets I had no expectations, I just liked the music, but I’ll tell that I was a little disappointed that the head didn’t come with me when I left. I would’ve liked to keep it on a bookshelf.
We return to our star who re-enters stage wearing a skimpy suit which, once again, matches the dancers. I’m sure I recognise the outfit from somewhere, it hits me when the music starts that they match the ones worn in the ‘Anon’ music video. I’m a sucker for a good callback and, speaking of callbacks, Electra grants the crowd a reprieve from constant movement with an acoustic performance of ‘Career Boy’ from their Flamboyant album
This is followed immediately by some of the more mellow (in comparison) songs from the Fanfare album as the show winds down, ending on ‘Wanna Be a Star’.
Electra comes back onstage for two final songs. First, ‘Sodom and Gomorrah’ which begins with the line, “Tell me that ancient story, two cities got super horny” – a large part of the reason I originally bought tickets. Immediately the energy returns with a fury and reaches a peak when the next song ‘Freak Mode’ plays.
Electra says goodnight to an exhausted but exuberant crowd and as they and the dancers exit stage for the final time, I know that, given the chance, I would sell my kidney to see them perform again.
Featured Image Credit: Louder Than War
Set List:
- Symphony
- Idolize
- Flamboyant
- Puppet
- Yes Man
- Anon
- Phonies
- Ram It Down
- My Agenda
- M’Lady
- Manmade Horrors
- Touch Grass
- Career Boy
- Lifetime
- Warning Signs
- Wanna Be A Star
- Sodom And Gomorrah
- Freak Mode
The Mourning Paper 