The French singer explores a new landscape with his latest album 'Paranoïa, Angels, True Love’
In 2014, Christine and the Queens’ French album, ‘Chaleur Humaine’ became an overnight success. Subsequently repackaged as a self-titled debut for an international audience with many of the lyrics reworked into English, the smooth, sophisticated electronic pop instantly had people hooked - but Chris was only just getting started.
Taking this into consideration, its translation onto the stage could go a number of ways. After kicking off the tour in Birmingham on Wednesday night, it was then due to arrive at Manchester’s Albert Hall - the perfect venue for an album which conjures celestial beings and religious iconography - but following Chris’ powerful performance at Glastonbury, it was moved to the Academy.
Wearing a paired back waistcoat and trousers which reveal some nipple tape underneath and a black leather glove which masks a fist clenching and gliding through the air towards the heavens above, there’s more than just a touch of theatre to the performance. Spoken word monologues land in a sermon-esque manner, while body parts contort into shapes reminiscent of the dance moves of Michael Jackson, with a touch of vogueing too as Chris commands the stage.
There’s boldness and resolved acceptance with ‘Full of Life’, emboldened and taken in a unique direction by Pachelbel’s canon. Leading into the aforementioned Track 10, an odyssey of sorts, the intensity felt when listening to the song with headphones is magnified and stretched out making for a rendition that feels at times stressful, but full of release - like the first drops of rain that break the storm.
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