She stood in the crook of two large samplers, cuing up thumping dance beats and swaths of cooing, angelic vocals. Wielding a cordless mic, she occasionally slunk up to the front of the stage and showed off some limber moves while shimmying along with her two accompanying dancers. A floor fan meant that her hair fluttered in the breeze while red and white strobe lights flashed.
The synth pulse of "Oblivion" kicked the high-energy performance into overdrive, with revellers climbing up onto friends' shoulders and blowing bubbles up into the air. Ever the multi-tasker, Grimes crouched down at one point to help a stagehand to mop up her spilled water.
As the set neared its end, she invited fans to dance — as if they weren't already — before cuing up the bass-heavy, Blood Diamonds-produced combo of "Phone Sex" and "Go"; the latter cut (which was famously rejected when Grimes tried to give it to Rihanna) damn near blew the roof off the stage with its explosive bass drops. And even though the closing "Genesis" wasn't quite as urgently energetic, the adoring response from the faithful meant that it was the satisfying exclamation mark on one of the day's best performances.
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