Dorian Electra brings high voltage hyperpop to Belgrave Music Hall
Dorian Electra has brought the Queers out to play. The crowd is a multi-coloured sea of dyed hair, trans pride flags, and rainbow suspenders. Any sold-out show at Belgrave Music Hall is bound to conjure an atmosphere of excitement, but this rainbow brigade seems especially ready to get down and dirty.
Such a unique audience could only be drawn by an artist as innovative as Electra. The genderfluid popstar’s outlandish on-stage persona and intelligent caricature of masculinity has made them the doy-them of hyperpop performers. In a genre that thrives on collaboration, Electra has racked up an impressive roster of credits alongside 100 Gecs, Charli XCX, and even Lady Gaga. Their most recent album, 2020’s ‘My Agenda’, is a riotous collection of distorted and glitching pop bangers and masterfully blends Queer politics, meme culture, and experimental production. Electra’s range of influences is so broad and esoteric, it’s anyone guess what they will bring to the stage tonight.
As the creepy and abrasive trills of show opener ‘F the World’ ring out, a silhouetted figure appears on stage. Through strobing neon lights, Electra can be seen in an ensemble best described as a sort of kinky Slenderthem: a long black PVC trenchcoat; devilishly pointed shoulder pads; taloned black gloves. Through both ‘M’lady’ and ‘Gentleman’, two technpop tracks that cleverly satirise the trope of the chivalrous man, the singer thrashes to the beat with flare. The constant oscillation of Electra’s shows between ridiculous camp and unnerving horror brings nothings but joy.
Launching into the middle third the set, Electra drives the show into pure pop overdrive. A speedy costume change sees them return as a scantily clad police chief flanked by two similarly bare-skinned dancers. The focus is now on Electra’s brighter first album ‘Flamboyant’ as the trio convulse in synchronisation to sticky melodic hooks and clattering synths. In fact, the outro of the album’s title track is where Electra’s vocals shine the brightest, drawing attention to how seldom their voice is gifted a spotlight amid the extravagance. Although, this does nothing to diminish their command of the stage. “Spell it out for Daddy”, Electra orders as the financially benevolent love interest during the tongue-in-cheek ‘Daddy Like’. The singing audience do as they are told.
The tail end of the show sees Electra, now dressed as an anime-inspired army general, deliver their most aggressive material. With maximalist tracks such as ‘Ram It Down’, ‘Iron Fist’ and ‘My Agenda’, they juggle heavy metal, hardcore, dubstep and bubblegum bass to create the sound of sickly-sweet dystopian future. It’s enchanting and unnerving in equal measure.
For all the theatricality of a Dorian Electra show, the performer is smart to not rely solely on shock value. To see the deconstruction of masculinity from an artist between the binary enacted with such irreverent playfulness is nothing short of exhilarating. Make no mistake, this protest pop could be just the thing to kickstart a genderqueer revolution.
