On a rainy Sunday night in late March, FKA Twigs took the stage at MGM Music Hall as part of the first leg of her “Body High” tour. What followed was an impressive feat of physicality, vulnerability, and otherworldly vocals — a visual and auditory high.
The “Body High” tour marks Twigs’ biggest yet, both in terms of scale and hype. The crowd of the Boston venue buzzed with anticipation, many of whom were eager to see Twigs in concert for the first time.
Twigs opened the show with “Mirrored Heart,” a song off her album “MAGDALENE.” She performed the song lying on white bedsheets set against a stark black curtain. Her voice reverberated and looped as her arms moved rhythmically to the sound of synth notes. Throughout the rest of her set, Twigs serenaded the crowd with haunting, enchanting vocals layered over hip-hop, techno, and operatic elements, joined at points on keyboard by collaborator and dancer, James Vu Anh Pham. Though this tour supports her 2025 project “Eusexua Afterglow,” the two-hour set list traced her catalog, pulling from “LP1,” “CAPRISONGS,” and deep cuts like her 2015 “M3LL155X” EP.
The crowd snapped to attention when they heard the rhythmic techno beat of “Drums of Death,” from “Eusexua.” Twigs whipped her red hair around as dancers performed acrobatics with office chairs and struck elongated poses. The first song performed from “Eusexua Afterglow” was also a crowd favourite. Clad in armored breast cups, a cropped fur-lined hoodie, and burgundy leather pants with spikes and studs, Twigs commanded attention while coquettishly performing “HARD,” at one point planting her boot on a dancer’s back as he dropped into push-ups.
This avant-garde look was just one of many, highlighting the incredible workmanship of her dressers and behind-the-scenes staff, including one showcased by an onstage outfit change. For Twigs, her form-fitting looks also underscored a journey of healing her own relationship with her body. In between songs, Twigs explained that she named the tour “Body High” because there had been so many times in the past years where she’d felt “really body low.”
That mounting confidence was also showcased during the outro of an unreleased track, dubbed by fans as “Techno Ballet,” as Twigs moved with precise physical control and admiration while dancing on the pole. Other highlights included the coordinated dance routines to “Sushi” and “Room Of Fools,” bodies glistening with sweat and muscle, while mirrored panels reflected misty beams of light.
Amid the techno tracks with intense choreography, there were also softer moments that cut through. Twigs shared a stripped-back duet of “Sticky” with guitarist Eddie Soares, offering a brief exhale before the final stretch.
Towards the end of the set, dancers undressed to trunks and bikini briefs that blended into their complexion, and Twigs performed a series of stripped-down songs. Bodies undulated around her during “home with you”, which showcased her airy vocals and ability to convey a kind of emotion that lets so many fans in the crowd see themselves in Twigs. She later came out draped head-to-toe in brown and white feathers, lights strobing behind her to the beat of “Two Weeks”. Twigs sang with conviction, ferocity, and an open heart.
The stage design mirrored the performance’s raw intensity. Embellishments were minimal, anchored by a slightly elevated metal platform stretching the width of the stage. On either end, scaffolded structures evoked a construction site, with exposed beams and hanging chains adding to the industrial edge. Poles and ladders on both sides functioned like metallic spines, giving dancers vertical space to climb and contort. The lighting shifted throughout, at times stark white, illuminating plumes of fog, and at others saturated in red and green, casting the stage in a pulsing, club-like glow.
The show closed with “Cellophane,” perhaps Twigs’ most well-known song, for which she returned to the pole. The room was quiet, mesmerized by her movements and the raw emotion from her vocals. It sounded like volumes of intimacy and experience were pouring out of her ballad, creating a sense of togetherness in the room. I, among others, couldn’t bring myself to record the performance, filming at that moment felt intrusive because it was so vulnerable, nor did I feel the desire to—it was just special to stand there and watch this one-time experience.
The “Body High” setlist was a treat for FKA Twigs fans. She executed movements and vocals with mastery, and delighted the audience with unreleased/unrecorded interludes. The show was a display of artistry and musical worldbuilding.
Take this tour and all of its feelings, body highs and body lows, and wrap it in cellophane.
Get your tickets to the “Body High” tour here.
William J. Zhang loves fashion, interviewing, and writing. His early work included fashion design interviews for the Montreal-based fashion incubator LIGNES DE FUITE, published scientific literature in academic journals, and reporting work for the Science & Technology column of the Yale Daily News. William is interested in the interplay between fashion and music, and has since started see shows closer to the stage barricade for up-close views of the artist’s emotion, styling choices, and set design.
In parallel, William is an epidemiologist trained at Yale University and McGill University, and has since worked in consulting under the health economics, outcomes research, and litigation support portfolios. When he is not drafting poems and fashion commentary, you can find William exploring local art galleries and hunting for unique matcha flavors.
William is based in Boston, MA, and travels frequently to New Haven, CT, and New York, NY.