Mao Conquered as Grimes' Empire Spreads

Grimes - Mao Livehouse, Shanghai

Claire Boucher, the 25-year-old Vancouver native behind Grimes, recently gave an interview in which she claimed "the Grimes thing is getting kind of out of hand... getting too big". The multi-instrumentalist also hit out at the industry figures who oversaw last year's mammoth tours of America and Europe, dubbing them "evil".

Grimes: Frustrated?

Any possible disaffection with the music industry is certainly well hidden, however, as Grimes arrives in Shanghai as part of the city's JUE Festival. Instead, the all-conquering Canadian songstress turns in a show rich in energy and technical flair. Tracks from last year's beguiling Oblivion are combined with older songs from Boucher's spell on Arbutus records, along with some intriguing new material, in a confident performance. This is more than enough to excite an enthusiastic, diverse crowd at the wonderfully-titled Mao Livehouse.

After a support set from Ami Dang, which seems to consist of a single delay pedal echoing the interminable pain of a migraine sufferer, Grimes takes the stage to rapturous applause. Opening number 'Symphonia IX (My Wait Is U)' stands out on Oblivion as a hypnotic testament to despair and obsession, and the song's brooding power allows Grimes to enrapture the audience from the outset.

Grimes: Dazzling

In the wake of this opener, other tracks from last year's 4AD debut are warmly received by a nearly-full Livehouse. Former single 'Genesis' is delivered with surprising force, with Boucher lurching maniacally side-to-side behind her arsenal of keyboards and synths. Crossover hit 'Oblivion' sparks obligatory moshpits, with the crowd spurred on by a handful of local dancers who take the stage.

However, Grimes is perhaps at her most impressive in the show's intimate moments. The looping vocals on 'Skin' betray a deep longing for connection, while 'Vowels = Space and Time' is transformed onstage into a slow-paced, claustrophobic heartbreaker. 'My Sister Says The Saddest Things', meanwhile, is a welcome throwback to Grimes' more oblique early work.

Boucher, in a move which suggests she is becoming more comfortable in the manic world of her musical alter-ego, concludes a fine performance by showcasing new material. The unnamed final song is a surging, three-minute blast of surprisingly violent electro-angst which reduces the front rows of the audience to a frenzy. Grimes stands back and nods her head in silent approval. Maybe 2012 was just the beginning.

FOUR STARS