Review: FKA Twigs Turns Factory Town Into a Surreal Dance Ritual

The anticipation for FKA Twigs’ show could be felt around Miami many hours before door time. Earlier in the day, when I went to a popular vintage store on Biscayne Boulevard to pick up the last piece to complete my outfit, I was told that several people had visited throughout the day for the same reason: everyone wanted to look the part for the upcoming communal celebration.

The British musician, who recently won a Grammy Award for her album Eusexua (Best Dance/Electronic Album), kicked off her Body High tour in Miami last night — her first U.S. tour since before the pandemic, and first Miami show since 2014.

Upon arrival at Factory Town a few minutes past 8 p.m., Eartheater’s enchanting voice could be heard from the lines outside, luring people in like a mermaid.

Once inside, it became clear that, as Twigs had mentioned in our conversation a few days earlier, she had created a safe space for thousands of people thriving in self-expression. The exact number: 5,500 people, marking a sold-out performance.

The soundtrack between sets helped set the tone for the night, playing British ’90s classics by Massive Attack and Radiohead.

At 9 p.m., the lights went dark, and Twigs appeared on the floor wearing a white tank top and white shorts. The soft melody of “Mirrored Heart” began to play, cutting through the screaming fans. The stripped-down entrance highlighted Twigs’ strength in vulnerability and opened the night that would become a full feast: classics from her catalog, acclaimed songs from Eusexua, unreleased tracks, and techno remixes of new hits.

The stage was composed of scaffolding, two dance poles, a giant screen, and several mobile props that dancers moved in and out throughout the performance. The live band was set up atop the left scaffold — not in the forefront, but adding an extra human layer to a performance already full of emotion.

The dancers took center stage. With Twigs being a gifted dancer herself, expectations for the choreography were high — and they were more than exceeded. The dancers were not there simply for entertainment or to back up Twigs. They became angels, props, aerialists suspended on chains, and musicians. At times, they created orgy-like tableaux; at others, they seemed like extensions of Twigs’ own body, repeatedly forming entirely new beings onstage.

What started as a stripped-down performance slowly transformed into a surrealistic night out, with a mercurial mood shifting from a bright, colorful party to a haunting techno dance floor.

The visuals were as eclectic as Twigs’ music, evolving through colors, textures (lots of textures), and layers. At times, they incorporated fragments of live recordings of the crowd and the dancers themselves, captured by a handheld camera operated by one of the performers. At moments, the visuals recalled the raw shadow play and surrealism of Anton Corbijn, but viewed through a modern lens. In one song, Twigs pretended to cut one of her dancers with a sword, while the screen behind her splashed with projected blood.

Midway through the two-hour set, Twigs paused to thank the crowd, saying that starting her Body High tour in Miami was “truly something special.” She added, “It means so much to start the tour here,” and took a moment to thank her team — calling them superheroes — as well as the fans and concertgoers for creating a safe space where everyone could thrive.

Later in the set, a moment of stillness came. Twigs exited the stage briefly, changed into more comfortable clothes, and returned to sit in the center alongside her guitar player. As they began warming up on the first chords of the song, Twigs stopped the show after noticing a fan in the crowd who needed assistance. She offered water and asked security to help them. The moment repeated itself as Twigs, dancers, and musicians ran backstage to grab bottles and distribute water to the front rows. The gesture reassured the crowd of Twigs’s care and attentiveness toward her fans.

As a known shapeshifter, Twigs changed outfits countless times, as did her dancers — moving from simple fabric accents to elaborate costumes. The wardrobe design added yet another layer of craftsmanship to the production.

Performances of “Eusexua” and “Room of Fools” were among the night’s highlights, with the latter turning Factory Town into a full-on rave. The moment showcased Twigs’ exceptional singing; at times her melodies might remind some listeners of Björk. Musically, the track carried echoes of the golden days of Faithless, though clearly reimagined — borrowing inspiration but letting it fly somewhere entirely new.

The set continued moving through songs from her earlier catalog and new treats such as “Techno Ballet.” Toward the end, the performance began to strip down again — literally — as Twigs took to the pole for “Striptease,” before closing the night with “Cellophane” and the live debut of “Lonely But Exciting Road.”

Overall, the show covered many fronts and emotions. It was a display of strength, sensibility, craftsmanship, and diversity, and a reminder that FKA Twigs carries the stamina and production scale of a pop diva while maintaining the grit of the British underground.

FKA Twigs at Factory Town — Set List

1. “Mirrored Heart”
2. “Meta Angel”
3. “Blue Bird”
4. “Figure 8”
5. “Drums of Death”
6. “Cheap Hotel”
7. “Sum Bout U”
8. “HARD”
9. “Lights On”
10. “Honda”
11. “Papi Bones”
12. “Video Girl”
13. “Tears in the Club”
14. “Sushi”
15. “Eusexua”
16. “Perfectly”
17. “Love Crimes”
18. “Room of Fools”
19. “Techno Ballet”
20. “Sticky”
21. “Stereo Boy”
22. “Nature’s Daughter”
23. “Water Me”
24. “Home With You”
25. “Fallen Alien”
26. “Mary Magdalene”
27. “Thousand Eyes”
28. “Two Weeks”
29. “Striptease”
30. “Cellophane”
31. “Lonely But Exciting Road”