Intimacy is the 23-year-old American megastar’s superpower – her groundbreaking bedroom pop, dark, tense, off-kilter and with sullen magnetism, is ideal for secluded, personal listening – but her global success has conversely forced her to into huge venues her music should be unsuited to.
At the first of six nights in London’s O2, she offered up a dazzling answer to the challenge of upscaling both sound and emotion. Eilish did away with the O2’s usual structure and placed a basketball court-like stage in the middle of the floor; her band – which for the first time this tour didn’t feature her brother and co-writer Finneas, busy with his own solo career (“devastating” as Eilish said) – played in two slightly lowered sections at either end.
She made the most of it.
The staging was Instagram ready but it immediately shrunk the room (Photo by Gareth Cattermole/Getty Images for Live Nation)The deafening noise only ceased when Elish demanded it: for 2018’s “When the Party’s Over” she asked for silence in order to create a loop of her own voice, allowing her to harmonise with herself (and showed she was singing live, which wasn’t always apparent).
She closed with ‘Birds of a Feather’ while confetti rained down. (Photo by Gareth Cattermole/Getty Images for Live Nation)
There was a semi-acoustic section that pointedly included fame-ruminations “Your Power” and “TV” – songs that astutely skewer and dissect fame, which, as one of the most scrutinised young women in the world, has often sent Eilish into a particular type of hell – but otherwise the big songs raced along. For teen-goes-bad tale of “Bad Guy” – the bubbly, propulsive synth line remains irrepressible – she took a Pro-tool camera and filmed the crowd reaction; on the B-stage, she sang a wild version of “Guess”, her underwear-fetish collaboration with Charli XCX (who appeared on the big screens) as Brat green-coloured lasers sent everyone dizzy.
Billie Eilish plays the O2 tonight, then touring.
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