PEACHES CELEBRATES SEXUAL LIBERATION AND QUEER JOY AT SOLD-OUT BELLWETHER GIG
At a Peaches show, things are bound to get hairy! For the first of two sold-out nights at Los Angeles' Bellwether, feminist electro-punk icon Peaches took the stage in anticipation of her forthcoming record, No Lube So Rude - her sixth record and first in 9 years. In true Peaches fashion, elaborate costumes - including giant genitalia and gimp outfits - and explicit performance art allowed for more than 90 minutes of unapologetic queer music. One dollar from every ticket sold at the show will be donated to the Trans Justice Funding Project, a collaboration with the nonprofit PLUS1 – evidence that Peaches remains a steadfast champion of the queer community.
Before Peaches could delight the sold out crowd, the night began with a real punch of an opener right out of the gate. Pixel Grip, an electronic trio from Chicago, brought out moody fog and dizzying stage lights worthy of the best goth raves of the 90s. Right before diving into a remix of the Nine Inch Nails track “As Alive As You Need Me To Be,” singer Rita Lukea set the tone of the night by exclaiming, "Trent Reznor is my dad and Peaches is mother." The group's sexy, resonant sound -- reminiscent of the greatest hits from several Matrix soundtracks -- brought a slick, industrial energy to the space. Thumping bass rhythms and addictive synth hooks paired perfectly with Lukea's airy vocals. Dressed in all black leather with chrome detailing that frequently flashed in the stage lights, Pixel Grip was the perfect opener for an artist like Peaches -- and the roaring crowd certainly agreed.
By the time Peaches took the stage, the Bellwether audience had come undone. Performing for 90 minutes with two encores and countless crowdsurfing stints, Peaches tore through twenty years of discography with unequivocal flair and unabashed joy. As to be expected, the singer arrived on stage wearing a giant costume made of penises plus a hairy bodysuit that made her resemble something like Bigfoot. Throughout tracks “Hanging Titties” and “Whatcha Gonna Do About It,” the singer slowly stripped off each layer of her costume, revealing another elaborate sexually-infused gimmick. Stage hands rapids constructed, reconstructed, moved, and adjusted mini stages, stage lights, and various props throughout the performance – making the show feel part-concert, part-performance piece.
Never one to allow silence, Peaches made sure that every song flowed into another. Even when she had major costume changes between “Vaginoplasty” and “Slippery Dick,” scantily clad dancers in underwear and gimp masks performed synchronized choreography. As if the words of the politically-charged “Flip This” weren’t enough, Peaches took advantage of every moment of the song to make a statement through costume. Slowly removing leotard after leotard, her clothes read phrases like “Trans Rights Now,” “Gay For Palestine,” and “Fuck ICE.” The audience – primarily made up of queer individuals sporting their own elaborate costumes – reveled in every moment, singing and dancing along.
By the time Peaches closed the evening with massive singalongs “Fuck The Pain Away” and “No Lube So Rude,” it was clear that the whole experience could easily be described as “cathartic” for both Peaches and the audience alike. The unabashed display of queer joy alongside provocative music made for a meaningful night.
