Lindsey Stirling | NYA
O2 Apollo, Manchester
4th November 2024
Touring her new introspective, personal album Duality, Lindsey Stirling took to the stage with her theatrical blend of classical violin, modern EDM, and expertly choreographed dance, personified by her raw and charismatic energy. Electrifying solos, intricate string-plucking, and unprecedented genre-bending all make for an eccentric musical adventure; but Stirling’s creative costume design and enchanting visuals make it an immersive, multi-sensory experience.
In support, Nya strutted on accompanied by heavy, Phil Collins-esque drums, silencing all but a few babbling audience members. Reminiscent of the Arctic Monkey’s AM era, Nya’s suaveness provided an opposing yet complimentary warm-up for the extravagant show ahead. Her timeless, Sinatra-style voice and melancholic swagger captivated the audience with her vintage sound, eager for the tour’s penultimate show.
The scarring words of Piers Morgan and Sharon Osbourne from Lindsey Stirling’s days on America’s Got Talent echoed through the grand curvatures of the venue. As she was revealed on the elevated section of the stage, the modest beginnings of her opening song Eye of the Untold Her gave a haunting introduction. Gradually, the music built, and with each pulsating beat came another layer of strings, welcoming the audience to her reflective journey of discovery and acquainting them with the rest of the band. Like the score of a film, the song narrated her tale of introspection, with her dynamic range allowing her to flow effortlessly between moments of vulnerability, danceable segments, and crescendos of conquest and empowerment.
After a quick on-stage costume change, she continued with her renowned folk-ey violin playing as the band leant more into the rock and EDM aspects of the music. Songs such as Elements had a Pendulum-style fusion of electronic basslines, drum and bass beats, and heavy metal guitar sounds with intense beat drops scattered throughout, all, of course, conducted by Stirling’s skilled violin playing. Roundtable Rival also leant into this combination of genres but with a Western shoot-out feel.
Evil Twin had a unique sound, even for Stirling. Although not seeming out of place in the setlist, the clear Middle Eastern influences set it apart from the others, whilst keeping the grand cinematic effect and Stirling charm. As the title may suggest, the song explores the key theme of the latest album – inner conflict between the different sides of ourselves. Driving beats and suspenseful violin riffs depicted a thrilling duel of exquisite choreography between light and dark, with Stirling almost battling her own ‘evil twin’ on the stage. Crawling up the walls of the venue, shadowy figures created by clever lighting techniques snatched at the audience, adding to the eerie feel of Evil Twin.
Bringing down the tempo of the performance, Stirling evolved into more delicate and intricate tunes, bringing a sense of tranquillity to the performance. Serenity Found created a tender atmosphere of reflection, allowing her to connect with the audience on a deeper emotional level. This vulnerable dance performance and passionate violin bowing acted as a much-needed pause, a chance to breathe and find peace in the mostly high-energy and spirited show.
Riff battles between the band’s guitarist and Stirling’s violin drove the set along, returning to the dubstep/rock hybrid sound that we know and love. Back-up dancers decorated with disco ball heads urged the seated crowd to groove to Les Fees’ funkier sound. Before a motivational speech on self-worth from the woman herself, the ‘final’ song of the night was introduced.
A controversial sporting of a Manchester United scarf saw Stirling receive several boos from the crowd (all in good taste) before closing her set with new fan favourite, Survive. Reminiscing that of late 2000s GaGa and Perry, the vocals from Sarah Blackwood of the band Walk off the Earth make a powerful and defiant pop tune, proving its worth as the closing ceremony.
Retaking the stage, Stirling returned dramatically with a Phantom of the Opera medley, showcasing her extraordinary, theatrical flair. Her atmospheric violin soared above the layers of thick guitars, thrashing drums, and blaring organs, almost remixing the classic arrangements through her electronic twist. The interplay between the powerful dark red lighting during Overture and the elegant pale blue lighting during Think of Me allowed for a beautiful contrast. The crowd left in awe as she celebrated her reinterpretation of a beloved classic, a true highlight of the night.
Please note: Use of these images in any form without permission is illegal. If you wish to contact the photographer please email: mel@mudkissphotography.co.uk
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Lindsey Stirling links – Website | Facebook | X
Words by Ed Chadwick, this is Ed’s first review for Louder Than War.
All photos by Melanie Smith – Louder Than War | Facebook | Twitter | Instagram | Portfolio
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