As part of the fifth instalment of her AVANTgarden digital Instagram zine, FKA Twigs released exclusive imagery from her time at The Wallace Collection.

On a balmy February night in 2015, I was mesmerised by FKA Twigs’ stage presence at a gig in Sydney, Australia. In a white, sparkly Collette Dinnigan, Tahliah Debrett Barnett (that’s her real name) belted out a keening version of her hit Two Weeks. Every kiss curl was in place, every move was on pointe (literally), every note soaring. She was a beautiful enigma, more creature-like than human and more androgynous than female. It was amazing.

Flash-forward a couple of years – give or take an engagement to new Batman Robert Pattinson – and FKA Twigs has some new gender-bending music and artistry. In April of this year, she released a new single called Cellophane – her most vulnerable and connective to date. It was accompanied by an even more powerful video and together with director Andrew Thomas Huang, provided a prelude as to what we can expect from her second album – a follow-up to the Brit Award-nominated LP1.

Pitchfork couldn’t have said it better: “In between short gasps, [Twigs] sings uncomplicated words that seem drenched in complicated feelings.” If you didn’t catch her on Sunday night at VIVID in Sydney, the best way to experience Cellophane is here via a recent live recording at The Wallace Collection in London. It’s also Twigs’ first ever live piano performance. She wears vintage Vivienne Westwood.

“To perform Cellophane at The Wallace Collection is a dream come true, this is my love letter to the artefacts and paintings held within its walls, and to one of my favourite designers Vivienne Westwood whose portrait collection was inspired by these pieces,” says Twigs. “It was an emotional experience to perform in that magical place, and to be wearing these beautiful clothes I’ve spent years collecting.”

Australia, you have one more shot to see FKA Twigs live. She will perform at Tasmania’s Dark Mofo Festival on June 14. Tickets here.


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