Music / SWX
Review: Lynks, SWX – ‘Glitter, theatrics and unmatched stage presence’
You know that it’s going to be a fun night when the crowd going into SWX are wearing crocheted devil horn masks and outfits that are 90 per cent glitter. That is the crowd that Lynks, rising electro-pop star, seems to attract.
Opening for him is Tatyana, who makes squelchy dance tunes, accompanied by a harp that lends a gentle nostalgia to her songs. She mixes rave rhythms with the lilt of her classical instrument beautifully, creating wonderful girl-pop tunes.
As her final notes ring out, SWX descends into a smoking furnace, sweating with anticipation. Leviticus 18 accompanies the arrival of three cloaked figures, silhouetted against the glowing fire of the backdrop.
is needed now More than ever
Despite the cloaks, the drama of the scene can only be the work of one person: Lynks.
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The beat drops into the sleazy synths of Abomination, title track of their latest album. Leaning heavily into the experience of being rejected by the church, Lynks and the two backing dancers are clad in red and black. Lynks in the distinctive mask, currently slightly reminiscent of Darth Maul. The witty lyrics saunter through the tapestry of electro-punk beats that are strung on stage, tracking Lynks’ experiences as a gay man from 11-years-old until present.
His music draws inspiration, clearly, from the techno scene and the reinvention of Courtney Barnett’s Pedestrian at best from a dark guitar-rock anthem into a very camp mosh pit is testament to this. Raised arms try to mirror the elaborate choreography of the dancers on stage, bouncing up and down to the clearly familiar lyrics.
Before CPR, another new track off Abomination, Lynks jokes with the audience.
“I don’t know if you can tell, but we’re going for the world record of most gimmicks done during a show,” says the artist before pulling out torches, used at first to spotlight him, then as an accessory to his voguing choreography. Lights swirl around the danceable beats and distorted vocals creating a whirlwind of disarray.
Again, Lynks stops to announce the intentions of his next track, which is “dedicated to uplifting women”, in particular the “gay icon – Barbie”. It’s a cover of Charli XCX’s Speed Drive, a little shot of chaos that sees blinding blonde wigs and a blanket of purple lights swaddling chunky synth chords and glitch-y vocal lines.
This Is the Hit seems, initially, to be a display of his backing dancers’ talents; the powerpop song floats out from behind the fabrics covering the walls and Lynks is nowhere to be seen amongst the worms, cartwheels and splits being thrown about on stage.
He remains an elusive figure until New Boyfriend, an oddly moving track about his codependent relationship with his ex. As the opening notes trickle from the speakers, he erupts onto stage swamped in a wedding dress with a veil cascading down his back. His stage presence is unmatched, with glitter and theatrics reminiscent perhaps only of Taylor Swift’s Eras tour. Fake champagne and rose petals are scattered among the waterfall of notes and flippant verses until Lynks has to sit down for his “government mandated 15-minute break”, which consists mostly of chucking chocolates out to giggling audience members.
The break ends with another new song called Tennis Song, which leans toward a more lofi side of his music, a flamboyant manifestation of Aphex Twin. Tennis balls are gently punted into the audience who sway about to the slower techno beats.
To end this part of the set, the most base drenched, dirtiest baselines of songs come out. Silly Boy, one of the older songs, is a club worthy dance tune, aimed at “exorsising problematic straight men” from SWX’s dancefloors. He finishes in blazing glory with Use it or Lose it, the first song on the newest album. The robotic vocals thump over the the camp excess of the slippery EDM tune until Lynks high-kicks himself off the stage.
When he re-emerges for his encore, he looks like the bottom of a drag queen’s makeup bag, drenched head to toe in a glittery blue two-piece. A mirror ball is suspended above his head by a wooden pole, operated by his backing dancers, in his completely DIY style. His final track, Str8 Acting, has a beat that pings from wall to wall, lyrics that everyone can sing word for word and plenty of dry humour.
Just as the night seems to be ending and people start sliding towards the exits, the lights come up once again for How to make a Béchamel Sauce in 10 Steps (with pictures) which is exactly as described. It’s an odd sight, a room full of glittery, mask-wearing people dancing to a recipe. Maybe a sight that you would only find at a Lynks gig, but surely that’s the fun of it?
Main photo: Amy Underhill
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