Okay, so at the majority of live music performances a great deal of love can be found between the artist and audience; this is nothing new. But at Grimes tonight, it feels especially trenchant, and then some.

An interconnectivity. An adoration. An inclusiveness. Claire Boucher is one of us, yet at the sometime as Grimes, she is something wholly unique and special. One of us in the sense that she appeals to all the misfits within us, be it ghostly misfits from the past that helped shaped our youths or current misfit status; the emos at school, the ones on their own who got obsessed with Egon Schiele or whatever artist/genre you want to insert here, the LGBT kids, the ones who wore whatever they wanted, the kids uncomfortable in their own skin. But tonight in Brixton there's a strong sense of affection and we're all in it together - this is the part where cringe-worthy labels should go about post-this and millennial-that and generation whatever. Let's not go there, that's up for people outside of us to label. And it's exactly this attitude of 'we're on this together', of rejecting the shit-show that is the upper echelons of a patriarchal music industry especially in terms of producers (for example), that provides this positive outpouring of emotions.

This relationship with act/audience is particularly interesting in regards to Grimes' work as it's steeped in a self-awareness. The incredible pop-banger and song-of-the-year contender 'Flesh Without Blood' is something of a commentary on the idea of her work and how the world responds to her, and the notion of selling-out; and yet despite the density of that, as it's played out live it's simply a phenomenal tune resulting in a sea of arms flailing in the air, all the appendages being moved, and shit-eating grins everywhere.

Immediately following that is 'Scream' that features blood-curdling screams and Taiwanese rapping, and in this 2-song microcosm the diversity of her work is summed-up. There's been much discussion on 'if Grimes is pop and what constitutes pop', and one that's a little too overplayed. It's not Beyonce, it's not SIA, and nor is it trying to be and why-oh-why are these comparison being made just because they're all solo female artists. The work of Grimes has the creative flair and process, and intensity, of your Björks, of your Sufjan Stevens, of your Joanna Newsoms, of your MIAs. With all their multiple-dimensional facets that's half glitter-ball and half Rubik's Cube - sure you may have many vibrant colours of pop in their but there's a shit load of other genres, personas, and styles in the mix. A delightful collage of alt-cultural matters. K-pop? Sure. Pop-punk? Yeah go on. EDM? Okay a dash of that please thanks.

Claire Boucher's onstage chat is warm, endearing, and with a hearty slice of shyness - at one-point asking the crowd to "drink water - and be careful not to crush your peers!", and also informing us she had "swallowed some human hair" in-between tracks. She even explains the fake encore as to why she does not leave the stage, as she gets nervous in regards to having to remerge from backstage into the glare of a huge audience for a second time. On stage - and really do forgive me for a shitty play on words - she is laughing and not being normal almost literally. But, yet to us, showing that she is normal and one of us; an original plu. At one-point the audience erupts in spontaneous applause and cheering in-between songs after a short period of silence, just because... just because. A lovely moment of the room expressing a collective-conscious of gratitude and love towards Grimes.

Throughout the show a couple of fierce looking ribbon dancers at the front of the stage add to the voracious energy of the whole affair, with Grimes bouncing around on stage sometimes thrashing drums, sometimes screaming, sometimes dancing, and always (seemingly) enjoying every minute. And we all are Grimes too. A very hands-on approach is obviously evident, like a Bug Bunny cartoon - Bugs Bunny at first-base, Bugs bunny at second base, throwing to himself at third and so on. The variance of the tracks at her disposal from Visions and most recent album Art Angels is lost a tiny bit tonight, often due to Brixton Academy's supremely bassy speakers that drown out some of the subtleties, but that certainly doesn't dampen or sully the live experience; arguably the rib-cage vibrating sound levels adding to the tangible and visceral nature of the night. We're even treated to a very rare playing of 'World Princess Part II' much to the delight of, well, everyone. The delicacy of 'Butterfly' and all-out-dance-assault of 'Go' remain other highlights.

All photos by the fantastic Chloe Ackers.

Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16
Grimes @ Brixton Academy, London 10/03/16