When Grimes first came to play in London little under a year ago she was multi-tasking in a way that would put those tennis playing, sky diving women who advertise feminine hygiene products to shame. Twisting this dial, singing into that microphone and looping everything - she looked like she needed three arms to pull off half of the ideas in her head.
Perhaps then, the greatest dividend of her success in 2012 has been a clear increase in budget and the ability to bring a few extra bodies onto the Heaven stage tonight. Only, instead of getting in more musicians like she should, Claire Boucher has hired a pole dancer. Yep, you read that correctly. A pole dancer.
So, as the ram-packed London crowd is treated to 'Visions' prime cuts such as 'Be A Body' and the efervescent 'Genesis', a muscle-clad (and not much else is clad to him) man clambers onto a pole and interprets one of the year's finest albums through nothing more than dance and upper body strength.
Appreciating Grimes live is to enter a world that is little to nothing like your own. Men pole dance in the distance, other fans are invited onstage to dance in a way that would suggest they have found themselves there by accident and all the while, a tiny Canadian girl works her desk into making increasingly unusual sounds. As 'Visions' grows throughout the year it has taken on a more industrial and hard edge. Gone are the etheral overtones and in their place now sit jackhammer beats ('Nightmusic') and lavish doses of noise (the brilliant 'Oblivion').
Ending on, by her own admission, the 'hype track' she worked on with Blood Diamonds, Boucher turns 'Phone Sex' into the greatest number one that Calvin Harris will never release. The atmosphere is euphoric and just a little confused, a state of mind most cohesive with fully enjoying Grimes right now.