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Madeleine Bradford

Allie X’s Wonderfully ‘Weird World’


The lights dimmed in the Mil at Cannery Hall on Saturday night as a buzzing crowd erupted. 


Their electric, awe-filled voices were swiftly silenced by a cloaked, masked figure who gingerly glided onto the stage. 

    

The figure mimed to the audience, motioned toward flashing neon lights and brought the stage to life to the beat of Billy Idol’s “Eyes Without A Face.”

After holding the crowd in three minutes of suspended mystery, the figure brought out another, who also wore an ominous white mask and a regal black cloak.  

    

Through a transitionary period of flashing lights and swelling music, the cloaked lady was unveiled as Alexandra Hughes, known professionally as Allie X.   

Driving synths and ominous keyboard padding welcomed audience members into the Weird World Tour, which kicked off on Oct. 31.  

    

“I guess I’ve always been thought of as weird, and on this record, I really owned it. Being an artist has allowed me to really unify with my soul,” said Hughes.  

    

Plenty of wackiness and goth-pop influences are found in Hughes’ latest album “Girl With No Face.” 

    

The tour’s title track, “Weird World,” is a head-on exploration into this obscurity.   

    

“’Weird World’ is the real world. It’s a song about coming to terms with the way things really are and understanding that I’m actually the weird one for not buying into the madness,” said Hughes. “It’s definitely inspired by my experience in the music industry but also just getting older and the insanity of being alive. There is a power in understanding this though, and that’s why this song is both sad and liberating.”

  

When performing “Weird World” live, Hughes encouraged the crowd she described as “small but mighty” to dance, scream and sing along to every single word.  

Hughes said her fans are “Very open. Very generous.”  


“I hope they feel how much I appreciate them and feel more connected to a community,” said Hughes. 

    

Hughes’ electrifying stage presence ricocheted off the crowd’s palpable energy.  

    

Through her performances of “Black Eye,” “Fresh Laundry,” “Bon Voyage” and “Slept On Me,” Hughes stunned audience members with clear, pristine lead vocals and soaring belts.  

    

Her standout performance of “Girl With No Face” welcomed listeners into the “funhouse” mentioned in the song’s lyrics.  

    

Hughes seamlessly blended lofty high notes and fluttery vibrato with piercing screams and shrieks.  

    

Throughout the performance, Hughes’ detectable energy rose to a searing final chorus that she delivered with fiery grit.  

Hughes began playing fan-favorite “Galina” as the stripped-down piano rendition included on the deluxe version of “Girl With No Face.”  

    

Halfway through, the song flipped to an upbeat full-band jam that got the crowd moving. 

    

Hughes said that she’s been most excited for her fans to see the “theatrics” she’s brought to the tour.  

    

Her visual identity is a crucial component of her artistry, and for each project, she plays a pivotal role in its development.  

    

Hughes hand-picks everyone on her team, from directors to stylists, and edits her own videos.   

    

“I think I’m a control freak for sure,” said Hughes. “As I keep doing this, especially on the live side, I am finding more people that I trust. I hope I can relinquish some control while still maintaining a strong vision.” 

Recently released deluxe tracks like “Bon Voyage” and “Our Lady of Sorrows” serve as a “bridge between ‘Girl With No Face’ and whatever is to come next,” said Hughes.  

    

“I like to let myself evolve and tend to fervently pursue an idea once I’m inspired, no matter how different it is from what I’ve done before,” said Hughes. “I’m lucky to have fans that enjoy this.”  


This Article was written by Madeleine Bradford



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