Lynks live in Manchester: a monolith of high-camp production & style

Lynks performing live in support of debut album Abomination

Lynks is a prospect like no other.

Rave anthems, hyperpop and melodrama of the highest order are constant themes that live within their studio and live output. It’s a spring Friday evening in Manchester, and there is visceral delight in the queue outside Academy 2.

With Manchester Academy consisting of three separate venues, there is always delight to be found decucing which queue is for which artist: no question for Lynks though, and the masked marauder’s fans look every inch the part in a beautifully colourful expression of queer joy, alongside the odd 6Music Dad thrown in for good measure.

There is no roundabout way of telling the tale of a Lynks show, because it is utterly unlike anything you’ll ever see. The show opens with ‘Abomination’, the title cut from Lynks’ debut LP, and from the outset, there is no question about tonight’s agenda: high drama from minute one, as Lynks and two backing dancers emerge in dark, hooded robes to a cacophonously ominous mix of Gregorian style chanting. In a flash, the robes hit the deck to revel Lynks in all their glory, latex mask and fully choreographed dance routines, and we’d be naive to expect anything less.

Before there is even a suggestion of a moment to catch your breath, Lynks roars into a cover of Courtney Barnett’s ‘Pedestrian At Best’, which is brought together under a relentless, driving beat and delivered in that signature Lynks style; endlessly alluring, fun and totally raw yet considered. This theme rings throughout everything Lynks does on stage, and the whole experience culminates into a monolith of immense production & style.

There is very little on the scene as considered and expertly produced as Lynks: there is clear painstaking planning and rehearsal time that has gone into every moment, movement and syllable of this show, and it pays dividends. It is impossible to look away, and like the greatest of the great popstars, you get superb value for money with 16 expertly choreographed tunes and three separate costume changes: like Madonna or Billie Eilish, via ticket that will set you back less than fifteen quid.

There is a superbly placed moment where Lynks takes a seat mid-set to take their legally mandated mid-shift fifteen minute break, which goes down a treat. ‘TENNIS SONG’ has Lynks’ dancers whacking tennis balls into the crowd, theres another expertly worked cover (this time Charli XCX’s ‘Speed Drive’ gets the Lynks treatment), and Lynks even emerges in a brilliant white wedding dress for a portion of the show. Of course this costume culminates in an over the head bouquet throw, which is met with clamours to take home the roses.

This show is nothing short of a triumph, and there is nothing you can’t love about Lynks. Heart, soul, unabashed pride in sex and sexuality, and relentlessly good songs: Lynks has the potential to rise to the very top of the pop scene.

featured image: Henry Groves

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