The resurgence of London’s drag culture, propelled by the television success of figures like Bimini, has provided a fertile landscape for the return of electro-clash’s most enduring provocateur. With Camden’s legendary Black Cap nearing a revival, the atmosphere at the O2 Forum Kentish Town felt like a deliberate extension of that decadent lineage. An audience defined by striking haircuts and a refusal to adhere to gender binaries gathered for a spectacle that has, over two decades, transitioned from the LGBTQ+ underground to the threshold of mainstream authority.
Opening the evening, Bimini performed a solo set alongside two dancers, serving as a high-energy primer for the theatricality to follow. However, the night belonged to Peaches, an artist who now operates with the clinical efficiency of a seasoned director.
The stage design centered on two mobile staircases used as kinetic props rather than static platforms. No live band, Peaches relies on a single microphone and heavy backing beats, a minimalist setup that forces the audience to focus entirely on the choreography and the shock value of her imagery. The show opened with Peaches encased in a suit of plush phalluses for "Hanging Titties," before shedding the costume to reveal a "hairy yeti" ensemble for "Whatcha Gonna Do About It."
During "F**k Your Face," the intensity spiked as dancers appeared in red masks. Peaches, raised in a culturally Jewish household, utilized her costume changes as a medium for explicit commentary; a "Gay for Palestine" leotard eventually gave way to a garment emblazoned with "Trans Rights Now."
The mid-section was a masterclass in the grotesque. For "Vaginoplasty," dancers donned oversized anatomical headgear—a precursor to the massive inflatable fallopian tubes that eventually dominated the stage. As the industrial loops of "AA XXX" and "Operate" intensified, the costuming became progressively sparse, leaning into the raw physicality of the performance.
The production broke the fourth wall during "I Mean Something" as Peaches descended from the stage to walk across the raised hands of the crowd. This tactile connection continued as she migrated to the balcony to deliver "F**k How You Wanna F**k" and "Not in Your Mouth None of Your Business." By utilizing the venue's height, she transformed the auditorium into a multi-level club space before winding back through the floor during "Grip."
The evening’s peak arrived with the opening chords of "Boys Wanna Be Her," her definitive anthem. This was followed by the synth-heavy "Take It," which channeled a distinct 80s European electronic vibe, offering a rare moment of melodic reprieve.
As the inflatable vulva deflated, the tempo slowed for the finale. Following a rendition of "Magic Fly," Bimini returned for a collaborative performance of the iconic "F**k the Pain Away." The night concluded with a second encore—a cover of Jule Styne’s "People"—delivered with a wry, theatrical nod. As she exited, Peaches proved that her brand of provocation remains a precisely choreographed, and vital, art form.
Setlist
Hanging Titties
Whatcha Gonna Do About It
Rub
I U She
F**k Your Face
Vaginoplasty
Slippery Dick
Panna Cotta Delight
Flip This
Light in Places
AA XXX
Operate
I Mean Something
F**k How You Wanna Fuck
Not in Your Mouth None of Your Business
Grip
You’re Alright
Boys Wanna Be Her
Take It
Be Love
Encore:
Magic Fly
Dick in the Air
F**k the Pain Away (with Bimini)
No Lube So Rude
Encore 2:
People (Jule Styne cover)
