"Just 18 months ago, she was still playing 2,000-cap amphitheaters in mid-sized cities; by summer's end, she drew the largest crowd (more than 100,000) that Chicago's Lollapalooza festival has ever seen. Her rise was so vertiginous viral Tiny Desk, Grammys best new artist, festival undercard to headliner, international chart takeover that she feels lifetimes away from the artist I saw, stunned by her own zeitgeist earthquake at New York's Governors Ball in June of last year."
"Her eight pop-up shows this fall, billed as the Visions of Damsels & Other Dangerous Things tour, span the geographical linchpins of her music: four shows in New York, site of sexual awakenings (Naked in Manhattan) and devastating breakups (new single The Subway, the night's pre-eminent vehicle for Roan's torrential belt); two in Kansas City, Missouri, a few hours from her hometown of Willard;"
Chappell Roan rose swiftly from playing 2,000-capacity amphitheaters to drawing more than 100,000 at Chicago's Lollapalooza, propelled by a viral Tiny Desk, Grammys best new artist recognition, and international chart success. Eight fall pop-up shows titled Visions of Damsels & Other Dangerous Things hit New York, Kansas City and Los Angeles, mapping personal themes like sexual awakenings (Naked in Manhattan) and devastating breakups (new single The Subway). A 93-minute set featured almost every released song, presenting a maximalist sound of sexually frank asides, baroque feelings and lavish camp rooted in queer, cheeky pop.
Read at www.theguardian.com
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