Jazmin Bean, the enigmatic 20-year-old alt star from across the pond, was quite intent on disrupting expectations and giving concertgoers something certainly eye-catching recently.
Performing their first-ever headlining show in Canada at Toronto’s Velvet Underground, it marked a perfect introduction to the UK singer’s playfully absurd world.
Pulling from their soon-to-be-released Traumatic Livelihood album – and its predecessor, 2020’s Worldwide Torture – songs such as Yandere and B4 the Flight felt dreamy and grunge, sledgehammered by buzzing riffs and Bean’s unpredictable nature.
Stylistically dressed in yami-kawaii (a Japanese aesthetic) the London musician was no stranger to garish make-up. Drawing on sweet and scary inspirations, their more monstrous choices lay in Filipino folklore traditions of Aswangs (aka shapeshifting ghouls).
Provocative or not, it didn’t quell the frantic fandom from attendees. Singing every word and chanting every chorus, the fan’s voices even overshadowed Bean’s own, bleeding into the microphone and subsequently booming throughout the Velvet Underground’s sold-out sea of people.
Older tracks notwithstanding, Bean also brought out newer songs in their repertoire, a task that seemingly made them nervous, at first. Following a few shaky seconds, Bean played a trio of songs including Piggie, Favourite Toy, and Terrified, to rapturous cheers and a renewed sense of confidence.
An ardent supporter of outsiders, with a proudly spooky energy, Jazmin Bean played directly to the hearts of the crowd, never taking a water break without waving their arms or twirling in their gothic dress. Watching them live was the perfect storm of visuals, talent, and the power of social media.
If anything, they were ready to leave their guts onstage for the “likes”.
Myles Herod
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