Featured image and gallery: Kyle Roczniak
In a short space of time, Magdalena Bay have taken over the world. Once a cult indie-pop duo with a string of TikTok reverb hits, their newest album Imaginal Disk has captured the attention of pop fans across the world. Their Manchester date was upgraded not once but twice – originally a YES Pink Room show to 250 people, now doubled as 2,500 people stream into the illustrious Manchester Academy, many with faces painted blue in honour of the album’s artwork.
No support act, Magdalena Bay are straight on. The stage is elaborately set-up, a Snow White-esque mirror blinks a single pupil at us and a baroque backdrop sits behind the stage, as if stepping out of Alice in Wonderland. Then the show begins: frontwoman, Mica Tenenbaum, appears out of the mist with her signature blue half-face makeup and a cerulean two piece, as if transported from the 80s nu-wave scene.
They run through the opening four tracks from the new album to the audience’s delight, ‘She Looked Like Me!’ serving as an introduction to the Imaginal Mystery Tour, before smoothly segueing into ‘Killing Time’, with its mellow, jazzy keys and meandering bass reminiscent of Fleetwood Mac. TikTok sensation, ‘Image’, is played early in the set, its’ undeniable, bubbling synths producing cheers from the crowd.
They bring out earlier offerings, ‘Secrets (Your Fire)’ from debut album, Mercurial World, sees Tenenbaum shred on a keytar (yep, you read that right). ‘You Lose!’ showcases their heavier side – its grungy, jangly guitars and video game style production wouldn’t be amiss on a Beabadoobee project. On the other side of the coin is ‘Death and Romance’, a sugary-sweet, simple pop track reminiscent of Carly Rae Jepsen; its breathy chorus and bright major chords could easily be a soundtrack to a Fiat 500 advert.
But the real spectacle is seeing new songs come to life: songs that feel more understated on the record suddenly take on a new form. ‘Vampire in the Corner’ sees the heavier elements picked up live, creating walls of discordant noise which paired with the blinding strobes feels almost religious. Similarly, ‘Tunnel Vision’ brings back the keytar, with Tenenbaum’s distorted screams melting into wailing guitars and thunderous drums.
However, for the most part this is a pop show – there are two outfit changes and props utilised: a sunflower hat to angel wings for ‘Angel on a Satellite’, where we see Tenenbaum paying homage to her and guitarist/partner Matthew Lewin’s Argentinian heritage as she dresses in the flag’s colours. They reference pop from all generations – from David Bowie (Cry for Me) to Robyn (CHAERI) to Britney (Killshot) – before closing the set with two final album tracks.
‘The Ballad of Matt & Mica’ uses recurring motifs from the album, and a reprise of the first track to tie Imaginal Disk into a neat bow. ‘The Beginning’ is an encore track, a certified camp pop banger that gets the crowd on their feet. The set closes with rapturous applause before the band disappear behind the curtain, all but a peep of Tenenbaum’s angel wings.
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