Rage and soft love reign supreme at Ashnikko's awe-inspiring gig at London's Alexandra Palace

Words: Ali Shutler.Photos: Frances Beach.

Ashnikko starts her headline show at London's Alexandra Palace, emerging from an egg in the middle of a desolate wasteland before launching into flawless choreography. Towards the end, she brandishes a sci-fi welding tool as she fights against unseen tyrants while two backing dancers wield giant bone clubs. "I love doing my silly little things," she laughs before a cackling run-through of the swaggering, celebratory 'Daisy'. They've never shied away from doing things their way, but tonight, Ashnikko proves she is a one-of-a-kind star.

Normally, that would cast the sort of shadow capable of killing the excitement around the support act, but there's already something special about hemlocke springs. Taking to the stage to the synth-pop hammer of 'heavun', she leans into the glitching escapism of her music for tonight's set. Straddling the worlds of nu-rave, garage rock and futuristic, vibrant video games, her urgent 30-minute set pulls heavily from debut EP 'going…going…GONE!'. 'stranger danger' and 'train to nowhere' are gnarled but fearless while the likes of 'gimme all ur luv' and 'POS' are far more lush and deliberate. Refusing to stand still, it's a giddy party that keeps everyone guessing but remains warm and welcoming throughout.

That energy continues through Ashnikko's emotionally charged set. The snotty, punk thrash of 'You Make Me Sick!' feels like a cathartic, guttural purge, while early cut 'Invitation' is a reminder of Ash's journey on learning how to say no. "Are you ready to rage," they ask before the industrial fire of 'Chokehold Cherry Python' while the likes of 'Cry' and 'Tantrum' keep the collective fury stoked.

There's more to anger and vengeance on Ashnikko's debut album, though. "There's definitely a through-line of striking back against someone or something causing you extreme harm, but at the same time, I was trying to inject a feeling of hopefulness in there," she told Dork earlier this year. "I wanted that sense that things can get better."

Ahead of the gorgeous 'Dying Star', Ash explains how tonight's show feels like a full circle moment for her. "Moving to London at 18 was the first time I was able to experience queer joy, community and family. Those pillars are celebrated throughout the gig. "Coming from conservative, small-town America, it was the first time I was able to be myself and explore who that was. Being able to experience soft love was a real joy," they continue, fighting back tears. The ethereal 'Possession Of A Weapon' and the twitching 'Super Soaker' also find joyful strength in delicate beauty.

Inspired by a short story, 'Weedkiller' is an entire world, and tonight's gig leans into that escapist, confrontational fairytale. A huge video screen cycles through dystopian hellscapes and neon-tinged woodland while Ash breaks up the set with twisting, fantastical stories about frog romance and hypnotic beasts, while sprawling songs are performed with demanding choreography. The show is a huge step up in every way.

But it never stops Ashnikko from being the smirking hellraiser that demands attention. "Y'all are so far away. I wish we were closer," she tells the front row ahead of the melodramatic 'Don't Look At It', while the likes of 'Working Bitch' and 'STUPID' feel as wonderfully playful as ever. Later, she claims 'Manners' is a Christmas song thanks to the line "Fat pussy like Santa" before a ferocious run-through of her five 'Halloweenie' tracks.

There's a lot going on throughout Ashnikko's sprawling 90-minute headline set, but it all makes a wicked kind of sense. 'Weedkiller' is a forward-facing alt-pop album that sets up an ambitious future, with tonight's gig only adding to that promise. It's an awe-inspiring show from an artist who continues to do things their own way.