The ever-controversial Azealia Banks just played Brixton Academy — here’s HUNGER’s thoughts

Azealia Banks’ recent performance at Brixton Academy was a captivating testament to her undeniable energy and magnetic connection with her audience. From the moment she took the stage, it was clear that this was more than just a concert — it was an experience. As the crowd erupted into a chorus of her iconic track “212,” the atmosphere reached a euphoric high, electrifying the entire venue and setting the tone for an unforgettable night.

Banks delivered a meticulously curated setlist that left no stone unturned, treating her fans to an array of hits that spanned her discography. Tracks like “New Bottega,” “Fierce,” and “Liquorice” flowed seamlessly into one another, each song feeling like a vital piece of her artistic legacy. The crowd sang along with fervour, their enthusiasm reflecting the deep connection they share with her music. It was a celebration of not only her talent, but also her unique voice in the industry. The palpable excitement in the room was a testament to her influence.

However, it’s worth noting that her DJ’s performance was somewhat uneven, occasionally leading to brief moments of disconnect. This hiccup couldn’t overshadow Banks’ powerful stage presence, however. Her charisma and commanding energy shone through, keeping the audience engaged and invested in every moment.

In terms of production, the show was surprisingly stripped-back. The graphics were simple, and there was no elaborate set design to distract from her performance. While this might be a drawback for some artists, it only served to highlight the raw authenticity of Banks’ artistry. It was clear that her focus was on the music and the connection with her fans rather than flashy gimmicks. This minimalist approach allowed her to shine in a way that felt genuine and powerful, with every lyric resonating deeply with the audience.

Though Banks’ is, more often than not, making headlines thanks to her outspoken takes on the music industry (and beyond), her sold-out show at the O2 institute was a pretty damning testament that we can separate the art from the artist.