Home Editor's Picks K.Flay and Meg Myers blaze St. Louis in all of their fiery femme glory

K.Flay and Meg Myers blaze St. Louis in all of their fiery femme glory

by Spencer Peck

An estimated 1100 eager concertgoers sang and danced alongside K.Flay at the Pageant last Wednesday. Fans of all ages piled together onto the dance floor, excited to kick off 105.7 The Point’s annual Ho Ho Show which is jam packed with 11 exciting shows across the month of December. Fans cheered as The Point’s very own, Lux, thanked the crowd for coming, and introduced Meg Myers to the stage.

The show featured an interesting dynamic between both singers. Meg Myers and her band, adorned in jet black outfits, started off the night with a powerful performance of “Jealous Sea” and “The Death of Me”. Blue light flooded the stage and crowd as Myers swayed back and forth in front of the microphone. She and her band performed many of her songs off of her most recent album, Take Me To The Disco, as well as some throwback hits from her earlier releases. 

Myers hosted a very intimate performance, opting for a strong musical performance over flashy lights and on-stage antics. She often stayed centered behind the microphone, only moving from her position to dance from side to side or to pick up her bass guitar. 

The show was not without a quick hiccup or two.  Myers had a few instances of quickly restarting a few of her songs. During her performance of “Tear Me to Pieces” she abruptly stopped and apologized to the audience. She jokingly blamed her period for the mistake, and took the time to connect with the affectionate crowd. 

The blue hues that covered the stage originally were replaced with soft, warm colors. As the show began to pick up, it was clear that Myers was coming more and more out of her shell. By the end of her set, the crowd was pulsating up and down, waving their arms from side to side as the lights shifted to a bright red. 

Myers thanked the crowd and expressed her love for St. Louis just before she and her band faded to black and the audience cheered.

In stark contrast to her opening act, K.Flay kicked up the energy. Silhouettes entered the stage as backlights pumped and a monologue shot through the speakers. The crowd began to roar as K.Flay took her place directly in front of the light. For a split second there was complete silence (that is, until a member of the crowd shouted “I love you K.Flay”) The lights flooded the stage, and the audience was greeted by K.Flay and her band dressed from head to toe in all white. The crowd bounced up and down and sang along to “Not in California”.

K.Flay is no stranger to the stage or St. Louis. She feeds off of the energy of the audience. As the audience began to vibe along to “Giver” she shouted “St. Louis, you guys are incredible!”. It’s hard for her to stay in one place. She stomps across the stage, pointing at audience members that sing-along. 

That’s not to say the show was high octane at all times. Halfway through her set K.Flay took a moment to sit back on a stool, dim the lights, and serenade the audience with a cozy performance of “Nervous”. She said “We’re going to chill things out for a second, if that’s okay” she followed with “if not, we’ll do it anyway”. She called for the crowd to get intimate as well. “This is a good song to get consensually intimate to,” she suggested. She called for single members of the crowd to grab their own butt because “it’s comforting”. 

Even when she’s confined to a stool, K.Flay can’t help but pump her fists into the air, and the audience reciprocates. Following the song she took time to thank the audience and she explained that this show was very special because she and her crew have been on the road since August, and St. Louis was going to be her last headlining show for the rest of the year. 

Before ending the night with her hit single “Blood in the Cut”, she thanked St. Louis for its hospitality and generosity and introduced her band and crew to the audience. She seemed genuinely humbled to be playing her songs in front of such an invested crowd. I think that it’s fair to assume that St. Louis welcomes her 2020 return. 

 

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