Caroline Polachek raises hell at Shrine Auditorium with ‘The Spiraling Tour’

When Caroline Polachek brought “The Spiraling Tour” to the Shrine Auditorium April 29, it was a celebration of an already-incredible run for the artist. Following her critically acclaimed solo debut, “Pang,” Polachek’s sophomore album has quickly come to be known as her best yet. As an artist whose career boasts a Beyoncé co-write, the performance of “Desire, I Want To Turn Into You” made for a beautifully unholy show.

The show’s opener, Sudan Archives, was a perfect introduction to a night of transcendence. Weaving between ecstatic violin solos and electronically altered vocals, Sudan Archives sang hits from her Pitchfork-featured “Natural Brown Prom Queen” with surprising ease. Ending with “Selfish Soul,” the set preluded a night of alternative pop earworms. 

The stage transformed for Polachek’s performance and the artist’s signature volcanic island aesthetics began to take form. As the time neared 9:15 p.m., the lights dimmed and a large countdown was projected on the backdrop. 

Polachek started her set with “Welcome to My Island,” a fitting start to an album that parallels the Greek myth of Circe. Clad in linens, Polachek lured in the screaming crowd with the bravado of a renowned enchantress.

Polachek masterfully uses her voice to elevate her music. There’s something quite incredible about Polachek’s vocal abilities. In “Ocean of Tears,” her voice flips with agility, evoking autotune-like qualities. Polachek’s classical voice training shone all throughout the show, soaring above the deafening roar of the audience. Like an ancient siren beckoning, Polachek makes it nearly impossible not to fall for her crystalline tone.

Polachek’s enrapturing act was best seen in her tribute to fellow artist SOPHIE, “I Believe.” Hands clasped together and staring straight into the sole spotlight, she sang to a higher power. For an artist emerging from the underground scene, Polachek is an expert at raising hell.

The night’s first surprise guest, Charli XCX, brought her club remix of the opening track to a shocked crowd. Frequent collaborators and two leading figures in their respective genres, the pair was perfectly matched. The sapphic chemistry was exactly what the night needed after the emotional beat of the previous song. 

“I want to dedicate this next song to someone very special in the house tonight: Mr. Danny L. Harle,” Polachek said.  “Let’s throw it back [to] 2019.”

“Pang” is the title track of Polachek’s debut album, which Harle executively produced alongside the likes of PC Music’s A. G. Cook and Daniel Nigro. The crowd knew every single word.

One of the best moments of the night came in the form of “Parachute,” a minimally-produced track that highlighted Polachek’s voice. The audience stood silent, in an unspoken agreement to leave the gravitic moment untouched. Caroline Polachek was to speak in allure, it would be her mother tongue. This hush was only disrupted by cheering at Polachek’s mention of Los Angeles: “Here’s where I jumped / From the airplane without questioning it / The curve of the coast of Los Angeles / Spreading itself below.”

The show’s triumph only continued with the surprise appearance of Weyes Blood, which had been hinted at earlier in the day in a tweet from the guest. This pairing was a proverbial, reverberating ode to dream-filled bliss. Blood’s “Titanic Rising” has been thought to be in the same cinematic universe as Polachek’s releases, and their inevitable collaboration is a highly anticipated one. 

The concert’s audio technicians excelled in their roles, with the mix serving Polachek’s presentation flawlessly. Although the bass seemed to be turned up to the max, it wasn’t the only part of the performance that left the crowd shaking.

Seen sprinkled throughout the show, Polachek’s humor is dark and ironic. In her introduction to “Caroline Shut Up,” she explained the meaning behind the tongue-in-cheek ballad.

“Then you know how hard it is when the person you love is right there in front of you and loves you … and you do all sorts of mental gymnastics, right?” Polachek said. “You’re like, ‘That’s not the real me, they love some imagination of me and if they find out who I was they won’t love me. And that’s not that’s not the real them I love, they can’t possibly live up to my expectations.’ Sometimes, you have to tell yourself to shut up.”

The show closed with two of Polachek’s biggest songs. Currently at 83 million listens on Spotify and named as one of 2019’s best songs by NPR and Stereogum, “So Hot You’re Hurting My Feelings,” ended the show. As the last song of the official track list, the song was a joyous bookend to an emotionally tumultuous night.

Polachek answered the call for an encore with “Door,” her first release under her own name. The song is long, clocking in at a length of five minutes and 22 seconds, and keeps the listener engaged throughout. In spite of the track’s unconventionality, it is an unforgettable catchy song. 

Polachek’s career trajectory is similar in its out-of-the-ordinary nature. Even though she defies the conventions of pop queendom, she remains firmly in the ever-changing pop landscape. With her unprecedented style and revolutionary vocal ability, Polachek may soon be recognized as one of the best vocalists of our generation. This tour proved Polachek’s refusal to loosen her grip on the melodic reins she has on critical and widespread attention. 

It’s about time that the world gives in to the power of Polachek.