Arriving at Electric Bristol, the room hummed with murmuring expectations of big things from a band which has quickly built a reputation as one of the most exciting artists in the current punk and alternative scenes. Mannequin Pussy took to the stage with no comments above the opening strumming of ‘Sometimes’ – a popular, chiller, feature from their latest album release – I Got Heaven, of which the tour derives its name. A sense of mystery, as the band continued through a dreamy phantasmagoria of their more indie, shoegaze-y tracks. Barely addressing the audience, only to explain that the set would be split into two sections, before dropping you into a state which felt as if watching a film or rehearsal – a passive viewer wrapped up and drifting with the hazy flow of the tunes.

At some point during the daydream, frontwoman Missy Dabice acknowledged the audience in a whisper: “we’ll talk later…” – as if breaking the fourth wall. The montage continued with its moody grunge tones and whispered interludes, sensual and manic. Playing through ‘Nothing Like’, ‘Softly’, and ‘Control’ before arriving at ‘Drunk II’ – the intimate and popular release from the band’s 2019 album Patience. Even during this opening section, the band had a huge amount of stage presence, each with their own moody, rhythmic sway.

After working their way through some softer tracks, there was an abrupt and deliberate change of tone towards the punkier section of the set. The halfway pause included a monologue by the band’s frontwoman, a contrast from the previous mute persona. Missy Dabice spoke about issues such as feminism and LGBT rights, with a message which preached kindness and proactivity. In a tone which was both dominant and sometimes light-hearted, making jokes before returning to earnestness. As the speech built with emotion the audience were roused to fever pitch, signaling the change in tone the music was about to take.

Undeniably, I Got Heaven is Mannequin Pussy’s most successful album release, with wildly popular songs such as ‘Loud Bark’ and the title track ‘I Got Heaven’, which both followed the spoken interlude. The second half of the set leaned much further into the punk genre, going way, way harder. Dabice’s vocals were more aggressive, elevating to ragged shouts during the most frustrating lyrical content, and then winding down once again, creating waves of punk attack before letting the audience down gently.  The band rampaged through standout renditions of ‘Aching’,  ‘Clams’, and ‘OK? OK! OK? OK!’ before Dabice was joined by bassist, Colins “Bear” Regisford, on vocals nearing the end of the set. This included “Pigs Is Pigs”, led by Bear and aimed at bringing attention to issues involving police brutality in the USA.

Time flew by as the band teared through the second half – getting faster and more aggressive before winding down, ending with ‘Romantic’ and leaving the stage in a virtual mic drop. There was no encore, but no one in the audience seemed disappointed. The band left behind a message which promoted the need to be creative and free, the value of art, and the voice it provides you. The atmosphere in the crowd at Electric Bristol was indeed, electric, solidifying Mannequin Pussy’s reputation for both magnetic stage presence and musical expertise.