Róisín Murphy Live: A Thrilling Fusion of Eccentricity, Energy, and Visual Mastery

RÓISÍN MURPHY

THE FORTITUDE MUSIC HALL, BRISBANE

TUESDAY, 12 MARCH 2025

Photos by Marty Kooistra

Words by Ben Preece

Róisín Murphy: Back in Brisbane, Letting Her Music and Outlandish Costumes Do the Talking

Tuesday night in Brisbane isn’t exactly renowned for much. Tonight’s show would have serious odds stacked against its attendance if not for Róisín Murphy’s near-spotless track record—at least musically. The city remains drenched in the aftermath of ex-Cyclone Alfred, New Order are playing across town at the Riverstage. Plus, it’s been 17 years since she last visited, and while the hits have dried up, the quality has not. She was the voice of Moloko and has long wrestled with those songs created with her once-partner, Mark Brydon. And then there’s the elephant in the room—the backlash 18 months ago that dismayed swathes of her fanbase, halted any promotional push from her label (tsk tsk Ninja Tune) on her latest (and may we say INCREDIBLE) album, Hit Parade, and left her somewhat cancelled in the media. A remarkable injustice for such a masterful record to fly under the radar due to miscommunication.

But on this particular night, Róisín Murphy makes her return. She’s back, and this time, she’s letting her music and extravagant costumes do all the talking. And yes, she does play some Moloko.

A Show Steeped in Anticipation

The modest crowd inside the Fortitude Music Hall buzzes with excitement as the clock edges towards the tardy 9 pm start. There've been murmurs that the truck carrying all her costumes hasn't made the show due to the rain (spoiler alert - it has!) A soft electro-jazz track hums through the speakers, its melody unmistakably 'Pure Pleasure Seeker', the Y2K sax/sex-drenched opener to Moloko’s masterpiece, Things To Make And Do. Then, in a flash of light, Róisín Murphy's silhouette appears on stage, a dramatic figure framed in shadows. A thunderous clap of sound jolts the crowd to life as that soft jazz track seamlessly evolves into the behemoth track itself, 'Pure Pleasure Seeker'. Murphy’s catalogue is stacked, but no opener hits harder. Decked out in a black suit and top hat, she emerges, commanding attention. The lyrics “Come make me whole, body and soul” flash across the big screen, perfectly synced to the track’s pulse, setting the night’s tone of pure pleasure. From the very first note, it’s clear—Murphy is in fine form, delivering a badass masterclass in style and sound. Seriously, this woman is the alternative Madonna, the talent on display is as blatant and as sharp as any other.

MOT

Endless Costume Changes, Unstoppable Energy, Slightly Flawed Setlist

True to form, Murphy doesn’t stay in one look for long. In fact, every song brings a new costume, even if that means a simple swap of the hat. ensuring the audience is as visually captivated as much as they sonically focussed. From a white jacket, black gloves, and shades for the sparse thumps of 'Dear Miami' to a a black fur coat and wild mane-like headgear for a theatrical rendition of 'Overpowered', the style changes come at a quickly. Murphy’s penchant for costume is on full display, with standout looks including a witchdoctor-esque cape, a surreal afro bonnet, and a flowing dress that resembles an origami masterpiece. As the music flows from euphoric electro-pop to soulful Motown-electronica, Murphy is the embodiment of a dynamic, ever-evolving artist. She is simply magnetic throughout. The setlist covers her back catalogue rather sufficiently, it does include highlights from all her solo albums as well as the gorgeous 'The Time Is Now' and the glee-filled 'Sing It Back', two flawless songs from Moloko's cannon. Her club sensibilities remain intact, in fact they rule when Murphy truly shines when she's embracing all styles of pop-rooted music. Hit Parade's 'CooCool' and 'The Universe' cut through beautifully, but where is 'Fader' and 'Hurtz So Bad', two incredible songs from the same album. Minor nitpicks, however, the elation of having her here onstage should not be chortled at. The visuals—filmed from multiple angles and projected on a large screen—complement the sonics, making her onstage antics larger than life from every angle.

The Sound of a Powerhouse

Despite all the flamboyance and shenanigans, it’s Murphy’s voice that truly shines throughout the night. Her distinctive jazz-inflected vocals haven't lost any of their power, effortlessly soaring over a well-constructed show that balances both spectacle and substance. The Moloko hits—Sing It Back and The Time Is Now—are reimagined, speaking to Murphy’s ability to evolve and play with her past. Each rendition feels fresh and relevant, maintaining a flawless sonic thread sewn throughout the entire list of songs. 'Sing It Back', for example, is transformed into an ambient, percussion-heavy stomper, with all five band members hitting a drum of sorts. This then moves seamlessly into 'Murphy’s Law', mixed together in a way that mirrors a DJ’s deft touch. These moments reveal just how well Murphy understands the dynamics of stagecraft and her innate ability to blend her club sensibilities with live performance.

Visuals and Interactivity: A Performance Beyond Music

The visual aspect of the show is as integral as the music, enhancing the it further with intensity. During a particularly unforgettable sequence, an onstage camera sits directly behind Murphy, capturing her POV as she gazes out at the crowd. This footage is projected onto a massive screen, offering the audience a unique perspective that pulls them right into the heart of the action. As ‘Can’t Replicate’ builds, so does Murphy’s performance. What begins as a moment of vulnerability—wide eyes and outstretched hands—slowly transforms into something more intimate. She contorts her face in an exaggerated display, giving us a glimpse of her impeccable dental work (and lack of tonsils), eventually she takes a saucy turn. Her tongue playfully circles the lens, punctuated with playful moans. That is the unforgettable moment of this show. At another other point, the split-screen visuals of the band members at work, caught in the act of their craft, also add a layer of fun, with their reactions captured in real-time as they see themselves projected. Clearly Murphy is a tonne of fun to work for as each seems delighted to be there.

In these moments, it's clear that Murphy is the consummate performance artist, and every move is deliberate, every glance a part of her carefully crafted persona.

Conclusion: Unforgettable and Unstoppable

As the set hurtles toward its climax, 'Ramalama (Bang Bang)'—the lone selection from her 2005 solo debut Ruby Blue—injects a dose of youthful exuberance, its nonsensical lyrics and over-the-top musicality feeling like a final burst of unhinged, child-like energy. The encore, however, is the true standout. 'Forever More', a cut from Moloko’s 2003 Statues, isn’t necessarily the best song, but on this night, in this moment, it feels like the perfect closer. It flows seamlessly into 'Hit Parade'—a track not actually found on the album of the same name—before elements of 'Pure Pleasure Seeker' reappear, bringing the set to a perfect full circle. With her head thrown back, Murphy belts out “pure pleasure” one final time before vanishing as mysteriously as she arrived.

For over 90 minutes, it’s been impossible to look away. Róisín Murphy live is pure magnetism—her energy, eccentricity, and sheer stage presence an intoxicating force. The show is a perfect blend of nostalgia and futurism, full of fun while constantly pushing forward. Whatever controversies have swirled around her in recent months, tonight proves that Murphy has and can erase them, she has weathered the storm and emerged stronger. She remains one of contemporary music’s most fearless and enduring performers, a true force of nature and, as we head home tonight, utterly impossible to shake off.