GRAMMY U Presents PRESENTING NATALIA KILLS: POP’S NEW PRINCESS OF DARKNESS BY JENNIFER BOYER CONTINUED FROM MAIN PAGE

Pardon the pun (totally intended), but it must be stated that Natalia Kills completely killed it when she took Metro’s tiny stage opening for Swedish pop star Robyn. Her inaugural album Perfectionist has not even made its debut yet and already the badass British babe had music lovers salivating for more by the time Kills finished her act and sauntered offstage. The electronically charged tunes performed by Kills (24) are immediately stuck in your head, giving those lucky enough to be in the songwriter’s presence an insatiable hunger to hear more of her catchy melodies and graphic lyrical subject matter.

Most people know of Ms. Kills because of her creepy but sexy song “Zombie,” which kicked off her set. With a rather laid back BPM, “Zombie” was an interesting choice to lead off a performance lasting less than half an hour. Understandably, warming up a crowd comprised of audience members who may have no clue who you are or what your songs sound like can influence an artist to pick a familiar tune. However, I was slightly shocked that Kills did not jump right in with an uptempo track, such as her recently released single “Mirrors.” Reverse psychology, perhaps? If grabbing the crowd’s attention by haunting potential fans is her objective, Kills nailed it. “Zombie” has the power to remain in a person’s consciousness and is not quickly forgotten.

Zombie Wonderland Free Love Is A Suicide Mirrors

Letting go of all constraints and devoid of any inhibitions, Kills displayed tight and well-rehearsed choreography backed up by two female dancers. Not to the point (yet) in her career where live musicians are needed (or can be afforded), Kills sang over backing tracks being regulated by a third female member of the Kills crew, stationed at a DJ booth off to stage left. Dressed for the red light district in various shades of red, Kills donned skintight thigh-high stiletto heels, hot pants, a lacy push-up bra, belted corset, and trench coat. The pop star’s ensemble was accessorized by a dangling pair of hand-cuffs, plenty of black kohl rimming her chocolate brown eyes, and Natalia’s signature oversized false eyelash that appears on her right lower lash line only.

“Wonderland,” “Free,” and “Love Is A Suicide” have all been ingrained in my mind since hearing Kills perform them live. Having only heard four songs written and recorded by Natalia Kills upon witnessing the singer in concert, I was chomping at the bit to hear new material from who I consider (along with DJ Mia Moretti) the next Lady Gaga. “Wonderland” and “Love Is A Suicide” in particular are unstoppable hits that radio will be begging for once Perfectionist is released next year. More dominatrix than diva, Kills effortlessly exudes confidence in herself. There is no doubt in my mind that this performer will make it in the ruthless world of pop music and return to Chicago years down the road headlining her own gig at Chicago’s historic Metro.

Jennifer Boyer is a longtime GRAMMY U member who recently graduated from Columbia College Chicago with a degree in Arts & Entertainment Management.