Lizzo at NOS Alive Festival review: A spiritual experience

“Bitch!” exclaims Lizzo, in a tone that says: you better believe what’s coming. With that, she takes a huge breath and blows into ‘Sasha Flute’ like her life depends on it. Although, she plays with delicacy compared to the rambunctious twerking going on all around her: a slightly baffling contrast, but all the more brilliant for it.

Sasha is less an instrument, more a trusty sidekick: given Grammy-winner Lizzo is a classically-trained flautist, she never leaves home without her, it seems. Sasha is such an outrageous character – like Lizzo herself; like each of her songs – that she’s introduced to the stage on her own cushion, to bright lights and fanfare. The crowd at NOS Alive in Lisbon, Portugal goes wild.

Somewhat frustratingly, the mellow whistle of the flute is all but swallowed up by the bombastic soul and R&B that pulsates through most of Lizzo’s music. But no matter: it’s something you expect to see at a Lizzo show, along with risqué costumes – PVC? Check. Harnesses? Check – and free therapy sessions from the queen of positivity herself.

So well-established are these elements that this writer previously thought them gimmicky. But to see it executed live and in-person, with such power, warmth and authenticity, is to be fully converted to the cause. After all, she wins you over with her adorably expressive, Disney character-esque face alone.

There really is something nourishing about both Lizzo’s music and personality that make this show a healing experience. Soaring songs like ‘Good As Hell’, ‘Juice’, Special’ and ‘Soulmate’ – all self-empowerment anthems poles apart from the bland X Factor winners’ singles of yesteryear – are so heartfelt and specific to their author that you can’t imagine anyone else singing them. (This sort of works both ways: I’m not convinced Coldplay’s gentle ‘Yellow’, which Lizzo covers late in the show, particularly suits her.)

The melodies and lyrics are always immediate and succinct, and pop off every time. (“If you need advice, let me simplify: if he don’t love you anymore, then walk your fine ass out the door,” she roars on ‘Good As Hell’: a public service announcement for the history books.) They all deal with same themes, but are never samey. Although you suspect she’ll evolve her message a bit for album number three.

To an extent, she already has. The setlist contains a few curveballs to punctuate the feel-good pop: the ominous (but still highly camp) hip hop number ‘Tempo’ is a palette cleanser, as is the prickly funk reprisal ‘Rumours’. “Black people made rock and roll, yeah,” she schools the crowd, as her all-female band and backing singers rock out with gusto to an influx of guitar.

Lizzo’s warm, velvety singing voice, of course, is a vital force. It’s wild and messy, but thrillingly so, as best exemplified on ‘Jerome’. She gives 110% throughout, and if she misses the odd note, it sounds as if fate intended it that way.

But the highlight of the show is her conversational rapport with the audience. “Let go of the negative energy,” she tells the crowd. “You don’t need it…” You feel as if she’s speaking directly to you, and it works a treat: tens of thousands of people release their tension all at once. It’s the kind of shared experience money can’t buy. She’s astonishing.