On a sweltering Sydney evening, Paris Paloma takes the stage at City Recital Hall as part of Sydney Festival, bringing with her not just a setlist but a carefully cultivated sense of collective experience. Still early in her career, Paloma has already positioned herself as one of the most distinctive new voices in contemporary pop, where feminist intent and emotional directness are central rather than ornamental.
Her debut album Cacophony has surpassed one billion streams, a remarkable figure that reflects how deeply her music has resonated beyond traditional industry pathways. Central to that impact is 2023’s “labour”, a song that moved rapidly from release to rallying cry, soundtracking conversations around unpaid domestic work, bodily autonomy and systemic inequality. Its reach, from streaming platforms to social movements, has come to define Paloma’s public identity.
That trajectory continued with her recent single “Good Boy”, featuring Emma Thompson, which turned its attention toward masculinity and the costs of seeking validation within structures that harm everyone involved.
Supporting Paloma on the night is emeree, who opens the evening with a set rooted in Motown grooves and contemporary R&B fusion. Joined by two backing singers, emeree’s performance is matched visually with coordinated, 1960s-inspired outfits that complement the warmth and polish of the music, setting an assured and inviting tone for the night ahead.
Paloma steps onstage in a flowing white gown that holds the light, her physical presence reinforcing the political intent threaded through her songs. During the second song of the set, she accepts a pride flag from an audience member before addressing the crowd directly, speaking about the patriarchy and quoting the headline of a recent essay by Rebecca Shaw: I knew one day I’d have to watch powerful men burn the world down – I just didn’t expect them to be such losers, as she launches into ‘Good Boy.’ The moment lands not as provocation, but as context, framing the performance within the same cultural conversations her music already occupies.
Live, Paloma’s shows operate as communal spaces as much as performances. In the lead-up to the Sydney Festival appearance, she used her Instagram account to give fans guidance on how to dress for the evening, suggesting fairy godmother-inspired outfits, “Everywoman” looks and the use of red ribbons. While there was no formal book exchange ahead of the Sydney show, fans arrived early to trade handmade crocheted doilies, small gifts and handwritten messages, continuing the culture of exchange that has become a defining feature of her live performances.
Often compared to Florence + The Machine or cited as a touchstone for a new generation of Kate Bush listeners, Paloma resists easy lineage. What’s clear, though, is her ability to translate belief into practice, creating live environments that mirror the values expressed in her songs, where music, community and shared intention are inseparable.
Paloma has one more show in Sydney and will then visit Brisbane, Melbourne, Adelaide and Freemantle, tickets HERE.
Images and words DEB PELSER
