Live Report: George Riley – ICA, London

It’s February 29th, a month which has long represented love, and a date we haven’t lived in four years. Winter has been as cold and constrained as ever, and we’re lusting after heat, fresh energy and blissful release. Tonight George Riley plays a sold-out homecoming show at London’s ICA. It’s her biggest yet, and the final in a suite of performances, having played Bristol, Edinburgh and Manchester the nights prior.

The tour follows the release of Riley’s latest project, ‘Un/limited Love’, a six track EP released on Ninja Tune in November 2023. Full and ripe, it’s a record which bursts with self-assurance and thrilling pleasure.

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Over a misty stage the chords of ‘Lust’ begin. Feline and slinky, Riley coaxes us in; breathing hot and heavy over swelling strings, she sets the tone for the sensuous experience ahead. A warm pink aura, slow and contained for now, pulsates above her head as she bestows her first words upon us, “To your love I’m open”, assuring and rousing in equal measure.

A pronounced evolution from the hesitancy and introspection of her 2022 sophomore album ‘Running in Waves’, ‘Un/limited Love’’s colour is commanding and confident in its vulnerability. Riley dives into the unknown waters of her sexuality, emerging unbound and empowered. When someone in the crowd calls out “Sexy”, Riley kittenishly concurs, “Very”.

In a shimmering, deep lagoon blue cowl neck, port-red latex chaps and perspex heels, Riley physically embodies this sonic evolution. There’s something of Eartha Kitt as Catwoman about her, with Diana Ross allure and Grace Jones poise. The physical is integral to this evening’s performance. Dancers Shanice Ivy Burton and Raihaanah Sanderson-McQueen accompany Riley across several tracks, with the audience audibly wild for their striking yet fluid movement.

Acclaimed and beloved ‘Jealousy’ and ‘Desire’ are performed before Riley announces with authority, “That’s all my sad songs done. Let’s get ready to party and shake our asses”. The crowd’s allegiance declared with cool, sauntering sways as we’re invited to “Come inside / Make me feel alive / Let’s take a ride”, before the steamy beat of ‘Skin’ ramps up and hips yield to the raised rhythm. The screen behind her is flushed and fizzing with pink current, and she glows in an orange spotlight. Shanice and Raihaanah remerge to enthused and unrestrained shouts, with Riley moving off to the side at one point to allow them to flaunt to their full extent. The visual spectacle of the show, designed by Nick Hadfield, is enticing and electric. Later in the show, live, hand-held video images of Riley are lovingly layered over crimson and ultramarine backdrops, evocative of classic 90s R&B performances.

The opening bars of ‘Elixir’ throb in anticipation for Riley’s plush voice to arrive, and when it does the audience screams out with pleasure. This track forms the climax of both the record and show. With decadent, old-school house energy, coupled with tantalising lyricism, it’s a tune that simply bangs, and the crowd makes that abundantly known. The room is bouncing and several gun-fingers are spotted.

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As the textured and glistening underlay to ‘Time’ pulls in, Riley carefully drapes a Palestinian keffiyeh around her shoulders to a cry of “Yes yes! Free Palestine!” from one audience member. Refusing to let go of the charge ‘Elixir’ has implanted, Riley is jumping and full of verve, firmly waving the scarf in her hand she asserts, “I’m very protective over my space / I don’t let no one in unless I’m satisfied they’re good and humble”, with notably heavy emphasis on the following line, “Don’t like to mingle with the fickle and fake”.

The keffiyeh still wrapped around her, Riley indulges us with a sizzling rendition of Rihanna’s ‘Diamonds’, before pink and orange lights begin to strobe and the strutting beat of ‘S e x’ makes itself known. The atmosphere is at fever pitch, more like that of a club than any kind of Thursday night gig. There’s an undeniable flavour of the ballroom scene throughout the show, the underground queer subculture born as a vibrant celebration of self-expression, and which flourished in 1980s New York as house music spread. As the pace of the track moves quicker and quicker, the crowd responds with rising fervour. Riley moans and exclaims Donna Summer ‘Love to Love You Baby’ style.

The heat fully raised, Riley recognises, “there’s so much love in this room”. Lifting the Palestinian keffiyeh in her hand, she calls for freedom of all to clamour and applause. In response to her urge to “keep our hearts open”, one audience member speaks for the room – “We love you!” – before the scarf is thrown into the crowd, immediately re-raised and held high until the lights come up.

Further expressing the experimental and forward-looking nature of ‘Un/limited Love’, Riley closes the show with an unreleased track; high tempo and zesty. The pink aura, just a kernel during the opening track, is now expansive and flux, layered over a grid of grainy videos playing the same dance sequence being performed on stage. This final scene is a tableau of Riley’s growth and defiance, but importantly her commitment to set herself free and surrender to pleasure.

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Words: Sophia French