ONLINE EXCLUSIVE: Viva la primadonna: MARINA drops the diamonds, but picks up the crowd

Neon pink, blue, green, and red illuminate the stage as the venue lights shut off. Whistles and screams emerge from the silent crowd as the woman of the hour struts from the side stage in a leopard-print catsuit and a high ponytail. It’s the 2010s Primadonna Tumblr girl, Marina Diamandis. 

MARINA, currently touring her fifth studio album, “Ancient Dreams in a Modern Land,” made a stop at the landmark Chicago Theater on Feb. 15, to a nearly sold-out crowd. 

The night started off with Swedish pop singer Tove Stroyrke, who opened for MARINA. The crowd was seated but not quiet. Claps, cheers, and singing flowed onto the stage despite their lack of body movement. 

However, a tidal shift occurred after this act, and the audience rose from their seats screaming for Diamandis to begin singing the title track off her latest album. 

“Ancient Dreams in a Modern Land” is an upbeat pop song riddled with feminist empowerment, paying homage to ones ancestral lineage asking the big question — what’s your purpose, why were you put on Earth?

The song has a heavy drum presence along with a 80s synthesizer, a refreshing take on the typical pop that’s heard on the radio. Paired with the lyrics, this is a strong opening song able to get the audience ready for the next hour with the blueprint of 2010s pop. 

One of the more impressive things about MARINA throughout her career is her groundbreaking music production because of her constant experimentation. Usually, major production aspects are lost in live performances but her synth beats and beat drops translated effortlessly live. 

A multi-faceted artist, MARINA does not disappoint, being able to jump from upbeat bubblegum pop to profound ballads with minimal breaks. Diamandis dominates the small stage, making it seem like an endless runway never knowing where she would move to next. 

Despite a delayed backing track, Diamandis and the band moved along, with her vocals filling the theater. With simple choreography and minimal visuals, the singing was the true star of the show. Diamandis has an impressive three-octave vocal range, making you feel like you’re transcending into a new dimension filled with pink kaleidoscope skies and Boucher Cherub landscapes. 

Diamandis’ vocals shined throughout the concert, sounding identical to her recordings, not missing one of her glass-shattering notes. This especially was evident when she took to the piano for her songs “Happy,” “Goodbye,” “Man’s World,” and “Are You Satisfied?”

While on the piano, she surprised the audience by transitioning from an almost acoustic version of her traditionally 80s pop-filled songs before jumping into an energetic performance, running from each point of the stage, throwing herself on the floor to serenade fans in the pit. 

Overlooking in the crowd, the fans in attendance had one thing in common — history with the “Primadonna Girl” singer. Conversations floated through the crowd with patrons as young as 13 and upward of 50 years old talking about what song or era got them hooked on MARINA — the Froot era reigned popular amongst the audience. 

As she moved throughout her discography, it was surprising to see how respectful the audience was to fellow attendees given the loud outfits they were wearing, their demeanor was observant and awestruck.

There was minimal obnoxious screaming, next to no arms flailing, just adoration for MARINA as if she were a direct descendant of God sent to Earth to guide us. 

With such a large generational gap to account for in her audience, the 19-song setlist was representative of her five albums with enough songs to satiate fans no matter if they became a fan in 2010 or 2022. 

Having a career that transcended a decade already, one might think she’s a big shot selling out arenas, but the intimate setting with her fans fits MARINA best. She shines on stage and displays herself as a true primadonna — giving a theatrical performance, stunning vocals, and a vehement command of the stage attracting the attention to her as if she were a baroque angel.