The Trilogy Tour Takes Over Orlando
The Trilogy Tour Takes Over Orlando
Melanie Martinez Trilogy Tour - Orlando’s Kia Center 5.29.24
Written by Caitlin Tuel for Dual Muse Magazine
Photos by Caitlin Tuel and Teresa Cardile for Dual Muse Magazine
5-8 Minute read
There is just something to be said about an artist who has formulated such a story within the last decade of their work. One who has conceptualized an entire movie and lore within it. I had only seen it once before, but watching Melanie Martinez grow from the voice to take over the Kia Center has been incredibly magical. Stepping into the world of Crybaby and immersive storytelling, it begins.
The Trilogy Tour begins with its two openers, Sofia Isella and Beach Bunny. I had been listening to the latter since college, and it was delightful to have finally seen them. Isella is a breath of fresh air, and I had been delighted to see an all-female-fronting touring run.
The last time I had had the opportunity to see Melanie Martinez, it had been the crybaby tour in the late 2010’s and I had no ride available. Sucks to be a teen sometimes. Feels very Blink-182 to say that, but c’est la vie. I’m still upset about it quite frankly, so it felt incredibly healing to that inner teen even to have the ability to see her at the Kia Center on May 29th. That being said, I had spent too much on some phenomenal quality merchandise, but when did inflation hit hoodies and concert tees like this!?
Melanie herself begins the show with a horde of rabbits walking out in cultish patterns as hymns play, surrounding arena attendees with a sense of palpable excitement, you’re able to feel the bass in your chest from the pit of the area. You can’t even hear the spoken word track over the screams of excitement as the lights flicker and the toybox/mobile sounds play lightly. And with that, the cult of rabbits becomes easily explained as her dancers as the live drummer to on stage left performs with everything in him. Ascending from the stage so truly like an ethereal creature, Melanie rises as the backing track of Cry Baby begins, and the Trilogy Tour has begun, and it is ready to take you by the reigns. Fully aware she is playing a majority of her freshman record, stopping solely after Mad Hatter, I cannot even begin to tell you my excitement as she begins to use the projector behind her in the most artistic of ways. As a former stagehand, these are my favorite type of shows to attend. The fine attention to detail is always appreciated - and at its core, a Melanie Martinez show is a theatrical production. Dollhouse begins, and the projectors begin to switch to the elevated version of the dollhouse in the original music video from ten years ago. Suddenly I’m twelve again and almost in a synchronised swimming fashion, her dancers spell out D-O-L-L-H-O-U-S-E. The entirety of the CRYBABY era, as performed, was incredible. Most excited for Mad Hatter, Pity Party (the scream!), and Soap, I knew I’d be in for a ride when I did get to hear them. Her vocals are unstoppable, her moves make everyone get up out of their seat, and the quick changes, and the axe-wielding, and the -
It is nearly impossible to tell you every single detail of this era. I felt as if I blacked out from the excitement. But I’d be remiss if I didn’t speak on her using the stage risers to ride the carousel during Carousel.
The thought put into the execution of every song’s performance continues as Mad Hatter ends, individuals scramble for merch, and I scramble to find Teresa, who I had gotten separated from by seating arrangements. And when I return to my seat on the floor I look up to see the hedge - a perfect rip from the K-12 Movie and Melanie in the dress, the ones the students wear in the film.. (The one for sale, too. $275, but a price to be paid to look like your favorite artist on stage. Quite frankly, an incredible marketing move.) The attention to detail strikes once more, and once again as the school begins to project behind her in storm. The Principal is changed entirely to a message of “End the Genocide” “Free Palestine” and “Stop the Occupation”. It leaves Teresa and I both saying to pay to see artists you don’t feel ashamed of supporting.
Watching this era of the concert, of her discography, it feels like her film. It’s incredible. Yet the death of Crybaby? It’s something you get to see. It’s a gasp, a scream, a shock. Duly incredible knowing she wrote and directed it herself, only to follow up with Portals - her own production.
And what a return Portals was, both in show and on streaming platforms, her deluxe edition currently amassing over 872 million streams. However, live, the era begins with DEATH, another quick change (yes, including the infamous mask. Much less unsettling in person! You get to see its artistic value and understand why she uses it.) Death is life is death is….. And what a production it is, stealing our hearts and the breath of everyone around me as all they can do is scream. Even a ballet performance. Her dancers during this touring run are such an incredible force of life, something I have not ever seen in a live performance. As the performance ends, i am left wanting more. Salivating almost, and just knowing that I have to see her on the Tampa run of the tour. And lucky readers, it’s not too late for you to catch her too!
