★★★½
East Perth Power Station came alive for the final night of Perth Festival 2026 as crowds gathered to see LA-based musician Sudan Archives. Brittney Parks, known to fans as Sudan Archives, delivered a stand-out set on the Main Stage in her first tour since releasing her new album The BPM.
Opening the night was Western Australian Indigenous artist Kayps, whose blend of hip-hop, indie rock and house set a charged energy for the evening. The 19-year-old Triple J Indigenous Initiative winner, joined by songwriter and mixer Calvin Bennett, performed with presence and charisma. Kayps is an up-and-coming artist to keep your eyes on if you love a boogie and authentic, politically charged songwriting.
At 9:15pm, Sudan Archives took to the stage in a striking green and blue body suit, armed with a geometric red electric violin and surrounded by multiple digital audio workstations. Moving between them to mix and master her original music into a swirl of electronic strings, heavy beats and soulful R&B, Parks delivered a theatrical performance.
The show unfolded in robotic, hyper-stylised choreography, where the visual elements were just as central to her storytelling as the music itself. In interviews, Sudan Archives has described herself as a visual artist who happens to make music, and that identity was clearly reflected on stage.
Every movement is exaggerated, intentional and diverting. Parks assumed a “gadget girl” persona, and her physicality reinforced a non-human, machine-like aesthetic. I, and many of the audience, fell in love with her violin, a centrepiece to her brand, which took on a character of its own throughout the show.
At times, the violin became a gun, a bow and arrow, triggering sharp sound cues that the crowd ate up. The lighting design reflected the colours of The BPM album cover as it danced in sync to the music.
Her set blended well-known tracks like Come Meh Way and Selfish Soul with the faster, more electronic direction of her new album. Her background in ethnomusicology and lifelong relationship with the violin were evident in the way she pushed the boundaries and conventions of the instrument.
In her album, she experiments with the violin as a percussive tool and synthesises it to create unique and original sounds. The BPMs (beats per minute) of the tracks on her aptly named new album are higher than those of her earlier work, reaching above 120, making it her most energetic dance record.
The bouncy tempos paired well with the cyborg-esque visual world she built on stage, creating a dynamic performance blending sound, movement and aesthetic.
Parks’ connection to the audience was playful and energetic. She turned the show into a shared experience by inviting everyone into the world of her music. During the performance, she brought an audience member onstage to portray the “type of the night,” dancing together to A BUG’S LIFE, one of my favourite tracks on the album.
Later, she parted the crowd to create an aisle, danced through it and then encouraged others to follow. Throughout the night, Parks guided us, telling us when to sing, when to clap and when to dance.
From where I stood, I could see a lot of people fully giving into the moment, having a wonderfully silly time. The feeling of spontaneity in these interactions cultivated a warm and groovy atmosphere.
Sudan Archives delivered a show that fused bold visuals, boundary-pushing music and infectious crowd connection. It was an entertaining, unforgettable experience to round out Perth Festival 2026.
Sudan Archives performed for one night only on Sunday 1 March at the East Perth Power Station as part of Perth Festival.
The season has now ended. Check the website for further city tour dates.
Website: https://sudanarchives.com/
Website: https://www.perthfestival.com.au/program/season-2026/sudan-archives
Socials: https://www.instagram.com/sudanarchives/ and https://www.instagram.com/perthfest/
Images supplied.
