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Sep 26, 2024 By Katie Dadarria Photography by Katie Dadarria Web Exclusive

There is the magic of live music, and beyond that, there is transcendence. PJ Harvey’s first American tour in seven years falls firmly in the latter category. I will fully admit I am far, far too late to the game when it comes to Polly Jean Harvey—but what a joy it’s been to discover her whole catalog at once (including all the b-sides) before the release of I Inside the Old Year Dying.

The show’s first portion was more like a theatrical performance than strictly a concert. The record itself paints a rich soundscape of the forest world of Harvey’s Dorset-dialect narrative poem, Orlam, and it takes on even more of a haunting, immersive presence in person. Even before the show began, nature sounds poured through Terminal 5, getting increasingly louder as the show approached, bringing the audience far outside the bounds of the club’s walls.

Everything about the new record’s performance was meticulous—the clear reflection of an artist’s mind and a brilliant team behind its concepts. Much has been said about PJ Harvey’s refusal to write the same type of album twice, and it is remarkably clear the dedication she pours into her work, immersing in the tone and scene of each individual piece. Here, immaculate lighting helped to emphasize the atmosphere and wild nature in the lyrics of the songs, as well as portray an entire scene in shadow with her and her bandmates on the backdrop.

The second half, in which Polly shed her intricate illustrated cape to signify a clear shift in the performance, continued to show the wide breadth of her entire catalog. The Mercury Prize-winning Let England Shake featured prominently, along with classics from her first few records, including a ripping “Man-Size,” “Dress,” and the ever-powerful “To Bring You My Love.” PJ’s fans know that there is not simply one version of each of her songs, but a plethora of demo versions; on this tour, “The Garden” from Is This Desire? was performed in that demo style, a quiet, staccato beat that fit perfectly with the shadowplay of the set design, as an alternative to the album’s more electronic version.

The joy of the show was palpable both in the enrapt audience, as well as on the stage, where Polly danced with abandon, smiles from ear to ear. Two nights at Terminal 5 felt like a high—hopefully one we’ll be lucky enough to hear again stateside soon.