“A haven for queer communion”: Tom Rasmussen brings euphoric night of music to KOKO

Photography by Emma Last

Pair KOKO’s glittering disco ball with a tightly packed queer crowd, an impressive array of novel, laser-filled staging systems, and a glorious slathering of dance-forward pop tunes and you undoubtedly have a recipe for success. But writer, activist, and musician Tom Rasmussen, whose dazzlingly lively sets have seen them forge an ever-extending path through the UK’s music scene, took success to the next level with Friday night’s show at Camden’s KOKO, marking the end to their seven-night Live Wire tour, which celebrates the launch of their latest album.

Following a string of shows across the country, Tom Rasmussen took to the architecturally marvellous Camden venue, whose sophisticated grandeur helped make way for a ceremonious closing night on Friday. 

Since we last caught Tom at various venues last year, including appearances at London’s Drumsheds and Coal Drops Yard as well as a support slot on tour with Self Esteem, their already ravishing live shows have only got bigger, better, and sexier, their successful upscaling a testament to the Lancashire-born singer’s ambitious artistic vision. After moving to London and entering the world of drag, performing at venues ranging from Royal Opera House to Glastonbury, and supporting a number of critically acclaimed artists including Rina Sawayama, Tom unveiled their debut album, Body Building, in March 2023. Since then their sound has remained unwaveringly bold, glamorous, and remarkably important.

In a memorable, ceremonial fashion on Friday night, Tom entered the stage at the centre of a glowing, smoky portal of light. Orchestrated by Globe Town Records’ in-house artist Adam Wadey, the staging for the night was particularly noteworthy, including never-created-before laser systems and glorious light displays. As they arrived to the Camden stage, Tom delivered a quasi-religious opening with arresting operatic vocals, before launching into anthemic first song There’s A Lot To Be Happy About.

From the get go, the former drag artist’s majestic stage presence was clear. Always performance-led and never shying away from bold, liberated movement, Tom packages their messages not only in the form of poetic, honest lyricism but also in fluid, intuitive motion that falls nothing short of mesmerising.

As the chorus of the first song ushered in a euphoric beat, the crowd embraced Tom in a raucous welcome, which continued throughout the entirety of the tune. In the moments where the crowd wasn’t singing along to the joyous choruses, an almighty applause filled the venue, proving that this night of music was, as always, fiercely welcomed.

Nobody’s Love followed, boasting a heavier beat that created an electrifying atmosphere when paired with Tom’s skilfully delivered flourishes and unabashed movement. 

“This is for the dolls and the divas,” Tom exclaimed, before launching into punchy hit Street Violence. Hailing from their sensational debut album Body Building, the track is one of the most poignant releases from the project, which disseminates the violence that the artist has experienced as a queer femme person.

“Body Building is the culmination of a decade thinking about what it means to be different to other people, but in a way so many people have felt too,” the artist stated in a press release upon the release of the introspective solo project last year.

“It’s about grieving a part of you that has been taken by others, it’s about escaping violence, it’s about accepting — and attempting to thrive in — reality and not simply fantasy. It is the last time I want to talk about all the violence I’ve experienced in my life as a queer femme person,” they continued. “But never say never. It is dedicated to queer people and trans people everywhere.”

In perhaps one of the most passionate receptions we have seen all year, the crowd’s applause intensified as the song drew to a close. It felt like a communal celebration of the singer’s work, which has offered healing escapism to audiences far and wide. In a touching moment, the singer-songwriter seemed to seek a quiet moment to speak as the crowd still erupted in applause. Their passion for their solo project was beautifully clear.

New song Oysters For Lunch followed, a lighter, electronic-infused hit that was oozing with sexual liberation. Perhaps one of the most empowering aspects of the singer’s live shows is their movement. Captivatingly unrestricted, Tom’s dancing gifts the show an additional dimension of infectious liberation, which only intensifies the messages being spread in the singer’s lyrics. 

Next on the bill was dramatic ballad Seth. Also from their first album, Body Building, the tune felt somehow even more empowering when staged between sliding red walls of light in a religiously emblematic moment. Deliciously high vocals topped the drum-packed ballad, which carried a new sound that showcased the artist’s admirable depth and versatility. 

“Are we feeling gagged?” Tom questioned as the first section of their set came to a close. 

“I felt the need to write something about our interiority and the way we love each other… as queer people,” they explained, before welcoming Fin Henderson, member of support act MY OH MY and collaborator on Tom’s recent record, for a cover of Arthur Russell’s This Is How We Walk On The Moon. Backed by Fin on keys, the track was slightly slowed from the recording of Tom’s cover, which featured on their debut album Body Building. Gloriously tender and gut-wrenchingly powerful, the rawness of the performance was only enhanced by Tom’s raw falsetto vocals, which have an enticingly clear quality.

The reflective tone continued with Song For M, a delicate, slow ballad with swelling synth-filled backing. The song builds into a march-like, powerful sonic world as the beat enters in the song’s second half, further developing Tom’s surreal, layered sound into a synthy, rough yet warm landscape that closes with low undertones.

Sheffield pop artist Self Esteem made a special appearance for the next song, Rescue Me, a nostalgia-infused, synth-dripping ballad which is one of the highlights on Tom’s latest album, Live Wire. Passionately welcomed by the crowd, the pair’s collaboration showcased both singers’ emotion-infused and raw, floaty vocals, which meshed together to form what felt like the sonic embodiment of comfort. Their collaboration brought a palpable feeling of camaraderie to the room, which had grown throughout the night into a beautifully sweat-filled, welcoming celebration of queerness and community.

The moment, along with the rest of the night, felt like a reflection of Tom’s incredible ability to conjure up human connection through their music. Their latest album, Live Wire, does exactly that– eulogising human relationships and interiority through a nuanced set of lenses that range from sex and hookups to emotion and the feelings that accompany the navigation of trans existence.

Tom’s transcendental, high-pitched vocals continued to shine through Psalm: Will You Be Mine, which saw them deliver a platter of stacked operatic vocals in the dark, creating a scene that could only be likened to a religious experience. The song forms part of a collection of psalms that each divide Live Wire into distinct sections. Co-written with Kieran Brunt, the choral songs are formed of masterfully arranged harmonies. 

Following the choral transition, the set began to bloom into an upbeat celebration of queer joy, love and sex, with next song Body, Heart, Mind. Carried on a joyous motif, the track was filled with reflective, romantic lyricism as well as energetic, danceable beats that had the crowd dancing. Never Look Back, a collaboration with The XX’s Romy that appears on Tom’s latest album, was up next and featured a just as danceable, smooth beat as well as catchy choruses sandwiched between verses that celebrate queer friendship.

Philosophic, snappy song Fantasy Island Obsession followed, packed with free movement that was dripping with queer liberation. Through just three repeated words, the alternative dance-pop hit builds an alternative realm of escape and liberation that explores the existence of a safe space away from today’s society and the endangerment of queer existence. 

After another thundering applause, euphoric new hit Faithless was up next. “This song is about trying to find God but instead finding a hookup in Magaluf,” Tom spoke. The track, which was written on their phone on a beach in Magaluf, features an uplifting beat and catchy chorus which join to form a punchy, energetic sound that’s an exaltation of love and joy in queer relationships.

The same heavily upbeat, positive tone continued throughout dance-worthy, vivacious single Shugs (Live Wire).

“It’s always, always for trans people,” Tom spoke before launching into the final song before the encore, Dysphoria, a sweaty banger oozing with muses over queer community and falling in love on the dance floor.

Returning for the encore, Tom began with meditative, piano-guided ballad I See Potential As A Beautiful Thing. Accompanied once again by MY OH MY’s Fin Henderson, the slower tune left the room in silence despite it being fully packed. Through their poignant lyricism and tear-jerkingly operatic vocals, it’s glowingly evident that Tom Rasmussen has us wrapped around their finger. 

The exposed, raw vocals that peak into expressive high notes continued to shine in the next song, a slow, hearty piano ballad of Marry The Night, which possessed a touchingly emotion-packed quality that held the audience powerfully. 

Final song Look At Me brought the night to a close on a euphoric note, drenched in unadulterated boldness. With house influences and high energy, the track is simultaneously a catchy dance floor filler and a joyous, pulsating ode to confidence and queer visibility.

For those seeking a space to feel seen, held and celebrated, Tom Rasmussen is building a much-needed haven for queer communion. Balancing raw, sensitive ballads with punchy, danceable expressions of ecstasy and pride, their music is paving the way for a nuanced exploration of gender, relationships and existence as well as an unabashed musical revolution that always puts empowerment first.

Written by Katie Last

Photography by Emma Last