Dance-Floor Euphoria

FKA Twigs celebrates pleasure and freedom.

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FKA TWIGS-the singer-songwriter, producer, actor, director, and model born Tahliah Barnett in Gloucestershire, England—spent much of 2024 promoting her remake of the cult classic The Crow and awaiting an upcoming sexual-battery trial against Shia LaBeouf. In interviews, Twigs touched on parallels between her character, Shelly, who is murdered and revived at great cost, and herself, calling the film a vital step in her healing journey. While The Crow bombed after a heartwarming buildup, opening at $4.6 million against a budget of at least $50 million, LaBeouf has appeared in Francis Ford Coppola’s Megalopolis and shot a film with David Mamet, signaling a post–Me Too comeback. Now Twigs rolls out Eusexua, an album steeped in the dance music she gravitated toward while working on The Crow in Prague. The record’s focus on healthy sexual-power dynamics feels more political than much of the disco aesthetics and wellness jargon her major-label peers are selling. Resuming work in forms that offer greater control and expression of intent, FKA Twigs is a delight.

Less of a deliberate jet-setting exercise than 2022’s Caprisongs mixtape, which united guests and genres across continents, Eusexua ponders states of being. Its lyrics negotiate the terms for the pursuit of pleasure and celebrate freedom of movement among consenting sexual partners. Electronic dance music weaves a shiny, jolting, hyperreal present to vanish into, and