It was William Shakespeare who once asked what’s in a name, later surmising that a rose by any other name would smell just as sweet; the notion has never been truer than with Christine and the Queens, now Chris. The French pansexual pop singer has, to say the least, had a transformative few years since the release of her first studio album in 2014, Chaleur humaine. This year’s release of her sophomore album Chris showcased the artist embracing and engaging a masculinity that resided within her alter ego (all while never abandoning elements of her unique femininity).

Today, Héloïse Letissier has poised herself as a performance artist on society’s fringe. In a time marked by unease and in desperate need of acceptance, Chris stands as a warrior—flexing her muscles (metaphorically/physically) and walking the fine line between inventive and avant-garde, haute couture and counter culture. On Nov. 1, Chris brought her new persona to the second of two sold-out shows at New York’s Brooklyn Steel.

On stage, Chris is unabashedly bold, charming, charismatic, and seemingly more comfortable than ever (both in lyric and in performance). There is a cool confidence that resounds on stage as Chris hits every key, sliding around stage with a trope of well-versed and well-choreographed dancers. At times it’s easy to get lost in the performance, which borders on cinematographic at points (the lights, smoke, and movement meld in a surreal whirl to the backing of songs like “Goya! Soda!” and “Girlfriend”). The entire evening is enthralling and leaves little to be desired.  Christine and the Queens is easily one of the best live acts of the year.

Be sure to check out Christine and the Queens at christineandthequeens.com and on iTunes.