NinajirachiLife came full circle for Ninajirachi at the Enmore Theatre. As a fourteen-year-old, real name Nina Wilson attended her first-ever gig there, seeing Porter Robinson perform live. Just over a decade later, Wilson returned to the very same venue and performed a brand-new, unreleased track she said she made “with my friend, Porter Robinson.”
After spending 2025 speedrunning through superstardom, stacking up record-breaking award nominations at the ARIAs, dominating festival stages across the world and doing support sets for some of the most prolific names in the music industry, Ninajirachi has returned to the place she calls home.
“This has been my first hometown show since my life changed, so thank you for being here,” the globetrotting artist announced. Hailing from the Central Coast, she referred to Sydney as her home multiple times throughout the night, making it the perfect place to kick off her sold-out Australia tour.
Before we got to this, two up-and-coming artists took to the stage. A rowdy early turnout welcomed Melbourne artist daine, who responded in kind, singing and dancing back and forth across the stage, eliciting big reactions with her latest track PQC, which they said will feature on their upcoming album.
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Punters were also treated to a “little secret” in the form of an unreleased track from the Filipino-Australian singer and producer, said to be titled Love, Love, Love, Love. Hypnotic banger I RUN MY HANDS THRU IT was another set highlight, a track she said was co-produced by Ninajirachi. The chemistry between these two artists would continue to work wonders later on during Nina’s set, when daine returned to stage to perform vocals for another track they share, It’s You.
Lucy Bedroque was next up and wasted no time in proving they were a force to be reckoned with. Commanding the crowd with the confidence of a festival headliner, it’s no surprise their upcoming solo show was upgraded to a larger venue.
The Californian-based artist orchestrated punters to open up the pit multiple times throughout their set, and the young crowd - dressed in either activewear, club wear, emo gear, or a mixture of all three - were eager to comply, jumping up and down in unison while heavy electronic basslines pulsated as loudly and distorted as possible. Going beyond warming up the crowd, Lucy Bedroque left nothing in the tank.
A parade of upheld phones and chants of ‘Nina’ echoed out over dissonant, analogue computer noises and heavy pulsing wobbles as fans waited for the main act to take stage. The electronic producer and vocalist then kicked things off with a level of confetti usually reserved for the closing songs of a set, making clear this would be a celebration from the outset.
Tracks from I Love My Computer (ILMC), Wilson’s hard-hitting debut album, proved to be every bit as immersive and danceable as they promised to be, starting with album-opener London Song. Later on, as CSIRAC continued to crescendo, Nina introduced first-timers to the tour.
“Welcome to Dark Crystal V,” she declared, before dropping the song into a rampant, fast-paced flurry of beats. Battery Death saw Nina live up to her genre-defying reputation. The dubstep drop came from out of nowhere, the sudden pivot in genre reflecting in the crowd as hand-waving quickly turned to head-knocking. Fans of early 2010’s dubstep were in for a treat the whole night, with several tracks getting dubstep remixes added onto the end, evoking huge responses every time.
A prominent part of the Ninajirachi live show experience was the rapidly changing visuals that blessed the massive screen behind her throughout her show. An ambitiously conceptual mishmash of nostalgic, old computer software images and graphics - among numerous other blink-and-you’ll-miss-it images - would run and jump across the screen, stacking on top of each other and then disappearing as quickly as they came. These intensely overstimulating visuals complemented Nina’s equally rapid-fire music, creating a meticulously curated aesthetic that could only have come from the mind of an artist deeply embedded in internet culture.
The satisfyingly smooth and immediate transition from iPod Touch into Fuck My Computer that exists on the ILMC album was replicated live but in a whole new way. Mixed to elongate the transition, the tension continued to build and build, eventually leading to a cathartic release of epic proportions.
The crowd belted out the lyrics to these last two tracks as loudly as they could, more than anything else they had been singing along to that night. A quick encore performance followed before the show was over, and a barrage of sweaty, exhausted punters were back out in the windy Sydney winter, now with ringing ears and full hearts.
