Little Boots! Meet America.

America! Little Boots.

It's the final night of an all sold-out U.S. tour, which must be a bit flattering considering she's never done one here before and Hands, her Top Five debut, doesn't yet have a domestic release.

San Francisco's The Independent, formerly the Justice League, is almost the perfect size. Like Neumo's without the balcony. Onstage, there are banks of synthesizers and free-standing lights, with a tenorion attached to a microphone stand, flanking the front, squiggling away like HAL at a gay disco.

It starts with "Meddle," the song that made us a fan. Little Boots, a.k.a. Victoria Hesketh, is already smiling, blond hair tied back, decked out in a gold & silver space-gown and a hand-sized stylophone dangling down from her neck, all glamouflage, and she wiggles to the beat, singing, "She's a mixed-up girl, in a mixed-up world" as she presses gizmos and things that sound like pianos.

"Earthquake". Bang!

"Click". Bang!

"Mathematics," "Remedy," "Love Kills".

Bang! Bang! Bang!

The lights go rainbow and we get to hear nearly everything she's ever done.

Little Boots has never been entirely comfortable with an audience. The way she dances, the way she moves her arms — slow, performance-arts style — she comes across both rough and ready-made, like an adolescent version of herself practicing moves in front of an imagined audience, a bedroom popstar, and it's this innocent, unfinished charisma, upended by the most modern chart album of the year, that's reassuring and ridiculously lovely to watch.

Tonight's stage isn't as elaborate as some of her others. We miss the full-on starship triangles and unicorns. But the live experience of the ecstatic spectacle of, say, single "New In Town" or the long-road Giorgio Moroder electro-mirage of "Stuck On Repeat" make up for it in a pinch.

Well done, Victoria.

Pop's geography is lucky to have you.

Have you met Seattle?

"Earthquake [Yes Giantess Remix]"

Photos by belTRON and Arsie Says.