‘All of 2020 I spent in this position,” announces Rina Sawayama, lying flat on the stage of Manchester’s Albert Hall. But that year also saw the Japanese-British singer’s career take off vertically. Following a steady drip of acclaimed but niche avant-pop singles, debut album Sawayama was released as the world entered Covid lockdown, propelling her to cult stardom (superfan Elton John later duetted with her). Until now, it had to exist in headphones. This is the second date of her first tour in three years, and walks the line between exuberant victory lap and striking political statement. Bathed in pink and purple lights, Sawayama is flanked by two voguing dancers and a powerhouse shredding guitarist in Vic Jamieson. The operatic high camp of opener Dynasty is a succinct manifesto for Sawayama’s sound – a potentially chaotic mezze of pop tropes that defined the charts of her early 00s childhood. That means shuffling between the gothic bombast of Evanescence and Tatu, and the glossy R&B productions of Destiny’s Child or Timbaland. Sawayama smooths over any contradictions with plenty of humour and pop hooks. A fizzing Comme Des Garçons (Like the Boys) transforms this former Methodist church into a queer rave. But for all the high-energy bangers, it’s the moral authority that stands out. Sawayama studied politics, psychology and sociology at Cambridge, and, during one costume change, a speech by Labour MP Zarah Sultana is played, tying together the climate emergency, Black Lives Matter and trans rights. Chosen Family, a gorgeous hymn to LGBTQ+ solidarity, is played acoustic in a big-hearted cameraphone moment. Between songs, she gives speeches on empowerment and naughtiness, to big applause. Sawayama is also fascinated with the opulence of the 1%. There’s even a brief airing of the piano theme from Succession, while XS, a Tesla-namechecking satire of modern consumption, could be a recasting of Pet Shop Boys’ Opportunities (Let’s Make Lots of Money) for the Logan Roy era. Visibly moved by the uproarious audience response, Sawayama points out that this is the largest crowd she has performed for to date. In an earlier single, she performed a playful caricature of the Ordinary Superstar. On the basis of tonight, an extraordinary one has just been born.