Preparing for DELUXUA – Dissecting FKA Twigs’ Eusexua

By Uriel Murillo

Known for her breakthrough hits ‘cellophane’ and ‘Two Weeks’, FKA Twigs is a visionary British artist who creates experimental alienesque music pulling from R&B, art pop and trip-hop with a commitment to electronic musical production. Twigs has always been an intentional artist with loaded work, blending her vulnerability with her strength, and creating music as a dancer and performer. With her powerful debut on LP1 and her achingly expressive follow up on MAGDALENE (and beautiful crafted mixtapes and eps in between), it’s no surprise that critics and fans have been eagerly watching to see which new avenues Twigs would explore on her next studio album. On January 24th, 2025, FKA Twigs would release Eusexua, a beautiful and passionate record that reimagines and redefines club music while drawing from Twigs’ experience of healing through dance. Deriving from her time raving in Prague, Twigs incorporates elements of the past and future to create a record that is both rich and referential while remaining fresh. She captures this ultramodern sound in collaboration with her main producer Koreless, who washes the majority of the record with a metallic coat of paint, pulling from elements of techno, club and trip-hop. Their work together on Eusexua is pivotal and paramount to both of their careers, and I want to recognize this body of work for its stunning and transcendent quality.

This article will dissect every song on Eusexua and look at the heavily documented production behind each track as we prepare for a new installment to the album that is just on the horizon. I feel it’s best to honor this piece by starting with a track that sounds like nothing I’ve ever heard before and looks into the most sublime corners of Eusexua, with ‘Drums of Death’.

Credited as a feature for holistic and sole production on the song, Koreless best demonstrates his understanding of futuristic sound in collaboration with Twigs on the song. ‘Drums of Death’ blends elements of IDM, deconstructed club, and glitch pop to create a subversive track where chopped vocals underscore the impressive technicalities of the instrumental production–reminsicent of Twigs’ own ‘Glass & Patron’. Twigs’ vocals join the production, stuttering and glitching alongside the powerful kicks that dominate the track, and with additional backing vocals from collaborator and friend Tin Tin, the two whisper mantras of sexual liberation, complimenting the suspenseful low-end synths. Twigs takes the song to new heights with an iconic chorus that blends her singing voice with the bold instrumental production to create a grandiose climax, releasing the tension Koreless meticulously builds up throughout the song. Together, Twigs and Koreless create an uncanny and empowering anthem that radiates extraterrestrial confidence.

‘Drums of Death’ was first performed by Twigs at her 2024 Met Gala afterparty hosted at the Hotel Standard’s Boom Boom Room back in May 6th, 2024. A briefer mix of the track was featured in the official ‘Eusexua’ music video and was performed by Twigs during her ‘The Body Is Art’ show done in collaboration with OnCloud on September 16th and 19th of that year respectively–the latter featuring more vocals from Tin Tin. The full-length version of the track was finally released on November 14th, 2024, accompanied by a captivating choreography video, marking it as Eusexua’s third single. 

Riding the alien intensity of ‘Drums of Death’, Twigs expands the scope of her visionary music by reaching further into the past with ‘Childlike Things’.

Written by Twigs at the age of 13 and featuring (then)11 year old North West, ‘Childlike Things’ reinterprets what it means to be childish with an unserious approach to its melodies, lyrics, and of course collaborator. The song is a piano house track derivative of retro Japanese dance music, further supported by North West’s Japanese lyrics. Only grounded by the rhythmic pulse of keys, ‘Childlike Things’ indulges into bubblegum dance to a borderline ironic degree–pushing the boundaries of music in a ‘hyper’-stylized way (see ‘hyperpop’). Melodies are composed by silly vocalizations and verses are strung together by quick and juvenile lyrics.all the while the production stacks these elements onto a hypnotic beat. The high energy track stands out as the most eccentric song on the record without feeling inappropriate to the ethos of Eusexua, making for a pleasant surprise.

‘Childlike Things’ was never performed or officially teased by Twigs before its release, but an early mix of the song was featured on an Instagram story in late 2022. It would sample Koreless’ own ‘Joy Squad’, which Twigs danced to during her ‘unearth her’ performance done for the Valentino L’Ecole show on October 1st, 2023. An accompanying music video for ‘Childlike Things’ was released on March 27th, 2025. 

With ‘Childlike Things’, Twigs really gets to play into the chaos of music limitations, and this unpredictability carries over into the fan-favorite genre-defying striptease.

The futuristic ‘Striptease’ takes on the mantle as the most metallic track on the record, merging the high-impact textures from hyperpop with dirty bass lines present in trap. The song features additional production by Dylan Brady of 100 Gecs, likely contributing to the ‘pots and pans’ kicks that have become a signature of 2020’s hyperpop surge–now translated into Eusexua’s unique tongue. ‘Striptease’ obeys standard pop music structures while figuratively teasing at more, aligning with its namesake but unafraid to experiment. Halfway through the song, ‘Striptease’ completely deconstructs and rebuilds itself on cue to a glitchy vocal roll, accelerating into an unexpected breakbeat interlude. Siren-like vocals from Twigs steal the show as the production incorporates elements of Jersey club, making for a subversive and grandiose finish so strong you can’t help but smile at the genius of it all. Twig’s bold creative choices on ‘Striptease’ culminate into a beautifully arranged track that harmonizes with the varying sonically abstract interpretations of Eusexua.

‘Striptease’ would be teased years before its release on November 19th, 2022 by Twigs on both Instagram and YouTube, being played in the background of a dance routine video. Next, a high quality mix of the song would be featured on a Calvin Klein ad done in collaboration with Twigs posted on March 15th, 2023. Then, Twigs would perform to the outro of the song during her ‘The Body Is Art’ show on September 19th, 2024, introducing a brand new side of the song and suggesting its appearance on the new album. Finally, the song was released alongside an accompanying music video with the rest of Eusexua on January 24th, 2025, marking it as one of the most anticipated songs of the era. Despite this, the recording present on the first edition vinyl pressings of the album feature a different outro for ‘Striptease’– implying the song’s final mixing and mastering being completed sometime after the production of the vinyl records (Ranging about 6-12 weeks).

Where ‘Striptease’ cleverly uses elements of contemporary music to push dance to new feats, Twigs also uses genres of the past to further her efforts, reworking once-dominant genres in creative ways. 

Twigs fully embraces the essence of retro pop with ‘Girl Feels Good’, tapping into nostalgic elements of the late 90s. With additional production from Marius de Vries–a collaborator of Björk, Massive Attack, and Madonna–alongside Koreless and Twigs, ‘Girl Feels Good’ reinterprets the hypnotic trip-hop influences of the past into the contemporary electronic canon of Eusexua. The song’s psychedelic strings swell and contract to the needs of the composition, resonating with patterns present on Madonna’s ‘Swim’ or ‘Ray of Light’. While the production of the song takes center stage, Twigs makes sure to incorporate her iconic alienesque techniques through vocal layering, oscillating drones, and production breakdowns that push ‘Girl Feels Good’ past its 90s influenced soundscape and into the modern world. In doing so, she crafts a track that serves as both a love letter to the genre while also taking an innovative leap forward, reinforcing the album’s dichotomy of nostalgic and modern music.

An excerpt of ‘Girl Feels Good’ was first performed by Twigs during her ‘The Body Is Art’ show and announced to be part of EA’s FC 25 soundtrack on September 16th, 2024. FC 25 would launch worldwide on September 27th, 2024, featuring ‘Girl Feels Good’ in its entirety on the game’s radio.

‘Girl Feels Good’ does a great job at capturing the pop of yesterday with a twist, but on ‘Perfect Stranger’, Twigs demonstrates her equally comprehensive understanding of the pop music of today.

‘Perfect Stranger’ is a polished pop song reflective of Twigs’ own ‘Killer’–a single believed to support the original. scrapped concept for her third album–and is further elevated by additional production from pop duo Stargate. Taking a more streamlined approach to melody and percussion, Twigs shifts the focus towards the philosophy of Eusexua through the song’s lyrics. On ‘Perfect Stranger’, she explores the comfort of naivety with a stranger, as opposed to the weight of authenticity that comes with a fully realized relationship. She emphasizes the art of presentation–the carefully curated performances of character we adopt to be perfect for one another in the moment–offering a freedom through the rejection of context. While Twigs doesn’t take any significant creative risks on ‘Perfect Stranger’, she compensates with a striking breakdown that, through its abrupt ending, leaves the listener yearning for more. Though the song doesn’t really speak to me, it’s a solid pop song that thematically encapsulates Eusexua, marking relatively new territory for Twigs while making the record more accessible.

‘Perfect Stranger’ was released as the second official single for Eusexua with an accompanying music video on October 17th, 2024, featuring a beautifully striking array of scenarios played by Twigs and a unique video mix of the song featuring an even more intense musical drop.

While ‘Perfect Stranger’ leans into contemporary pop’s standards of immediate melodic and choral satisfaction, Twigs also explores structures that take time to develop into musical masterpieces, illustrated best by the title track of the album, ‘Eusexua’.

‘Eusexua’ is a pop-techno hybrid that serves as an otherworldly opener to the eponymous record, perfectly setting the tone for the album. It begins subtly with a thumping bassline and acoustic guitar melody–provided and produced by friend and collaborator Eartheater–unfolding with a slow-building and unwoken energy. Twigs delivers breathy, delicate vocals reminiscent of her Magdalene album, reading as a pseudo-send-off to the acclaimed era. As the song progresses, it ominously aggregates keys, risers, and whistles, before dropping everything to release its powerful electronic chords. From there, ‘Eusexua’ undergoes a metamorphosis, blooming into a dance-driven piece built on pulsating synths, electronic arpeggios, and the hypnotic bass and high-hats signature of techno and house respectively. The energy of the track intensifies to both a literal and figurative climax, with Twig’s glitchy, choking vocals falling over onto the listener like static or sand. By its end, ‘Eusexua’ completely transforms from where it started, sonically embodying its namesake and recalibrating the listener for the album’s ambitious journey. With its multi-act structure and cathartic soundscape, ‘Eusexua’ stands out as a career-defining high for Twigs, made all the more powerful in context to the rest of the project.

‘Eusexua’ was first teased by Eartheater on an Instagram story posted sometime in September of 2022 (Being reposted by Twigs upon the single’s release). It would be performed in its entirety by Twigs during her ‘unearth her’ show done in collaboration with Valentino L’École October 1st, 2023. ‘Eusexua’ would have its title unofficially revealed at her Met Gala afterparty on May 6th, 2024–having the word occupy her dress! ‘Eusexua’ would finally be released as the lead single for the album alongside a stunning music video on September 13th, 2024 and performed during her ‘The Body is Art’ show on September 16th, 2024. ‘Eusexua’ would get an official remix in collaboration with DJ Anyma released on December 6th, 2024, featuring more backing vocals by Eartheater and more EDM influence; it would be performed by Anyma with Twigs at The Sphere in Las Vegas on December 28th, 2024. 

‘Eusexua’ doesn’t exist as the only instance of Magdalene on the record. While Eusexua is a triumph over the sorrow and pain that brought us Magdalene, Twigs is still the delicate girl who speaks with her heart through her music and art. This vulnerability can be seen on ‘Sticky’.

‘Sticky’ takes the record in a new direction, being the first instance of a ballad placed right in the middle of the album’s tracklist. While a piano ballad seems a little out of place for an album inspired by electronic dance music, ‘Sticky’s subversive structure neatly fits into the established sound of Eusexua. With delicate whisper-like singing, ‘Sticky’ follows the troubles of traversing sticky situations–exploring the confusion that comes with being vulnerable as a means to grow closer with a lover. Isolated piano chords set up the song, first introducing key melodies, subtle percussion, and Twigs own voice as an instrument. Koreless modulates her vocals with his signature futuristic sound, making her voice sound metallic and hollow as they land on the soundscape–Twigs herself interpreting the sound as marbles falling. Only then does the song play into structures of dance with clearer percussive and bass lines, as well as stronger vocals that reverberate for dramatic effect. ‘Sticky’ fakes out a return to its chorus only to be interrupted by the dirtiest bass that stretches and pulls at the limitation of sound like molasses. Twigs’ distorted vocals attempt to let out lyrics, but they ultimately succumb to the weight of the bass (I’ve only read to be understood as derivative to dubstep), before abruptly ending. ‘Sticky’ plays into a lot of methods present on Magdalene, particularly valuing contrast between gentle and harsh elements within a single track, best demonstrated by the heart of Magdalene, ‘mary magdalene’. The song only sits under 3 minutes but goes through a journey so immersive that ‘Sticky’ feels grandiose and unique to the world of Eusexua, elevating the record's impressiveness

‘Sticky’ would be one of the first songs confirmed by Twigs to be part of the album via Discord, having its title and connection to her own ‘Lights On’ revealed on January 15th, 2024 by Twigs. The song would have a brief excerpt played during Twigs’ ‘The Body is Art’ show, featuring an extended outro for that further indulges into the harsh sound that makes the song so jarring–it is unknown whether this outro is part of an early unused mix of the song or made solely for the performance. 

‘Keep it, Hold it’ follows a similar structure, starting as a minimalistic song that comes to completely transform by its end.

‘Keep it, Hold it’ starts with just Twigs and woodwinds making up the majority of the movement, with responses from harpsichord or piano medleys peaking out sporadically. The song seems to draw from traditional cultural Asian music, repurposing the instruments in ways that Kate Bush did on The Dreaming with ‘The Dreaming’, which surprisingly introduces elements of folk into the Eusexua soundscape. The song exists as a minimal track for a while, but it unsuspectingly explodes into a techno inspired dance track, first met by raw wailing vocals by Twigs that express her defeat in both lyricism and tone. The dance break feels like a runner’s high on the once isolated song, and while it stands out as a moment of climax in the song, the techno-dance is integrated into the remaining production of the song, giving the relatively stripped back song a rhythmic heartbeat. After a fun sequence showcasing the varying elements that build the production, the song finishes out with a return to its isolated sound, petering out with ad-libbed alien vocals and frequencies, teasing the song's conclusion.

‘Keep it, Hold it’ would be one of the few tracks not teased, released, or leaked before the drop of the album–excluding private ‘Eusexua Raves’ held across various locations meant to give fans an early listen to the album before its official release. 

‘Keep it, Hold it’ crosses some unfamiliar territory for Twig’s art, being a lowkey experimental track that can be overshadowed next to some of Eusexua’s best, but it’s far from inappropriate and holds its own quite well. While it may be one of the weaker songs on the album, it will support transformative and foreign sounds in the future of Twig’s discography–and for that it’s much appreciated.

One of the songs that seems inspired by ‘Keep it, Hold it’ may exist on the album itself as ‘Room of Fools’ (indulging in some of ‘Keep it, Hold it’s techno-adjacent elements). ‘Room of Fools’ reveals itself as a bass-heavy techno track, with vocals by Twigs reminiscent of 90s dance/club music. The song starts with an arpeggiating melody that pops and contorts to introduce the track, instrumentally engineered like that of the late SOPHIE’s signature plastic sound. The techno beat immediately comes to a gallop, sustaining energy throughout the track's runtime with the only exception of dynamic balance. Despite the ripping techno flooding the soundscape, Twigs commands the attention back to herself with lyrics akin to that of ‘Perfect Stranger’ and vocals that both refrain and roar, reminiscent of Debut-era Björk. ‘Room of Fools’ only grows with intensity as it goes on, with supporting key lines and rolling high hats that fill out the song, but it abruptly comes to a halt to introduce one of the most interesting textures to the soundscape and Eusexua as a whole. With four audible measures of rest, ‘Room of Fools’ figuratively catches its breath so Twigs can wail and vocalize to a mutable tempo alongside bells and idiophones that reinterpret familiar melodies present on the track. This outro evidently pulls from tribal and traditional cultural music, which seems to serve as a tertiary pillar of sonic influence for Eusexua–and as a source of inspiration for Twigs in the past. This sound was previously explored by Twigs nearly a decade prior during her unofficial Radiant Me2 era. To briefly summarize, Radiant Me2 was the name of a show Twigs would perform and debut at Pitchfork’s Music Festival in July of 2016–this performance (and the release of her single ‘Good To Love’) was suspected to support the rollout for a new/now cancelled project of the same name. While plenty of songs have been performed and even more leaked from the era, the song in particular that ‘Room of Fools’ seems to draw inspiration from is known as ‘Youth’ or ‘Wasted Youth’, also featuring a foundation of wailing and idiophonic percussive elements. ‘Room of Fools’ would first appear on the internet by its instrumental track teased by friend and collaborator of Twigs, Shygirl, on an Instagram story for the purpose of her own unreleased/unfinished track on an unspecified date. Next the instrumental track would be repurposed for ‘Room of Fools ’being performed by Twigs at her 2024 Met Gala afterparty on May 6th, 2024, and shortly teased on an Instagram reel posted later that month on May 16th, 2024. Additionally, a compilation of the song’s accumulated snippets was posted by me on July 10th, 2024–going to demonstrate just how invested I was in the Eusexua rollout. The song would be performed one more time before its release by Twigs during her ‘The Body Is Art’ show on September 16th, 2024.

Björk’s influence on Twigs seems to manifest itself into her desire to take creative risks with her art, her commitment to embodying the life of an artist, and her general fascination with electronic music, but sometimes it appears as splashes of musical genius sprinkled across her discography. ‘Room of Fools’ seems to intentionally pay homage to Björk’s club music, especially given her dominance and influence on European dance, but ‘24hr Dog’ seems to take a subtler approach that can be easy to miss.

‘24hr Dog’ makes a statement on Eusexua as the vulnerable penultimate track that closes out the club inspired album (See BRAT’s ‘I think about it all the time’), reminding us of the gentle and emotional artist Twigs has always embraced and written herself to be. ‘Taking a literal approach to its title, ‘24hr Dog’ plays into ideas of submission both intimately and artistically affecting Twigs as a lover, a woman, and an artist. The song starts with a dull but high modulating drone and establishes the percussive pseudo-microbeats that idly score the song. Letting the instrumentation build tension in isolation before her entrance, Twigs’ pairs these crackling sizzling microbeats with her softer-side vocals to create a beautiful low frequency soundscape to match the song's vulnerability. She sings about the comfort and fears that come with giving her whole being, pronouncing her submissiveness to the audience like a dog whining to its owner. Twigs only adds to these with more harmonized vocalizations and microbeats that now crinkle and twist, drawing further connections to ‘Room of Fools’. An aggregation of all these elements form a beautiful finish–the drone becomes dissonant, the microbeats distort, and Twigs vocalizes even higher with a siren-like head-voice that ad libs onto the established melody. The song finishes calmly, cementing itself as one of the best songs on Eusexua, and one of Twigs’ best ballads ever. ‘24hr Dog’s musical style seems to be derivative of Björk’s own Vespertine, with iconic microbeats that aim to compliment Björk’s most vulnerable and intimate lyrics without overpowering her vocals, being particularly reminiscent of ‘Cocoon’. Despite these references, the song doesn’t come off as uninspired or uncreative, but instead serves as one of the most holistic interpretations of Twigs’ emotions and character through both production and lyricism.

‘24hr Dog’ (in medley with ‘Sticky’) was performed by Twigs during her ‘The Body Is Art’ show on September 16th, 2024, being one of the few previewed songs to be sung live. 

While ‘24hr Dog’ would have been an amazing closer–almost to the same caliber as ‘Cellophane’ on MAGDALENE–Twigs takes a different approach to close out the record with a track leaning towards the hopeful and healing side of Eusexua, taking it back to the club with ‘Wanderlust’.

‘Wanderlust’ has to be the most underrated song from the entirety of Eusexua, receiving lots of criticism from Twiglets as a lackluster and skippable track–but I have to disagree and think it serves an appropriate and pivotal conclusion for the record. In ‘Wanderlust’, Twigs takes the closing track as an opportunity to reflect on her work as a singer, producer, and actress while expressing her feelings during a concluded and uncertain time–potetntially referring to the wrapping of the album or the ‘end’ of her healing journey. She starts the track by softly singing alongside an acoustic guitar, an unfamiliar and vulnerable deviation from her usual electronic-based sound. Twigs’ vocals carry the whole song, stacking and harmonizing to support her principal tuned voice–like that of Imogen Heap best demonstrated in her hit song ‘Hide and Seek’. The only other instrumentation let into the song is an electrifying Aphex Twin-style ambient breakbeat that injects an unexpected hopeful energy in the middle of the mix. Her vocals and the song’s unique guitar subtly adapt in tandem to the beat, shifting the song's passionate and somber tone into an adjacent bittersweet one. With an extended outro that lets the hypnotic production wash over the listener, fading into obscurity like an 80s disco anthem, the lights finally turn and the party in club Eusexua has ended. ‘Wanderlust’ sounds like it derives from Twigs’ own ‘thank you song’, the final track from her own CAPRISONGS, where both closers reflect on the impact that the journey and its conclusion had on Twigs as an artist whose music is so personal. This song does a great job at capturing the ethos of Eusexua regarding healing and experiencing relief in vulnerability–making for a beautiful closer for such a beautiful and comprehensive record.

‘Wanderlust’ never saw any pre-release material outside of ‘Eusexua Raves’, being performed to close out the shows as a powerful exit to the exemplary new era that once felt so far in the distance. 

The standard edition of Eusexua is an outstanding body of work that blends and redefines genre and captures timelessness by playing into the past and future. Twigs prioritizes emotion with explosive dance tracks and delicate ballads that compliment each other and make the record as complex as the feelings that inspired its manifestation. Music is reactionary, so where MAGDALENE left us in pain and LP1 with desire, Eusexua lets us experience Twigs made up, but very real, emotion. While I can’t speak for Twigs’ own emotional journey, Eusexua does a great job at capturing euphoria through dance, passion, sex, love, conflict, and heartbreak, spearheaded by the translation of such a bold feeling into the word Eusexua! I think some of the strongest tracks like ‘Eusexua’, ‘Drums of Death’, ‘24hr Dog’, and ‘Room of Fools’ really express the range of emotion this coined term can encapsulate, all while remaining powerful songs for her discography. While it can be easy to dismiss Eusexua as a club record because of its deviation and experimentation with genre, it’s essential to recognize the project as based on Twigs’ club experience–not necessarily defined by it. This unique foundation grants the album access to play with complex sounds, emotions, and themes, but of course without excluding dance music. The influences across the record sound like they pull from different clubs on the same blocks (and even the walks in between), but it’s important to not reduce each song to the acts they wonderfully pay homage to. Twigs’ unique approach to genre results in modern classics that will lay the groundwork for artists to be unafraid to reference–or not reference–their inspirations, and instead reimagine them. One of the biggest qualms I have seen people have over the record is that it ‘fell off’, which most times refers to the momentum the album lost by its cancelled tour shows, but I don’t think Twigs ever intended on throwing in the towel this early. The Eusexua experience is not over yet, because Twigs seems to have another project/expansion right around the corner. With the term first coined by fans and later adopted by Twigs, Delxua–be it a reissue or follow up ep/lp–has been teased and alluded to shortly after the standard edition’s initial release. With the extended rollout of Eusexua, it’s no surprise that some songs teased throughout the era would make it on the cutting room floor, but Twigs may have plans to let some of these tracks find their home on the elusive Deluxua.

The earliest instance of a Deluxua preview is with none other than ‘Perfectly’, when Twigs posted a snippet on Twitter much before the release of most Eusexua content, on November 4th, 2022. The song would be unofficially dubbed ‘birth HERe’–deriving from the tweet’s caption–it would fade into relative obscurity and understood to be an outtake from the album without any other follow up material. However, it would be far from the last time that ‘Perfectly’ would resurface before its release. On January 22nd, 2025, Twigs appeared as a guest on Jake Shane’s Therapuss podcast, where she would directly refer to ‘Perfectly’s existence and its occupation on the deluxe edition of the album. Fans weren’t sure whether ‘birth HERe’ and ‘Perfectly’ were the same song, but on March 13th, 2025, Twigs would kick off her infamous Eusexua Tour in Paris, France, where she would include ‘Perfectly’ on her setlist–confirming the song's name and implying a future release. On June 28th, 2025, Twigs would head to the streets of New York and play Deluxua, including ‘Perfectly’. Twigs would post the song as an Instagram audio and use it in a reel on July 3rd, 2025. The song would be uploaded onto Spotify with a brand new Deluxua album cover on July 8th, 2025, but it would be quickly removed–being prematurely released due to a glitch. ‘Perfectly’ would finally be released on July 16th,, 2025 (today!), marking the official start to the Deluxua era.

Another song suspected to be on Deluxua is known as ‘Got To Feel’, having an early mix first appear on Twigs’ ‘unearth her’ show back on October 1st, 2023. Despite a lack of information surrounding the song since its performance, a new mix of ‘Got To Feel’ would debut on the Eusexua Tour featuring new production and lyrics–additionally having its name confirmed on the setlist. Following the pattern of songs performed live by Twigs, another Deluxua track exists under either the name ‘Margarita’ or ‘Sushi’. The song debuted at Primavera Sound on May 30th, 2025–marking the return of the Eusexua Tour after the show’s mass cancellation due to visa complications. First known as ‘Margarita’, the song would be performed in medley with Twigs’ own ‘Glass & Patron’, ‘Tears in the Club’, and Madonna’s ‘Vogue’ during a dancebreak segment calling back to Twigs history with ballroom dance–Twigs would post a clip of her performance on TikTok with the caption referring to the song as ‘Margarita’ on June 11th, 2025. The song was found to be titled ‘Sushi’ on the Eusexua Tour’s new setlist, causing some discrepancy (though it is likely ‘Sushi’). 

Twigs even takes Deluxua to the past, revisiting an old song from 2016! ‘Wild & Alone’ originates from the undefined Radiant Me2 sessions and would be part of a mass leak that happened sometime in October of 2023–but it has had earlier mixes circulating the internet much before this. The song would be considered to appear on MAGDALENE at some point, but was left on the cutting room floor. Twigs would play ‘Wild & Alone’ during her unofficial Deluxua listening event in New York on June 28th, 2025–having completely revamped the song, likely featuring additional production from Koreless to fit it into the Eusexua/Deluxua canon.

While (potentially) the entirety of Deluxua has been played at the listening event, there are a handful of songs that we can assume are on the project based on other factors and hints by Twigs. ‘Lonely But Exciting Road’ is another song performed during Twigs’ ‘unearth her’ show, first mistaken to be ‘Wanderlust’ due to lyrical and thematic connections. There’s not much documentation of this song aside from the performance, but it was registered on ASCAP which did confirm the song's title. Twigs would make a surprise appearance at Eartheater’s Ladyland set where the duo played a ‘Striptease’ remix featuring Eartheater on June 28th, 2025. Given the nature of deluxe album reissues, it’s likely the song could be featured on Deluxua, if not just as a single. Finally, it’s worth noting that the new opening to the Eusexua Tour show premiered at Primavera Sound could be a remix or instrumental track of a song that could appear on Deluxua, and although it’s unlikely, the song definitely sounds to have production work done by Koreless.

With that, we can safely say that Deluxua is carrying the same torch that Eusexua passed down, being slowly strung out over time and easy to miss for casual listeners–but very rewarding for close-watching super fans of Twigs (like me!). While I didn’t break down these songs to the same degree as with Eusexua, it’s worth noting that Twigs continues to push boundaries on Deluxua in ways both familiar and unfamiliar to her work throughout her discography as a whole. I think Deluxua has the potential to give Eusexua the second breath of life that it deserves, given the album's release so early into the year and its lost promotion through the cancelled Eusexua Tour shows. Twigs is one of those rare musicians who commits herself to her craft, she’s always embodying her work through production, performance, and inspiration, which never goes unnoticed. Twigs has made the Eusexua era such an intimate and shared experience for fans, whether it be the initial Eusexua Raves, her countless visits to the Twigscord, or events like record signing and pop-up shops, she’s really allowed the fans of Eusexua to function as the heart of the project. By letting fans into this intimate inner circle, it breeds loyalty that resonates into all audiences, really demonstrating her craft and her intentionality behind it. The Eusexua era has been alive and breathing since 2022 and continues on today, and as a huge fan of Twigs it has been nothing short of exciting and innovative. Deluxua is just another extension of Eusexua, a final encore before she pivots and follows her heart to the next project and approach. Whatever may come next, it’s no doubt that Twigs gave Eusexua and Deluxua her all, making for an obvious contender for album of the year–and Twigs as one of the most dedicated artists of the century! I hope that with this article you listen to Eusexua and Deluxua with a new set of ears and can revisit all these pinned moments in time that slowly reveal the intentional and intensive production behind these projects–there’s so much to learn from Twigs’ process that should be an inspiration for listeners and artist alike. Twigs really commits to the feeling of Eusexua that comes with creating such a unique body of work, and for that I think the album is perfect and beyond worth your time.