https://en.wikipedia.org/wiki/KatieJane_Garside

Garside has been noted throughout her career for her raucous, “carnivalesque” live performances.[56] Describing her in 1999, the Evening Standard wrote: “With her eerie voice and piercing eyes, Garside is one of the scariest women in alternative music.”[4] While in Daisy Chainsaw, she engaged in spectacles such as drilling doll heads onstage and drinking juice out of baby bottles.[62] The group’s raucous concerts would sometimes result in Garside performing self-mutilation onstage.[63] Russell Senior, guitarist of Pulp, recalled that at one 1989 concert in London, Garside wrapped the microphone cord so tightly around her neck onstage that she lost consciousness, and the show had to be ended early.[64]

Commenting on live performances, she said in 2002: “I know what turns me on, and it’s that fine line, that point where you’re falling off the edge of a cliff, where your stomach turns, I’m always trying to find that point in music. You rarely hit it, and again, that’s the joy of playing live, because there you can be just at that point where you’ve lost balance. I’m always walking between polarities, trying to find the opposing sides.”[34] In her early career, Garside’s stage presence was noted by critics for its disheveled appearance, marked by torn clothing and her body covered in dirt.[65] Caroline Sullivan of The Guardian writing in 1992: “In clinical terms, Garside is probably no loopier than Belinda Carlisle, but her fizzing nervousness imparts a sense of great fragility, and her candour is almost embarrassing.”[65]

Despite her often animated and aggressive performances, Garside has admitted to having stage fright, particularly in her early career: “I feel things really intensely, and the absolute horror of walking onstage—you know, that sort of sense of exposure and being on a precipice…it just flicked a switch in me… if I got out of my own way and stopped trying to try, I just had access to a big ‘let[ting] go.’”[66] In a 2003 interview, she elaborated:

I think taking the stage is one of the most unnatural things anyone can do. In a way, just walking on stage actually creates an altered state—it’s not right, no one’s meant to do that, unless you’re a priest or a magician, or something like that. To put somebody who’s very incapable in many ways in to that position creates a combustion reaction inside me. I know that, and I take the stage knowing that… The beauty of playing live is when my drummer goes in to 5th gear or in to 10th gear, and for some reason there’s something that hits me in the base of the spine and I’m gone, and that’s Hallelujah for me.[67]