Feist returned with her fantastic new album Multitudes in April, and earlier this month she began her North American tour supporting it, which stopped in NYC for two nights at Brooklyn Steel over the weekend. She conceived the Multitude shows and developed them with artist and filmmaker Colby Richardson, artist Heather Goodchild, and artistic producer Mary Hickson, who also worked on the videos for album singles “Borrow Trouble” and “Hiding out in the Open.” They brought the same kind of surreal, fractured aesthetic to the shows, particularly the first act, where Feist performed on a small circular stage in the middle of the floor after entering through the crowd, video camera in hand. The camera projected a live view of wherever it was pointed onto a screen on the stage, sometimes true to life, sometimes altered, and after a few songs with it directed on the stage, Feist handed it off to Colby, who took it back into the crowd, filming shoes, clothing patterns, drink glasses, wires, ceiling tiles and more before refocusing on Feist herself, for views that grew more multiplied and warped as the set progressed. The visuals stood in contrast to the warmth of Feist’s solo set, which had her talking to people in the crowd, giving hugs and shaking hands between delivering gorgeous renditions of “Century,” “Gatekeeper,” “A Man Is Not His Song,” “Forever Before,” and more.