This was a much-anticipated concert, I have never seen Kylie live before, although I have been a fan for many years. The large part of my gig-going career has been spent in dingy bars/Academy’s/fields and not in glitzy stadiums, so the prospect of a dazzling spectacle of a show was exciting to say the least. This is the tour for latest album Aphrodite; naming your album and tour after the Greek goddess of love and beauty is quite a big title to live up to, but live up to it she does. The stage set-up for starters, is phenomenal. The Colosseum backdrop is fronted by various Ancient Greek mythology and plays home to some incredible outfits all designed by Dolce & Gabbana. Miss Minogue goes through a variety of spectacular outfits throughout the show, emerging as an Aphrodite angel to the album’s title track, surrounded by gladiators and in front of thousands of adoring fans. Here is a woman who was built for showbiz, her warm and charming smile throughout radiating a genuine love for her fans and passion for what she does. Wow oozes fun before she takes the guise of Arabian princess in gorgeous shimmering robes and headpiece as she opens Illusion from a golden Pegasus. Princess Kylie is then dragged around by her slaves in a chariot to the serene I Believe In You in just one of the night’s wonderfully camp moments which firmly cement Kylie’s status as a gay icon.
Nostalgic highlights Spinning Around and What Do I Have To Do are performed in a Moulin Rogue inspired black feathered corset dress and top hat. Can’t Get You Out Of My Head is confusingly rocked up, but water fountains make for a sublime performance of On A Night Like This and Get Outta My Way is anthemic and completely fabulous. Can’t Beat The Feeling is mashed up with Love At First Sight as the audience sing along and Kylie stomps around in a fantastic chain mail body suit and gladiator sandals. She recreates the ’90s trashy indie Kylie’ look and changes into hotpants, a vest and feather throw for the most charming moment, in which she interacts with the audience. Somehow for a few minutes she almost makes the stadium environment feel intimate, and launches into an unexpected rendition of old favourite I Should Be So Lucky.
A personal highlight is Confide In Me, as it is my favourite of her tracks, during which my eyes are dazzled by a combination of my tears and her shimmering foil sculpture of a dress. The real triumphs of the show however, are Slow and All The Lovers. A stripped-down bossa-nova version of Slow is performed on a rotating wheel as dancers lay at her feet and fan her- visually and musically stunning. For the show’s finale of All The Lovers, Kylie dons a sparkling bathing cap and stands gracefully amidst her bathing dancers, shooting fountains and flying acrobatics, no less.
This show is nothing short of theatrical and camp, (flying on top of an angel dancer before launching into a cover of Annie Lennox’s Must Be Talking To An Angel? So dramatic, but utterly brilliant), and yet everything that makes Kylie so charming makes it all classy and ethereal rather than over the top and distasteful. By bringing a show that fully lives up to its title with plenty of love, beauty and sexuality, Kylie confirms herself as a worthy Aphrodite, or as a pop goddess at least.