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KYLIE : AFTER DARK |
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| MAIN PAGE NEWS BIOGRAPHY KYLIEOGRAPHY |
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ON A NIGHT LIKE THIS TOUR |
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TOUR DATES MARCH 2001 3 Glasgow Armadillo 4 Glasgow Armadillo 5 Glasgow Armadillo 7 Manchester Apollo 8 Manchester Apollo 9 Manchester Apollo 10 Manchester Apollo 12 Brighton Centre 13 Brighton Centre 14 Cardiff International Arena 15 Bournemouth International Centre 17 Hammersmith Apollo 18 Hammersmith Apollo 19 Hammersmith Apollo 20 Hammersmith Apollo 23 Vega, Denmark 25 Columbia Halle, Berlin 26 Grosse Heifreit, Hamburg 27 E-Werk, Cologne 28 Paris Bataclan
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APRIL 2001
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"A
black curtain emblazoned with the letters KM in diamante was dropped to
reveal a set made to look like a huge cruise liner. Four men in camp,
striped sailors' outfits and four Hawaiian-style women in big grass skirts
and bikini tops launched into a dance routine that took them up and down
stairs and along two decks of the 'ship'. Meanwhile, Kylie descended slowly
from the ceiling standing on a silver anchor that was twice her height. Not
even the sight of the Aussie singer ripping off her dress to reveal a tiny,
sparkly top and matching mini-skirt, however, could distract from the fact
that the first two songs were below par pop pap. 'Loveboat' and 'Koocachoo'-
both taken from the Kylie's current album, 'Light Years'- turned the OTT
opening into the type of trashy spectacle that used to be seen at the
Millennium Dome. Then suddenly, it got better. "Here's one you should know." said Kylie, as if apologising for what had gone before. It was the gay club favourite 'Hand On Your Heart'. It went down a treat with a crowd that was mainly made up of tipsy, twentysomething women and hysterical men in tight cropped t-shirts, some with flashing red devil's horns on their heads. It was a rollercoaster ride all the way. Kylie came over all Mariah Carey on 'Put Yourself In My Place' and sounded awful. A medley of Eighties songs such as 'Step Back In Time' and a cover version of Kool and the Gang's 'Celebration' didn't work as well as it could have. On the other hand, her recent single 'On A Night Like This' was great, as was a version of 'Kids', Kylie's collaboration with Robbie Williams, which she sang with two female backing singers. There were costume changes a-go-go. For the brilliant Village People-ish 'Your Disco Needs You', Kylie wore skintight Evil Knievel leathers. For a downbeat revamp of 'I Should Be So Lucky' she wore a white top hat and tails. For the encore, in a space-craft set, she was a futuristic air hostess. "We hope you've had a pleasant ride", she giggled. It was bumpy maybe, but never boring." REVIEW BY LISA VERRICO (The Guardian, April 2001)
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"Kylie Minogue proved her dance diva credentials with a power-packed, culturally stacked performance at Sydney Entertainment Centre last night. On a night like this, 11,500 concert-goers were going to enjoy almost anything put in front of them. Thankfully, Kylie put a lot in front of them. This first concert was as camp as tinned ham and as derivative as a two-bit cover band. But it was oh-so ace and as refined and as assured a show as Kylie has ever done. It was the night Kylie embraced her past by toying with it, abandoned her mid-1990s experiments and enhanced her reputations as a savvy artist and Australian icon. Playing an Olympic highlights reel in the minutes before the show helped, as did the montage of her video music history. It reminded everyone how long they'd stuck by her. From the moment she descended on an anchor, Esther Williams-style, on to her South Pacific themed set, the audience was behind her, celebrating our own diet-Madonna. After the cheesy Love Boat, a funkier, clap along version of Hand On Your Heart had everyone on their feet. With eight dancers, two back-up singers, six costume changes and a tight, bass-driven band, it was always going to be a vibrant concert. Some fun staging and wide cultural influences ensured it didn't become boring. When Minogue launched into On A Night Like This, the nautical backdrop sank quicker than the Titanic and the crowd rose to their feet just as sharply. Everybody wanted to dance, so acoustic interpretations such as Put Yourself in My Place didn't fare so well. A medley of mid-range Kylie, including Step Back in Time, It's Never Too Late, and Wouldn't Change A Thing, showed the smart Kylie, one who couldn't ignore all the past. Unsurprisingly, Locomotion and Where The Wild Roses Grow didn't get a run. But I Should Be So Lucky did get a run, albeit in a torch-song interpretation that dropped the superfluous "luckys". It added decorum after the high camp Your Disco Needs You. Then she moved straight to 42nd Street for a Broadway twirl through Better The Devil You Know. Somehow it worked, if not quite raising the roof like the song could, and as many wanted. This was typical of the concert, an evening jumping from old to new, from the sublime to the not quite perfectly conceived. Yet somehow Kylie, the pocket dynamo, held together an ensemble and staging that could have dwarfed her. Admittedly, she doesn't so much as sing as force the notes out by sheer force of will. But these days she's far more comfortable holding her notes and leading a cabaret concert from the front. A beefy backing band with a full sound aided the show immensely, although anything would have ridden on Minogue's confidence. Even her sultry version of Olivia Newton-John's Let's Get Physical seemed to be a grabbing of the torch from Livvy. Kylie's version just fits better. By the time Kylie Minogue concluded with a vibey version of the stand-out track from her latest album, Spinning Around, her fans were content and Kylie had established herself as Australia's prime female performer." REVIEW BY MICHAEL BODEY (Daily Telegraph, April 2001)
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SETLIST
LOVEBOAT KOOCACHOO HAND ON YOUR HEART PUT YOURSELF IN MY PLACE ON A NIGHT LIKE THIS EIGHTIES MEDLEY CAN'T GET YOU OUT OF MY HEAD YOUR DISCO NEEDS YOU I SHOULD BE SO LUCKY BETTER THE DEVIL YOU KNOW SO NOW GOODBYE PHYSICAL BUTTERFLY CONFIDE IN ME DID IT AGAIN* KIDS SHOCKED LIGHT YEARS WHAT DO I HAVE TO DO SPINNING AROUND
*Selected tour dates onl
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