My photos and videos of Kylie at the O2 last night are here.
For reasons I’m not entirely sure of, Q Magazine’s review of Madonna’s Bedtime Stories in 1994 has always stuck in my memory. Its final line was “Is it too soon to say that it was fun while it lasted?”
It’s no secret (hey!) that I’ve been immensely frustrated by Kylie for a while now. If I can be awful enough to quote myself (I can be):
Kylie has willingly placed herself into the nostalgia circuit. With her previous few albums clearly struggling to sell outside of her fan-base, it’s difficult to see this changing…if we approach pop as merely fronting persuasive hits, Kylie’s age is clearly against her and she begins to seem increasingly irrelevant. What’s the point of a blank slate for Calvin Harris when you have Rihanna, for example? I don’t think you have to be too concerned with ‘rockist’ notions to believe that delivering further albums of off-the-shelf electro-pop can only offer diminishing returns, both commercially and critically.
Despite some glimmers of hope that something interesting was stirring (the Anti-Tour, the Abbey Road album which had an air of putting the past to bed, the jump to Roc Nation) the resulting relaunch, Kiss Me Once, was an immense disappointment. It also bombed – the last time I checked, long after its speedy exit from most of the world’s charts, it had sold around 200,000 copies worldwide (2010’s Aphrodite was certified Platinum for shipping 300,000 copies in the UK alone). An artistic risk which doesn’t sell can be a noble failure; a commercial smash which treads water could be said to be giving the fans what they want. The stars don’t always align. With Kiss Me Once, however, the stars weren’t even visible.
Still, live is where Kylie has always truly excelled, right? There’s no doubt that she remains a hugely charismatic performer – and she deserves eternal credit for her live vocals which invariably knock it out of the park. Yet the infuriating, aimless, conservatism which marked Kiss Me Once (and has arguably characterised much of her career in the past decade) carries over into this tour. The show is overwhelmingly familiar – with over 40 top twenty hits in the UK and 12 albums to her name, do we really need all of the big Parlophone singles wheeled out yet again? Do we need performances of Sexy Love/Wow/Love At First Sight, three diminishing return rewrites of the same song? Do we need yet another PWL medley (as fun as it was)? There were the usual semi-naked male dancers, the same old ‘ad-libs’, the standard ‘impromptu’ rendition of an old hit. It was Kylie-by-numbers. There were nods to progression with interludes featuring the Garibay songs she surprise-released the other week but what would Kylie have to lose in performing some of these live? They are the most interesting, if half-sketched, songs she’s released in ages. Lest we forget, she debuted Can’t Get You Out Of My Head on tour back in 2001 while KylieX2008 featured two completely new songs.
In the Kiss Me Once show, however, we find a Kylie who seems hesitant and cowed. Perhaps the underperformance of the album meant she felt the need to ‘deliver the hits’ – but anyone around her with the slightest insight would understand that the vast majority of people (hello, gay men over the age of 30) attending a Kylie show in 2014 would go along for the ride, wherever it took them. The ‘casual’ fans have been drifting away for a while now, underlined by the fact that last night’s third evening at the O2 featured a curtained-off top section:
Les Folies tour had 5 dates at the O2. KylieX2008 had 7. Are we seeing a trend here?
To go back to the quote at the beginning, I of course don’t think that Kylie’s career is over. Yet it’s conceivable that her time as a relevant concern is at an end and, on the basis of both KMO album and tour, she could be in Cher territory: release a ‘will this do?’ album for the faithful then go out on tour with essentially the same show as you always do. And we shouldn’t be in any doubt that a significant number of her fans would be absolutely fine with this – it’s all they want from her. My frustration, as always, stems from the fact that I know she is capable of so much more than that. I’ve been saying that she has nothing to lose for years – now we’re at the stage where surely even she must be aware of her decline. I think this could be her last chance to do something daring, as she has done before, to win over new hearts and minds. Alternatively, we’ll rendezvous in a few years for her three dates at Brixton Academy, marketed as an ‘intimate’ show but with a telling smattering of empty seats.