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 ON A NIGHT LIKE THIS TOUR 2001

  

MARCH:

03

GLASGOW ARMADILLO

04

GLASGOW ARMADILLO

05 GLASGOW ARMADILLO

08

MANCHESTER APOLLO

09 MANCHESTER APOLLO
10 MANCHESTER APOLLO

13

BRIGHTON CENTRE

14

CARDIFF INTERNATIONAL ARENA

15

BOURNEMOUTH INTERNATIONAL CENTRE

17

HAMMERSMITH APOLLO

18 HAMMERSMITH APOLLO
19 HAMMERSMITH APOLLO
20 HAMMERSMITH APOLLO

APRIL:

1

HAMMERSMITH APOLLO

14 BRISBANE ENTERTAINMENT CENTRE
16 SYDNEY ENTERTAINMENT CENTRE
17 SYDNEY ENTERTAINMENT CENTRE
18 SYDNEY ENTERTAINMENT CENTRE
21 HOBART DERWENT CENTRE
23 MELBOURNE PARK ROD LAVER ARENA
24 MELBOURNE PARK ROD LAVER ARENA
25 ADELAIDE ENTERTAINMENT CENTRE
26 ADELAIDE ENTERTAINMENT CENTRE
28 PERTH ENTERTAINMENT CENTRE
30 PERTH ENTERTAINMENT CENTRE
MAY:
3 MELBOURNE PARK ROD LAVER ARENA
4 MELBOURNE PARK ROD LAVER ARENA
5 MELBOURNE PARK ROD LAVER ARENA
6 MELBOURNE PARK ROD LAVER ARENA
7 MELBOURNE PARK ROD LAVER ARENA
9 SYDNEY ENTERTAINMENT CENTRE
10 SYDNEY ENTERTAINMENT CENTRE
11 SYDNEY ENTERTAINMENT CENTRE
12 SYDNEY ENTERTAINMENT CENTRE
14 SYDNEY ENTERTAINMENT CENTRE
15 SYDNEY ENTERTAINMENT CENTRE

SETLIST:

Overture/ Loveboat/ Coocachoo/ 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/ Kids/ Shocked/ Light Years/ What Do I Have To Do/ Spinning Around

REVIEW:

       "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)

 

        "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)

 

INTIMATE AND LIVE 1998

SETLIST:

Too Far/ What Do I Have To Do/ Some Kind Of Bliss/ Put Yourself In My Place/ Breathe/ Take Me With You/ I Should Be So Lucky/ Dancing Queen/ Dangerous Game/ Cowboy Style/ Step Back In Time/ Say Hey/ Free/ Drunk/ Limbo/ Did It Again/ Shocked/ Confide In Me/ The Loco-Motion/ Should I Stay Or Should I Go/ Better The Devil You Know

 

let's get to it tour 1991

SETLIST:

Step Back In Time/ Wouldn't Change A Thing/ Got To Be Certain/ Always Find The Time/ Enjoy Yourself/ Tears On My Pillow/ Secrets/ Let's Get To It/ Word Is Out/ Finer Feelings/ I Should Be So Lucky/ Love Train/ Je Ne Sais Pas Pourquoi/ Hand On Your Heart/ If You Were With Me Now/ Too Much Of A Good Thing/ What Do I Have To Do/ I Guess I Like It Like That/ The Loco-Motion/ Shocked/ Better The Devil You Know

"From the moment Kylie appeared from behind two PVC clad dancers amid a flash of brilliant white light the Wembley crowd went wild. Kicking off with 'Step Back In Time' in energetic style, hit followed hit. Dressed in a white mini skirt and blue frilly bra; Kylie imitated Madonna by gyrating up and down her male dancers, the crowd mainly made up of 9 year old girls seemed more than a little bemused. After performing the title track of her latest album 'Lets Get To It', Kylie whipped off her floor length black skirt to reveal herself in a pair of knickers, bra, fishnets and suspenders! While Kylie's voice was on top form and the dance routines were breathtaking, the blatant raunch factor overfaced everything during the concert. 'Hand On Your Heart', 'Je Ne Sais Pas Pourquoi', and 'I Should Be So Lucky' were oddly placed in the middle of the set but the crowd didn't seem to mind as the screaming hit fever pitch. While 'The Loco-Motion' was flat and lacking dimension, Kylie's encore of 'Shocked' more than made up for the disappointment with rapper Jazzi P making a special appearance. Finishing with the best pop record of the decade 'Better The Devil You Know', Kylie made a quick exit leaving fans begging for more, although we're still unsure whether it was the kids screaming or the dad's!"

rhythm of love tour 1991

SETLIST:

Step Back In Time/ Wouldn't Change A Thing/ Got To Be Certain/ Always Find The Time/ Enjoy Yourself/ Tears On My Pillow/ Help/ I Should Be So Lucky/ What Do I Have To Do/ Je Ne Sais Pas Pourquoi/ One Boy Girl/ Love Train/  Rhythm Of Love/ Shocked/ Hand On Your Heart/ Count The Days/ The Loco-Motion/ Better The Devil You Know

 

enjoy yourself tour 1990

SETLIST:

The Loco-Motion (French Kiss Mix)/ Got To Be Certain/ Hand On Your Heart/ Look My Way (Rap Version)/ Love At First Sight/ Made In Heaven (Heaven Scent Mix)/ My Girl (Male Backing Singers Only)/ Tears On My Pillow/ I Should Be So Lucky/ I Miss You/ Nothing To Lose/ Blame It On The Boogie/ ABC/ Tell Tale Signs/ Je Ne Sais Pas Pourquoi/ Never Too Late/ Wouldn't Change A Thing/ Dance To The Music/ Better The Devil You Know/ Enjoy Yourself

"I'd seen the pictures from the Australian leg of the tour but there was still plenty more surprises, thrills 'n' spills about to come. As the house lights dimmed, everyone rose to their feet. "All Aboard" was the cry and there was no way I was getting off the journey now. A pulsating house rhythm was blasting out to the audience- the now infamous French Kiss intro to 'The Loco-Motion'. Just as the atmosphere was reaching its zenith, the Palace servants ordered us all to be seated again so the little gannets could see the stage properly. So I spent approximately half the show restrained to my seat, which was some form of punishment in itself as her Royal Kylieness had taken her rightful place centre stage.

A strobe lighting effect teased us with the first glimpses but we could already see some majorly impressive dance routines from her and her faithful courtiers Venol and Richard and her ladies-in-waiting Cosima and Simone. This dynamic display set the scene for what was to come. It was a hi-energy, supercharged performance that left you breathless and begging for more. She was in good company with some excellent musicians who added a new dimension to the Kylie symphony. We were treated to new arrangements of some of my favourite tracks from Kylie and Enjoy Yourself plus some new cover versions, all sounding funky 'n' chunky and complimenting her much improved live vocals. Added to that were the soulful Motown style female backing singers and the all singing, all rapping and even all beatboxing talents of guest duo Ten Wedge.

As we went on a musical journey of hits like Hand On Your Heart, Got To Be Certain, Never Too Late, Je Ne Sais Pas Pourquoi etc. Kylie seemed to be loving every minute and the crowd were responding ecstatically. While Kylie took a break for the first costume change, the band performed the Heaven Scent version of Made In Heaven, complete with quirky vocal samples. Then Ten Wedge sang an unaccompanied version of My Girl apparently to entice her back onto the stage and return she did, to sing a sweet acapella version of Tears On My Pillow. This was followed by I Should Be So Lucky which seemed to be discreetly placed midway through the show. It was the crowds rapturous appreciation for this classic of all classics, which was the sonic command that told us to ignore the stewards, rise to our feet and give Kylie what she deserved- a spirited audience reaction with everyone dancing along. I was chuffed, I'd been itching to join in on the dance routines all along and when Wouldn't Change A Thing started you've guessed it, I was practically jumping up on stage to the famous routine.

Other highlights included the first tie we heard Kylie rapping on Look My Way and the Motown Medley of ABC and Blame It On The Boogie emphasising the major ingredient of this show- fun, fun and more fun! The most impressive vocal performance of the night was Tell Tale Signs. Kylie stood alone and delivered an awesome rendition of such a challenging song. Kylie returned for the encore to perform Sly and the Family Stone's Dance To The Music and one of the first hearings of Better The Devil You Know and you could tell it was already an anthem in the making. The extravaganza reached a conclusion with the tour's title song, Enjoy Yourself, and was carried off with the unadulterated exuberance that had made the show so special."

Jason Burridge

 

disco in dreams tour 1989

SETLIST:

The Loco-Motion/ Got To Be Certain/ Tears On My Pillow/ Je Ne Sais Pas Pourquoi/ Made In Heaven (Heaven Scent Mix)/ Hand On Your Heart/ Wouldn't Change A Thing/ I Should Be So Lucky

REVIEW:

        "In forty minutes Kylie packed in eight songs and no less than four costume changes. But it was the dynamic sexuality of her act that grabbed the headlines and confirmed her arrival as a new musical siren. After the high energy opening of 'The Locomotion' Kylie launched herself into a raunchy version of her second big hit 'Got To Be Certain'. Thrusting and grinding with her dancers, she made the message clear- "I'm no longer safe little Charlene". The vamp was soon turning into a lady again though, and by the third song, a moody version of the classic Little Anthony and the Imperials hit 'Tears On My Pillow', the audience was seeing a sophisticated side of Kylie too. Draped in a red feather boa, she playfully cuddled her quintet of dancers, all of whom were dressed in sailor outfits.

        The real sensation came, however, during the fourth number. The mood began elegantly enough. Kylie reappeared on stage in a baggy white zoot suit to sing another of her personal favourites, 'Je Ne Sais Pas Pourquoi'. But as the song blended into 'Made In Heaven' the unthinkable happened. Off came the stylish suit and soon she was prancing provocatively around the stage in a skimpy gold sequinned bra and shorts.

        By the time she left the stage- 'I Should Be So Lucky' was the predictable finale- both he (Pete Waterman) and his most successful star had survived their sternest test. Kylie's voice- backed up by a sophisticated set of taped effects in case of emergency- had silenced many of her critics. Aretha Franklin she was not- but the myth that her voice was never an ingredient on any of her hits had finally been laid to rest. She had also come through a baptism in front of Britain's most demanding audiences."

REVIEW BY SASHA STONE "Kylie Minogue- The Superstar Next Door" 1989