Kylie: K25 Releases and Events.
- Thread starter scouse_chris
- Start date
Tribal Spaceman
Oh, OK.
lauc05 said:
Wow, you sound like her press officer.
It is way too expensive. I was expecting to pay about £50 considering it's such a simple concept in a smaller venue. I'd love to go but I hope she goes with a different setlist. I wanted "Fall For You".
This thread is full of lovely stories. Despite the odd loon here and there, Kylie fans are quite a special breed.
Craig, I loved reading your thoughts on the Anti Tour. The comments you posted about the setlist mirror mine; overall it was an excellent cross-section of Kylie’s career, with more PWL tracks than I had expected (particularly after the comparative imbalance of the ‘Aphrodite Les Folies’ tour) and only a couple of genuinely strange inclusions (‘B.P.M.’, ‘Tears On My Pillow’). Your photos of the shows are incredible too, so much so that they make me embarrassed to post mine. I’d love to know what sort of camera you used.
My friend and I arrived at the Sydney venue around 2.30PM and there were already about 20 fans lined up. The staff at Luna Park seemed more organised than the frantic text message updates I had received from Melbourne suggested about the staff there, although this did fall apart somewhat when everyone was taken through the security gates in a manner that appeared more suited to herding cattle. After the excruciating wait with at least a couple of hundred fans packed into the foyer and the mad run that ensued when the doors finally opened, I ended up about three rows back in the centre. I have only seen two shows at the Luna Park Big Top before, but I don’t recall either of them being as uncomfortably humid as this one; I knew it wasn’t just me getting overexcited when Kylie said she was ‘melting’ and asked the crowd whether they were hot as well.
11 of the songs from my original ‘wish list’ were included in full, along with many others that I hadn’t even thought about but was pleasantly surprised to find there. A couple seemed to fall flat (clearly only about 10 people in the entire venue knew ‘That’s Why They Write Love Songs’) but others were treated as if they were bonafide hits, conjuring up hands-in-the-air ‘Kylie moments’ to rival the longest standing hits in her arena sets. I was experiencing something close to rapture when Kylie performed ‘Always Find The Time’, complete with a brief flash of choreography from the ‘Let’s Get To It’ tour. Similarly, ‘Things Can Only Get Better’ with an even more anthemic arrangement than the recorded version and ‘Enjoy Yourself’ boasting a pre-chorus ‘woo!’ sung by the crowd each time were wonderful examples of Kylie’s incomparable talent as a pop artist. She successfully turned two throwaway pop/dance album tracks into songs that spoke to her audience on a very personal level, and performed them with no trace of irony or wink wink nostalgia. This was a celebration and it was heartfelt.
I’m going to assume that Steve Anderson had a hand in the setlist, because it seemed to benefit from his intimate knowledge of Kylie’s catalogue: the clever segue of ‘I’m Over Dreaming (Over You)’ directly into ‘Always Find The Time’, the emotional trio of ‘You’re The One’, ‘Tightrope’ and ‘Paper Dolls’, the slow build of the laser-light ‘rave’ section starting with ‘Drunk’ moving to an explosive performance of ‘Too Much’… Despite the show being ‘anti’ in every way imaginable, Kylie and Steve did not eschew the careful dynamics of their setlist in favour of a haphazard selection of songs. The placement of the songs was obviously carefully considered and despite the fact that most of my thoughts revolved around ‘OH MY GOD I CAN’T BELIEVE SHE’S DOING THIS ONE!’, I do remember being conscious of the strength of the sequencing.
Personal highlights from the Sydney show included hearing a couple of snatches of songs from ‘Let’s Get To It’ which, although it doesn’t rate particularly highly on my list of favourite Kylie albums, continues to fascinate me as the neglected offspring of Kylie’s oeuvre. It was a shame that 'Kylie Minogue' was not represented by any inclusions (my one major gripe with the setlist) but I've always regarded 'Mighty Rivers' as something of a spiritual sibling to the 'KM94' record so that helped to compensate. It sounded much more rhythmic when performed live, losing the gentle propulsion of the studio version in favour of a sound that uncovered a more 'pop' melody than I had initially heard in it.
She gave a strangely emotional performance of ‘Stars’ prefaced by mention of her illness and the support of her fans, which seemed to transcend the mechanical boundaries of the show’s lyric-book-and-microphone-stand setup halfway through and feel utterly transformative. The lyrics must still resonate strongly with Kylie. ‘Disco Down’ was a thumper, as was ‘Got To Be Certain’, and ‘Say Hey’ managed to pulsate with such an intensity (accompanied by fast clapping from the crowd that betrayed the hypnotic languor of the song) that even Kylie commented on it. She alluded to the fact that an audience had rarely responded with that much vigour to ‘Say Hey’ before, saying ‘it wasn’t that much fun when I was this high’, gesturing to her neck, ‘but it’s a lot of fun now I’m this high’, gesturing to the top of her head. It was also great to see Kylie fill in some of the gaps from her previous tours by including songs like ‘Disco Down’, ‘I Don’t Need Anyone’ and ‘Too Much’ which were conspicuous by their absence on their albums’ corresponding tours. All three proved themselves to be outstanding live cuts.
The ‘Anti Tour’ was by far the most enjoyable and personal Kylie live experience I’ve had. It felt like an intimate performance in a (sweaty) club-come-living room rather than a proper ‘concert’, and even songs which I didn’t care for like ‘Bittersweet Goodbye’ and ‘Tears On My Pillow’ became affecting when Kylie, explicitly or otherwise, dedicated them to people who had touched her life (Michael Hutchence and her father respectively). I feel privileged to have had the opportunity to see a show that was intended solely for people like myself who have supported Kylie’s work for so long. I know the price for tickets is a bit steep considering the minimal nature of the staging, but I can't recommend the 'tour' highly enough. For any British fans who can afford it, or who are happy to live off cat food for the next month, buy a ticket because it did genuinely feel like a once-in-a-lifetime opportunity. Kylie couldn’t have given a better K25 gift to her fans (although a DVD recording of at least some of the 'Anti Tour' on one of its stops would be gratefully received!)
x
Craig, I loved reading your thoughts on the Anti Tour. The comments you posted about the setlist mirror mine; overall it was an excellent cross-section of Kylie’s career, with more PWL tracks than I had expected (particularly after the comparative imbalance of the ‘Aphrodite Les Folies’ tour) and only a couple of genuinely strange inclusions (‘B.P.M.’, ‘Tears On My Pillow’). Your photos of the shows are incredible too, so much so that they make me embarrassed to post mine. I’d love to know what sort of camera you used.
My friend and I arrived at the Sydney venue around 2.30PM and there were already about 20 fans lined up. The staff at Luna Park seemed more organised than the frantic text message updates I had received from Melbourne suggested about the staff there, although this did fall apart somewhat when everyone was taken through the security gates in a manner that appeared more suited to herding cattle. After the excruciating wait with at least a couple of hundred fans packed into the foyer and the mad run that ensued when the doors finally opened, I ended up about three rows back in the centre. I have only seen two shows at the Luna Park Big Top before, but I don’t recall either of them being as uncomfortably humid as this one; I knew it wasn’t just me getting overexcited when Kylie said she was ‘melting’ and asked the crowd whether they were hot as well.
11 of the songs from my original ‘wish list’ were included in full, along with many others that I hadn’t even thought about but was pleasantly surprised to find there. A couple seemed to fall flat (clearly only about 10 people in the entire venue knew ‘That’s Why They Write Love Songs’) but others were treated as if they were bonafide hits, conjuring up hands-in-the-air ‘Kylie moments’ to rival the longest standing hits in her arena sets. I was experiencing something close to rapture when Kylie performed ‘Always Find The Time’, complete with a brief flash of choreography from the ‘Let’s Get To It’ tour. Similarly, ‘Things Can Only Get Better’ with an even more anthemic arrangement than the recorded version and ‘Enjoy Yourself’ boasting a pre-chorus ‘woo!’ sung by the crowd each time were wonderful examples of Kylie’s incomparable talent as a pop artist. She successfully turned two throwaway pop/dance album tracks into songs that spoke to her audience on a very personal level, and performed them with no trace of irony or wink wink nostalgia. This was a celebration and it was heartfelt.
I’m going to assume that Steve Anderson had a hand in the setlist, because it seemed to benefit from his intimate knowledge of Kylie’s catalogue: the clever segue of ‘I’m Over Dreaming (Over You)’ directly into ‘Always Find The Time’, the emotional trio of ‘You’re The One’, ‘Tightrope’ and ‘Paper Dolls’, the slow build of the laser-light ‘rave’ section starting with ‘Drunk’ moving to an explosive performance of ‘Too Much’… Despite the show being ‘anti’ in every way imaginable, Kylie and Steve did not eschew the careful dynamics of their setlist in favour of a haphazard selection of songs. The placement of the songs was obviously carefully considered and despite the fact that most of my thoughts revolved around ‘OH MY GOD I CAN’T BELIEVE SHE’S DOING THIS ONE!’, I do remember being conscious of the strength of the sequencing.
Personal highlights from the Sydney show included hearing a couple of snatches of songs from ‘Let’s Get To It’ which, although it doesn’t rate particularly highly on my list of favourite Kylie albums, continues to fascinate me as the neglected offspring of Kylie’s oeuvre. It was a shame that 'Kylie Minogue' was not represented by any inclusions (my one major gripe with the setlist) but I've always regarded 'Mighty Rivers' as something of a spiritual sibling to the 'KM94' record so that helped to compensate. It sounded much more rhythmic when performed live, losing the gentle propulsion of the studio version in favour of a sound that uncovered a more 'pop' melody than I had initially heard in it.
She gave a strangely emotional performance of ‘Stars’ prefaced by mention of her illness and the support of her fans, which seemed to transcend the mechanical boundaries of the show’s lyric-book-and-microphone-stand setup halfway through and feel utterly transformative. The lyrics must still resonate strongly with Kylie. ‘Disco Down’ was a thumper, as was ‘Got To Be Certain’, and ‘Say Hey’ managed to pulsate with such an intensity (accompanied by fast clapping from the crowd that betrayed the hypnotic languor of the song) that even Kylie commented on it. She alluded to the fact that an audience had rarely responded with that much vigour to ‘Say Hey’ before, saying ‘it wasn’t that much fun when I was this high’, gesturing to her neck, ‘but it’s a lot of fun now I’m this high’, gesturing to the top of her head. It was also great to see Kylie fill in some of the gaps from her previous tours by including songs like ‘Disco Down’, ‘I Don’t Need Anyone’ and ‘Too Much’ which were conspicuous by their absence on their albums’ corresponding tours. All three proved themselves to be outstanding live cuts.
The ‘Anti Tour’ was by far the most enjoyable and personal Kylie live experience I’ve had. It felt like an intimate performance in a (sweaty) club-come-living room rather than a proper ‘concert’, and even songs which I didn’t care for like ‘Bittersweet Goodbye’ and ‘Tears On My Pillow’ became affecting when Kylie, explicitly or otherwise, dedicated them to people who had touched her life (Michael Hutchence and her father respectively). I feel privileged to have had the opportunity to see a show that was intended solely for people like myself who have supported Kylie’s work for so long. I know the price for tickets is a bit steep considering the minimal nature of the staging, but I can't recommend the 'tour' highly enough. For any British fans who can afford it, or who are happy to live off cat food for the next month, buy a ticket because it did genuinely feel like a once-in-a-lifetime opportunity. Kylie couldn’t have given a better K25 gift to her fans (although a DVD recording of at least some of the 'Anti Tour' on one of its stops would be gratefully received!)
x
The tracklisting is fantastic apart from Magnetic Electric and BPM. There is a fine line between picking songs simply because they were popular b-sides (but not so popular anyone really objects to them having been b-sides) and songs that were unexplicably un-used because of label/producer politics.
I'm still gonna go but can only afford to buy 1 ticket - so I'm gonna hope I see someone there I know!
I'm still gonna go but can only afford to buy 1 ticket - so I'm gonna hope I see someone there I know!
Yeah, I'll be forking out for this. It's staggeringly expensive, but it's a once-in-a-lifetime thing. If she does another Anti-Tour in the future I'll be really cross!
For those of you who went to the Australian dates - was there any Anti-Tour specific merchandise on sale?
For those of you who went to the Australian dates - was there any Anti-Tour specific merchandise on sale?
Tribal Spaceman
Oh, OK.
RhythmNative said:
Yeah, those are weak points for me too. I bet it's a fantastic show though.
Weezerfan said:
That's what I thought as I am sure I saw Kylie at this venue for the On A Night Like This tour. Through binoculars seated in the Gods somewhere.
So I would be keen to know the seating arrangement deal before I book but Guyhawke!'s review has more than swung it for me despite needing the cash for a deposit on a flatshare I am yet to find ahead of move date next Sunday! Ooh the pressure.
So anything but general standing is pretty pointless then? I assume you get to check your ticket type before you pay?
RhythmNative said:
Depends on your point of view, I'm thinking a seat (read personal space) might be a better option, instead of being surrounded by 'fanboys' (read ubergays) that will attempt singing every word loudly and mostly incorrectly, then plus record every minute of it on their mobiles. I saw Ke$ha at the Apollo 'standing' recently and with all the fanboys at the front it was impossible to hear seeing / anything for the above reasons. If you are less than 6'2" invest in some major platformage, if you want to be anywhere near the front. I have seen concerts on level 2 and 3 and they were all ok - I admit I have never been in the gods tho.
hoipolloi said:
I think your spot on with this thinking, same conclusion I've come to today as I've been thinking it over.
Going for the Manchester date, and really don't want it ruining by the pushing in brigade and getting into some argument. Seated seems to be the best way to totally take it all in, it's a once in a lifetime opportunity and really don't want it to be spoiled for me.
ruggerlad said:
Manchester Academy is standing only. Are you mixing it up wih the Apollo?
I Don't Need Anyone from the rehearsals: http://www.youtube.com/watch?v=nZ6Z6RMEoWY
