Her band and backing singers bulk up the sound a great deal, but Pink’s power in her lungs – even when suspended upside down – is matched only by the fist-clenching fans, emptying their emotions into a collective chorus. There’s plenty left out though, no ‘Family Portrait’, or ‘Get The Party Started’ no ‘God Is A DJ’, no ‘Dear Mr President’. There’s little obvious miming or excessive backing tracks. Her introspective, and it has to be said, slightly homogenous sound, is bolstered by another live element that she rocks, her voice. ‘Just Like A Pill’ – probably her best track – excels early on, ‘Who Knew’, ‘So What’ and ‘Sober’ go down a storm. She didn’t arrive fully formed, her development has been hard fought, but the results squash any contemporaries. Pink’s first record came out thirteen years ago, and she has used over a decade on the road and in the studio to mould a show that will work for years. You can imagine your Keshas or Rita Oras or Charli XCX’s watching this show and just sighing in defeat. They know that nobody else can do a show like this.
Screaming women with identikit haircuts whoop her every flex and step. The sense of danger as she descends silks, clambers around a spinning steal globe cage, the Broadway bonanza of her zip-lining into the gods, that’s what makes Pink gigs next level. You can have all the pyro you want at a Rihanna show, and all the ridonkulous costume changes at a Gaga gig, but Pink can FLY. As ever with Pink, it is all about the movements, her athleticism, a wow factor that makes Madonna’s taught and precise dance scenes on the MDNA tour seem desperately flat. So here’s the key: the reason Pink’s live show is one of the best in the world is her live USP, which is aerial athleticism. The highlight from that album, ‘Try’, is executed brilliantly in the O2, her choreography advancing significantly. A decent record, a couple of radio hits, and boom, the sales soar over the million mark. She could be one of the pop industry’s last reliables. She decamped there for nearly 60 dates (compared to a paltry 12 in North America) grossing $80 million. In Oz, Pink’s Funhouse tour remains the biggest tour in the history of the country. And in Australia, where Pink’s fandom is unrivaled, it has gone SIX TIMES platinum. ‘The Truth About Love’, her latest record, has once again been a smash, hitting number one in eight countries, and gone platinum here, in the US (with over a million sales), in the UK and elsewhere. And like a tried and tested musical, punters will diligently keep coming back. You’d have to reckon that at the O2 last Friday a fair chunk of the sold out crowd had seen her before. Pink, a performer who if hardly spectacular in her artistry is nothing if consistent, forging out a far more resilient career as a touring machine whose songs come to life on the road. The muted one from those who know her songs and, you know, whatever, and then the sagely nod from those who have seen her live.
There are two reactions from people when you tell them you’re going to see Pink.
0 kommentar(er)
