Whenever a popstar takes to the stage in a hooded, floor-length shroud, silhouetted like a monk in front of a processional, you know there’s a moment coming where the cloak will be thrown off and the real business of sequins and shimmying begins. So when Kylie Minogue stood alone on a black plinth on Saturday night, pinprick lights swirling a slow two-step around her and breathily singing a slowed down refrain from “Magic” we, sat in our living rooms and around laptops, awaited the garment’s removal and the official start to the Infinite Disco. Kylie hasn’t got to where she is today by throwing out the pop rulebook, but she does always do things her own way: when she casually disrobed, revealing a gold jumpsuit below, it was as if to say, “Hey, no fireworks, it’s just little old me – and here are some of the best pop songs of all time.”
Titled Kylie: Infinite Disco, the specially filmed 50 minute show lived up to its name in all but length. Making clever use of lighting, both stage and The Cube floor projections, Kylie delivered on the disco front, barrelling through most of her pristine new album (also titled Disco). The euphoric “Say Something” and disco-dancefloor riposte “Real Groove” were tempered with a smattering of Classic Kylie; her biggest hits (“Spinning Around”, “Can’t Get You Out of My Head”) were left off the setlist in favour of fan favourites: the hand-clapping singalong of “All The Lovers”, a raucous “In Your Eyes” which culminated in Kylie having a lie down on the stage. On occasion, she and her dancers leaned into the 70s cheese of the genre with school disco choreography and sequined flapper dresses but largely this was a show that relied on Kylie’s natural charisma – big smiles, easy-learn choruses, simple but effective moves – to keep things ticking along.
It was a strange to hear her call out to a nonexistent crowd: “Here’s one for all you lovers!”, the question “Do you believe in love at first sight?” prompting a mental image of a crew full of swarthy camera operators and clipboard-wielding runners shrugging. The inclusion of a club-banger-style “woop woop” call and response during “Monday Blues” garnered a groan from my fellow lockdownees. At a live show, we wouldn’t have been able to hear each other do this but in the living room of a small flat share, communication was easier, sometimes to the detriment of the show. But the sultry, bassy disco arrangement of “Slow” soon shut everyone up – it was, in short, outrageously sexy.
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It takes a fair amount to keep hold of an audience sitting at home with the myriad distractions of phones, kettles, volume control and an easy path to the bathroom for almost an hour. But the sheer gusto of the singalongs for “In Your Eyes” and “All The Lovers” were testament to the highs of Minogue’s catalogue and their effortless translation from arena stage to living room. Delivering the world’s greatest Top of the Pops performance, she ordered us all to “dance through the darkness”: and, for one night at least, we did. A true joy.