Mike Atkinson

Katy Perry – Nottingham Capital FM Arena, Sunday May 11

Posted in Capital FM Arena, gigs, Nottingham Post by Mike A on May 12, 2014

Originally published in the Nottingham Post.

No one could ever accuse Katy Perry of doing things by half measures. Just over three years after her last visit, she returned to Nottingham with a stage show that was every bit as breathtakingly elaborate as before.

This was just the fourth date on Katy’s Prismatic World Tour, which she will be performing around the world from now until December, and although the staging was technically flawless, her crew took a lot longer than planned to put everything in place.

This wasn’t good news for the fans queuing outside, who were kept waiting for an extra 90 minutes, and it was even worse news for those with trains to catch at the end of the night, who were obliged to leave the venue well before the final encore. The Arena’s Twitter account was suitably apologetic, but as for La Perry herself, there was apparently no room in her script to say “sorry folks, we messed up”.

That said, the 90 minute delay had shrunk to 45 minutes by the time that Katy took to the stage, and no time-saving cuts were made to the two-hour extravaganza, which finished twenty-five minutes short of midnight. There must have been a lot of yawning in class on Monday morning, but in the grand scheme of things, it was a small price to pay.

Opening the show with Roar, perhaps her biggest hit to date, Katy emerged from a collapsing pyramid, in the centre of a massively extended triangular stage that reached more than halfway into the Arena’s standing section. In the middle of this triangle, her superfans were enclosed in a special pen, cut off from the rest of the crowd. This wasn’t perhaps the ideal vantage point, as their idol spent a lot of time at the very front of the stage, with her back turned to them – but they still looked appropriately thrilled throughout.

Setting the bar courageously high for the rest of the show, Roar featured tribal warriors with illuminated Mohicans and light spears, luminous skipping ropes, backwards conveyor belts that held the running dancers stationary – and that was before we got to the rising, rotating platforms, the high wires, the trapezes, the floating prisms, the giant teacups and all the rest of it. In the midst of this spectacle, Katy shimmied, hoofed and mugged, ever the showgirl, in a space-age crop top and matching skater skirt. The hem of her skirt and the edges of her top were also illuminated, as were the braids in her pony tail.

“We’re back”, she announced. “Let’s be in this moment, right now, together. Let’s forget about tomorrow!” Across the hall, anxious mothers checked their watches, while their daughters screamed with unrestrained delight.

While the 2011 show stuck to a carefully themed narrative, the Prismatic Tour jumped between wildly contrasting sections. For the second act, the stage turned into Ancient Egypt, as Katy reappeared on a gigantic golden horse, dressed as Cleopatra. For the third act, she returned to her alter ego, “Kitty Purry”, clad in a hot pink catsuit with matching ears, standing on a ball of wool.  Towards the end of the show, dayglo and neon were the order of the day, with an early Nineties retro feel; a bra top was adorned with smiley faces on each breast, and a black and white yin-and-yang skirt rose ever higher from the stage. Elsewhere, an inflatable pink Cadillac transported the dancers along the catwalks – Nicki Minaj had one of those, too, but this was a sturdier construction – while a giant pink champagne bottle and a tube of lipstick floated around the sides of the hall.

Things calmed down for the acoustic section, giving Katy a chance to focus on her interpretative skills, on new album tracks such as By The Grace Of God and Double Rainbow. Although this did rather expose her limitations as an artist – sincerity isn’t her strongest suit – it did allow her to forge a more personal connection with her fans. “I usually don’t perspire, but my back is sweating right now”, she confessed, before reaching for a refreshing pint of beer. “Down it! Down it!”, the crowd chanted, in true Nottingham style. “I am a lady!”, she retorted, before handing most of her pint over to a grateful punter, with a word of caution: “I have a bit of a cold, so drink it – but I’ll be with you for between ten days and two weeks.”

Towards the end of the acoustic section, Katy took out her phone and called her mother, to wish her a happy Mother’s Day (in the US, they celebrate on a different date). “She has no idea, so let’s put her on speaker phone, and see what comes out of her mouth.” Mother Perry handled the surprise well, graciously wishing us all goodbye at the end of the call. It was a rare unscripted moment, and all the more entertaining for it.

Having focussed on her most recent album, Prism, for most of the show, Katy returned to some of her older hits for the finale: Teenage Dream, California Gurls, and a showstopping rendition of Firework. Alone on the stage in a voluminous multi-coloured skirt, she twirled beneath the pyrotechnics, singing her heart out, caught up in the moment, and unabashedly lapping up the experience for all it was worth. The triumph was deserved. No one else at the top of their game in contemporary pop is working it as hard as Katy Perry right now; for while Gaga and Bieber might be stumbling, she continues to reign supreme.

Set list: Roar, Part Of Me, Wide Awake, This Moment/Love Me, Dark Horse, E.T., Legendary Lovers, I Kissed A Girl, Hot N Cold, International Smile/Vogue, By The Grace Of God, The One That Got Away/Thinking Of You, Double Rainbow, Unconditionally, Walking On Air, It Takes Two, This Is How We Do/Last Friday Night (T.G.I.F.), Teenage Dream, California Gurls, Birthday, Firework.

“Gay jibes, racial slurs, and a chat at the bar: in battle rap, the rules are different.”

Posted in features, The Guardian by Mike A on May 1, 2014

“There might be stringent security, but a family atmosphere prevails at Don’t Flop as the likes of Bru-C, Oshea and Ogmios trade a cappella insults in the worst possible taste.”

Outside Nottingham’s Rescue Rooms, the Saturday afternoon queue is edging forwards at a glacial pace. So stringent are the police-imposed security checks – there’s even a temporary ID scanner in the lobby – that it takes over three hours to admit the 500 ticket holders, some of whom have been queuing since mid-morning.

“Nottingham police were very suspicious of a hip hop event of this magnitude”, says Eurgh, co-founder and managing director of Don’t Flop, the rap battle league who have organised today’s event. “When they see this many tickets sold, and they hear the word “battle”, they think of people stabbing each other in the face. But it’s not what it is, and they don’t understand.”

Inside the venue, the day’s first pair of battlers, Bru-C from Nottingham and Pamflit from Manchester, are chatting amiably at the bar. Four days ago, Bru-C’s original opponent dropped out, demolishing weeks of preparation; like all contestants, he researches exhaustively, reviewing old battles and tailoring every bar for maximum personal damage. Rebuilding his routine from scratch has stretched him to the limit, but he’s hiding his nerves well.

By half past four, the main room is packed and the Don’t Flop entourage – battlers and their supporters, camera crew, assorted hangers-on – are drifting onto the stage, like teachers at an assembly. None of today’s six battles will be judged, so a relaxed atmosphere prevails.  As ever, each clash will be filmed for YouTube, and performed acapella; beats were largely banished years ago, for the sake of vocal clarity.

Continue reading this article at The Guardian.

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