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Record Mirror
April 7, 1979
KATE BUSH
Liverpool Emplre
SO THIS was the gweat surpwirse. Layers of sheer silk curtains unravel to reveal a sylph-llke creature in a powder blue gym suit.
Kate, why didn't you tell us? Superman!!
But this wasn't the half of it. The three act spectacle went on to resemble a cross between a futuristic children's pantomime (which of course much of it was) and a grossly over the top parody of a Plnk Floyd period piece, from the leathers and dustbin street scene of 'Heartbreak' to the concluding 'James And The Cold Gun' where decked out as a space cowboy, she shot her hitherto mandolin playing brother.
This wasn't just a glamorous show or a lavish display of nouveau camp theatrics but the ultimate rock and roll extravaganza complete with an exciting display of props, a well drilled, unobtrusive backing band and a pair of black dancers whose main mission in life appeared to be hurling amazing Kate from one end of the multi-tiered strobe-lit stage to the other.
Ms Bush's world debut began modestly with a straight rendition of 'Moving' from the first album, the lady gesticulating in front of a panoramic cinema screen awash with effects. For the next few numbers she showed her ability as a quick change artist as pastel shaded tights and knee warmers gave way to Egyptian desert chic amidst pirouetting rhythm stick wielding henchmen.
Throughout, she remained full of poise and in complete control of her vocal dexterity which reached a peak on the more sensual songs. Her unabashed obsession with sex manifested itself on 'Feel it', 'In The Warm Room' and 'The Kick Inside' where she revealed a soft spot for incest, something she had dwelt upon at the previous afternoon's press conference.
The soft focus porn continued with 'Full House' where the salivating audience was treated to a face full of thigh tied in black nylon before the glittering stardust effects of 'Strange Phenomena'.
'Kites' featured one of the dancers walking wearily into a wind machine while 'Symphony In Blue' included a visually transcribed symphony projected onto the lid of a grand piano.
'Hammer Horror' concluded with a tribal chant and the effects went on and on. Although it must be stressed that never once did one's interest falter as each number was performed with painstaking efficiency and undivided attention to each detail.
After one encore, the foaming Liverpudlians wouldn't go home. No wonder ... no Heathcllff yet. Predictably she returned for the inevitable 'Wuthering Heights,' still her most popular song and the one which originally lent credibillty to this mime and dance routine.
It was, needless to say, delivered faultlessly and at the end, flowers and all manner of gifts showered the stage in true showbiz fashion.
And the very end? The whole troupe took a final theatrical bow. The question is ... why has no other singer pulled that trick before?
"Amazing," she intoned, "we really think you're incredible."
Nice one Katie.. Nothing like adding the finishing touch.
MIKE NICHOLLS
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