O2 Arena, LondonSmith trades unrequited love for lustful liberation in a maximalist show with an Elton-meets-Lizzo energy – and the occasional sorrowful pause
Very different, but also very moving, is another cover sequence in which Smith does not sing at all, but takes their place in front of the six dancers. Asplays out, Smith leads the troupe in a sequence where six sets of arms echo their snaking movements: it’s minimal, and unexpectedly affecting. Having removed their shirt, it becomes apparent that this tour is not just about unapologetic sexuality, it is also about body positivity: the optics are very much Elton John meets Lizzo.
As the songs begin to take a turn for the frisky, Smith’s voice – so well known for communicating heartache – subtly changes gear.may be dominated by Reyez’s nagging chant of “gimme, gimme, gimme what I want”, and Koffee’s perhaps tokenistic dancehall verse . But there’s a pained lustfulness in Smith’s contributions that reaches to the back of the hall.
As Unholy’s infamous operatics ring out, we get to see Smith’s bare glutes jiggle about. There’s lashings of stage fire, and Smith closes the show dressed as a burlesque Beelzebub with a tricorn hat and pitchfork. The effect is more absurd than civilisation-shaking. Smith comes out of it with their reputation as a progressive LGBTQ+ figure considerably enhanced by the brouhaha. And Aphrodite has been handsomely served.
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