Vocally, Perry is the best that she’s ever sounded, and she hits her marks with exactitude. What’s so jarring about the Witness world tour is that it has all the components of a thrilling and entertaining pop show. For her encore, Perry flies through the air on a giant clock to the forgettable “Pendulum”, before she embarks on “Firework”, a self-help banger with real heart, before landing on top of a giant inflatable hand, which closes around her at the song’s conclusion. “Roar” becomes as anthemic as you’d want, Perry, decked out in blue PVC, humming with energy as a large inflatable lion emerges from the pupil of her giant eye backdrop. It feels disingenuous next to the steely pop detachment that Perry exhibited at the beginning of the show, which has now slipped into cartoonish soundbites in a faux-British accent about going down the pub and Heinz baked beans.įor the final three songs, she takes her time. Similarly, “Swish Swish” becomes a moment for crowd interaction as she invites a man on stage to play basketball with her. Perry delivers a stellar vocal performance, sure, but it feels almost redundant thanks to the staging. It makes decisions like having Perry stationary during “Power”, one of Witness’s stronger cuts, bizarre, especially considering the pulsing electricity of that song. And that’s what the Witness world tour is, a spectacle. She then launches into the night’s only ballad, which again breaks the flow of the otherwise high energy spectacle. The staging, too, is unexpected, Perry rotating between a symbolically Sapphic Venus flytrap and a what appears to be a piece of lettuce made out of glass. The French-house flecked production is arena worthy, filling the vast corners of the O2. The divisive “Bon Appétit” is a song that comes alive during a show. It’s a noticeable shift, empty pockets forming all around the O2. Despite the intricate staging - Perry somehow pole dances on a giant-stemmed rose - the crowd either sit down or empty out, heading for the nearest bar. At this point, the crowd lose interest, too. Following this, she ventures into Witness territory performing best-forgotten deep cuts like “Déjà Vu” and “Tsunami”. The segment, filled with gaffs and lolz, drags on, spoiling the smooth burst of pop perfection. So much love to my band/dancers/crew & team.Perry, now overly nostalgic, brings out Left Shark, the meme-making star of her 2015 Super Bowl halftime show. Needless to say, Katy Perry’s Witness Tour is the full MASSIVE thanks to all the incredibly talented people who have helped me put together #witnessthetour S/O and more. The hand is supported and lifted by a TAIT performer zip lift. The show ends with a powerful performance of “Firework” where she sits in the palm of a giant inflatable hand that rises 12 feet into the air towards the audience. per second but the T-Winches were capable of lifting Perry into the air as fast as 5 ft. The video track truss reached the length of her runway but curved toward stage left allowing her to utilize her C-Stage as an additional drop off point. TAIT manufactured a custom video track truss which served as a pathway for a plate trolley which also housed two T-Winches to travel on. per second.Īll of Perry’s various flights throughout the show used a particularly unique performer flying system which allowed her to create a more interactive atmosphere with her fans. Once the two made a wish, the star shoots into the air at 4 ft. At the end of her flight, Perry landed on the teardrop stage, brought a fan on stage, and made a wish with her special guest on a brightly lit star that lowered to stage level via a TAIT Nano Winch. For that specific flight, TAIT installed eight Nav Hoists into overhead trusses throughout the arena, which on cue, lowered the scenic planets into Perry’s galaxy. The main stage was also equipped with an additional performer zip lift which was installed at the end of the runway.įor one of Perry’s galactic scenes, a galaxy of eight planets and stars floated above the audience while Perry jumped aboard a beautiful scenic piece, shaped like the planet Saturn, and floated throughout the arena. These LED performer lifts transformed into staircase-like configurations, displayed dynamic video content and ascended approximately 72 inches above the stage. The center of the main stage was equipped with eight performer lifts surrounded with LED videos panels.
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