Katy Perry by Andy Squire
Slammed by the indie crowd, adored by the tabloids; Katy Perry courts controversy and divides opinion with every garish move. Her number one single, pandering to the ultimate male fantasy, still won't go away; and with a Brit Award under her belt, there couldn't be a better time for this record exec's wet dream to prove she's more than just a one trick pony and America's answer to Lily Allen.
Bursting onto the stage 20 minutes late with an all-male band wearing specially adapted suits that have them glow like Christmas Trees throughout, the size zero beauty screams "I'm Baaaaack" to a shrill and frenzied reception. But with a huge inflatable cat and various oversized pieces of fruit dressing the stage, the critics' all style no substance argument looks pretty strong before she's even played her first tune.
The room shakes and the air glows as hundreds of skinny arms holding cameras aloft battle against the swelling crowd as it throngs and sways to the sound of set opener Fingerprints. Perry appears to be on top form vocally, as lines are delivered cleanly with all the gumption you'd expect from a girl quite obviously oozing sex appeal.
Rattling off another number, this time with a guitar draped around neck like another of her kooky accessories, the pop princess pogos and spins making the fact that she's actually playing the instrument seem highly unlikely. This doesn't detract from her performance however; pouting, strutting, and daft sorority banter no doubt tick all the boxes for her predominantly young female audience.
"If you want the milk, you gotta buy the cow," she cackles, the girls down the front nodding as they hang on her every word, before a brief rendition of kids' party standard the Hokey Cokey which sees the whole room wobbling on one leg and looking around in bewilderment. It soon becomes clear this bizarre moment was simply a metaphor for on-off relationships as Perry launches into a frantic scream-along version of Hot N Cold.
A cover of The Outfield's 80s hit Use Your Love is met with possibly the tamest crowd response of the night as Perry quite deftly points out "This one goes out to all your parents who probably did it to this song and made you!" Minutes later she seems to forget all this as her inter-song nattering turns to talk of drink and drug-induced college ‘mistakes' which seems to go right over the juvenile audience's heads and hit the wall at the back like a sod-off great lead balloon.
Waking Up In Vegas then goes on to document these adult-themed mistakes that she refers to as "What the fuck moments," and again the screaming hordes bob and wave ecstatically as she totters between her band members offering seductive tie-grabs and feisty kicks to their instruments.
Quiet moments are few and far between, but as the band briefly retire for Perry to take centre stage with an acoustic version of her latest single Thinking Of You, the singer reveals a more sensitive side to her character. Clearly demonstrating a powerful set of pipes and an ability to carry off syrupy sentiments while remaining the fiery temptress we've seen throughout, there's reason to suspect this woman might have more strings to her bow than mere style and seduction.
Returning to more familiar territory, we're then treated to a stormy rendition of the cheekily titled Ur So Gay. For reasons unknown this prompts a slurry of half-consumed drinks to be hurled at the stage, shortly followed by a pair of girls' pants. Holding and sniffing the tossed undergarment, Perry squeals "Smells a bit like me - us girls are all the same," to a giggly if somewhat bemused response.
A lightning-fast costume change ensues, which sees the singer clad in skin-tight leopard print - complete with tail and ears - and picking a homemade sign out of the crowd which simply reads ‘penis'. "Oh, I need that," she guffaws before screaming "I love penis," which most likely failed to impress the dozens of parents who line the edges of the room, arms folded.
To end the show Perry returns from a minute-long respite crashing into a frenzied version of Queen's Don't Stop Me Now. By far the most rapturous sound was reserved for the star's grand finale; a cocky and raucous romp through dancefloor favourite I Kissed A Girl which sees her wield giant inflatable strawberries and a dreadfully phallic cherry Chapstick.
It's sadly hard to imagine Katy Perry's good looks and gimmickry taking her much further than a disappointing second album but, judging by the number of footloose Manchester teens going mad for her tunes tonight, the world will still be dancing as long as she keeps things carefree and sexy.
See our full gallery of the night's events here
FemaleFirst - Anthony Hill
Photos By Andy Squire