Above: Dozens of Dressed to Kill-er photos!
Continued from here.
BOY CULTURE REVIEW OF CYNDI LAUPER & CHER: ***1/2 out of ****
When Cher took the Dressed to Kill stage, the venue throbbed like the main artery in the middle of the guiltiest pleasure ever. She appeared beneath a gigantic set of pheasant feathers, adorned in more glitzy accoutrements than one could make from an entire discount bead store. And wearing dreads, a la Cleopatra. Her smile had that inimitable “I know, right?” quality that resides midway between intentional camp and an unapologetic love of all things tacky.
Bird of a feather
The showgirl had arrived.
She opened the concert with “Woman's World,” her mostly dismissed lead single from her latest album, Closer to the Truth. Heard months after its release as a kick-off tune, it sounds a lot better. Like quite a few of the numbers, it was done to track, but was sold hard by Cher via her facial expressions and easy flaunting of her costume.
A bold Cher-'do
She segued seamlessly (or, considering that bold costume, seamfully) into her scandalously underplayed 1998 release “Strong Enough,” which was lost on radio in the wake of “Believe.” Her gladiator-garbed backup dancers bounced around the stage with zero of the coolness of most divas' dancers; it wasn't about being cool, it was about being outrageous and flashy and inciting fun.
The projection behind her resembled a cheesy, vintage electronic one-armed bandit in all its 8bit glory.
Probably the least satisfying aspect of the show was the fact that in order to accommodate the myriad of costume changes, Cher spent a lot of time offstage while her dancers distracted us; it felt like there were several instances in which she sang only one song before disappearing to do a medium-quick change. But this allowed for spectacles like what came next, a gaudy, blood-red, vampire-themed “Dressed to Kill,” an album track from the latest CD.