On Dec. 29, 2021, global superstar Katy Perry kicked off her three-month Las Vegas performance residency. Housed at the newly constructed Resort World hotel in the heart of the Strip, Perry’s opening performance attracted immediate media buzz with overwhelmingly favorable reviews.
Las Vegas is known for its larger-than-life entertainment options, having previously been home to acts like Celine Dion, Aerosmith and Lady Gaga. The show, entitled “Play,” features Perry singing her career-peaking hits underneath gigantic set pieces, making the singer look like a comically microscopic version of herself.
When the curtain rose, the audience was immediately transported into an alternate land that many have claimed to mirror the charming film, “Honey, I Shrunk the Kids.” With giant replicas of toilets, bathtubs, mushrooms and beer cans, the superstar put on a wildly entertaining exhibition for thousands of Vegas visitors. Perry even had a heart-to-heart conversation with an oversized talking face mask in the concert. The segment serves as a piece of comedic commentary on COVID-19, according to the Vegas Sun.
In comparison to singers within the same realm, Perry has never been regarded as the vocalist of the coming generation. Opposing acts, like Ariana Grande and Beyonce, have instead been granted this unofficial title. Perry’s artistry, however, is far from jeopardized by her vocal ability, considering the commercial success of “Play.”
These extravagant formats aren’t new for the singer. In fact, for many fans, elaborate costumes and creative sets are synonymous with the idea of Perry. In her 2015 Super Bowl halftime show, she entered on a golden animatronic lion, danced around a sea of fish and flew across the Arizona stadium as a shooting star. Sparkles and light tricks seem to follow the singer wherever she goes, making headlines with every creative endeavor. Undoubtedly, Perry has mastered the art of visual entertainment. In cases like hers, however, musical perfection is often sacrificed for an attention-grabbing spectacle.
It could be argued that Perry’s decision to put sparkles and pyrotechnics to the forefront of her performance is inevitable for any artist in the pop music industry. Historically, this genre of music is paired with fascinating visuals to complement the addictive melodies. The difference in Perry’s case, however, is the extent to which she relies on stage effects to carry a show.
Oftentimes throughout performances, the singer omits abnormally long durations of her songs in which she’s intended to sing the melody. Rather than letting the (very well made) music speak for itself, Perry exclusively confides in the show’s production. Particularly displayed in her Las Vegas residency, it often seems like the megastar would choose a shallow modern art exhibit over her own discography.
The millions of consumers who benefit from the artist’s small slice of entertainment have, historically, preferred this ingenuine approach of musical marketing, however. In many instances, it’s a double-edged sword for pop stars and audiences alike. Most people would admit they prefer a more “authentic” artist to look up to, as opposed to a superficial music robot. When singers take this route, however, they’re almost always critiqued on their “lack of stage presence” or “low production quality.”
Ariana Grande, a similar name in music to Perry, was criticized for letting her voice take center stage and dilute her popstar persona during the run of her Dangerous Woman Tour in 2016. “The concert came across as relatively unadorned. Often, it was just Ms. Grande, with or without dancers, on the bare white stage,” said a contributor for the New York Times. Grande’s tour was still packed with mesmerizing visuals and complex choreography, yet the small decision to have the singer stand and deliver the music at various points was the only aspect of the show that critics seemed to focus on.
Even when media outlets briefly acknowledge impressive vocals and musicality, reviews like these are a prime example of how little consumers actually value the musical credibility that artists work so hard to achieve.
Perry’s Vegas residency has already broken records. Resort World’s concert hall is the biggest on the strip with a capacity of 5,000 audience members. In every show thus far, Perry has sold out the venue and expects to perform for over 80,000 people by the end of her run. It’s likely that any celebrity with the same caliber could be capable of achieving these statistics, but Perry’s content within the show feels like a chokehold for any media outlet’s biggest headline and, unsurprisingly, it worked.
In a highly favorable review from Rolling Stone, a critic praised the singer’s choice to stay true to her over-produced roots. “The music was only part of the show. This being Perry, the production was larger than life.” He goes on to say, “the show is quintessential Perry, who indulged the emotional, the over-the-top, the whimsical, the psychedelic, and even the cheesy over the course of 95 minutes.”
From a business standpoint, her approach to a residency is pure genius. Art can manifest itself in any form and Katy Perry shouldn’t be scrutinized for her choice to highlight production over musicality. The lack of appreciation for vocal powerhouses in their live performances, however, is the unfortunate reality of what the music industry values in a show. At its root, any artist’s approach should be respected and compensated accordingly, whether or not a gargantuan animatronic toilet is involved.
