Kesha and Scissor Sisters delivered powerful, sexy performances in Phoenix

This current slew of shows celebrates “Period,” her first independent project since leaving RCA and Kemosabe Records in 2023, which was just released.

With Kesha having dominated the charts for numerous summers in the early 2010s, a Kesha concert felt like a go-to move this summer (especially coming fresh off last year’s Brat Summer, which had a similarly grimy, party-girl feel). And much like the Sweat Tour, the Tits Out Tour saw an across-the-board, bold, going-out aesthetic (flavored 2000s/2010s, of course). Furry leg warmers and boots (I do not envy these folks), animal prints, fishnets, colorful wigs, streaks and hair tinsel, much leather, latex, face jewels and holographic makeup.

Of course, many went for specific nods to Kesha’s fashion, with distressed tees and denim, American prints (also a nod to the weekend) and merch across all eras. Paired with everyone out with huge sunglasses on, holding giant fans and huge frozen cocktails, this concert had a larger-than-life aesthetic, and everyone seemed to play into it. Although I do have to say, for a show called Tits Out, very few people leaned that far into it, with only a handful of attendees wearing mesh materials or pasties and only a few men going as far as not to don shirts. Not to imply I expected a revived “Free the Nipple” party, but I was still shocked at even the lack of bras in the crowd.

With a ’90s band, a millennial pop star, and an up-and-coming hyperpop artist, the crowd drew from people far and wide. You saw teens joining their parents, college kids, and 20-somethings whose interest in Kesha started in childhood, as well as millennials and up who made their party memories with Kesha or even Scissor Sisters.

Slayyyter

Since there was a 90-minute gap from the doors opening to Slayer’s set, plenty of people made their way to their seats before the show’s start. I love how outdoor venues automatically take on more of a summer festival feel. Swarms of people move freely at their own pace. People dance, grab drinks, and lie on the lawn, all while the sun slowly sets and is replaced by black skies and a bright, nearly full moon.

With her adorable sequined skirt and ultra-high suede platform boots, Slayyter came on with great energy to a slinky electro-pop track. While at first, people seemed hesitant to stand, probably due to the continuously beaming sun, they started to rise despite themselves at her magnetic and energetic presence.

The artist then proudly announced it was “tits out” time before performing her trap-flavored and sexually-explicit track pop “Daddy AF” with house drops and twerk-filled moments the crowd adored. Next, Slayyyter sang her sensual techno-pop track ‘Erotic Electronic,” followed by the bold “I Love Hollywood!” full of old glamour/boudoir visuals ranging from ’50s to ’90s aesthetics. She then slowed the pace with a piano version of one of her tracks. Her vocals weren’t necessarily her shining spot compared to her pop diva presence and danceable beats, but it was still an enjoyable part of her set.

Her track “Starfucker” was a fun ode to the Kesha fans, as it had that classic late 2000s pop energy. She then gave a moment for some vocals whilst holding a beer bottle and cig before performing the Gaga-esque track with floral visuals, “Miss Belladonna.” Finally, Slayyyter ended her high-energy set with the harder rock track “Broke Bitch” and transitioned into one of her most well-known songs, “Purr,” fueled with fierce choreography.

Scissor Sisters

With a string of shows to celebrate the 20th anniversary of their self-titled debut record, it was beyond due time that the queer-community-revered band made a return to Phoenix (it has been fifteen years since their last visit, according to the lead singer Jake Shears, who ironically grew up in Mesa). While the Scissor Sisters is only made up of half of its original members, the love for them has remained strong, as seen by the sizable crowd during their set (more and more people had started to trickle in both during and after Slayyyter, who already had a pretty full house). As the stage transitioned from Slayyyter’s set, marked by the rise of a pair of large, holographic scissors, fans and those unfamiliar with the band could sense their set would be interesting.

The group took to the stage with their groovy track, “Laura.” Each member had a unique energy and look. Bridget Barkan is particularly magnetic as the tour’s replacement for the original fierce redheaded Ana Tronic. She’s a combination of big red hair, graceful and sensual flowing dancing moves in her dress and platform latex boots and boisterous sexual expression. Lead singer Shears and another new touring member, Amber Martin, also stood out with him in a jumpsuit covered in graphic hearts and smiley faces, and her in a zebra-print dress and thong.

Throughout their set, their unique personalities prevailed. During introductions, the lead singer jokes (or is completely serious) that he’s been off “doing lots of drugs” during their hiatus, and the crowd is briefly flashed by Miss Barkan, who’s wearing scissor pasties under her dress.

Famous for their showmanship, the group had plenty to offer the crowd. Their song, “She’s My Man,” utilized more of the ladies’ vocals and the guitarists’ talents with solo moments. The girls briefly performed a duo later in their set during “Tits on the Radio.” The country track “I Can’t Decide” featured over-the-top, almost ironic choreography that the crowd loved. Meanwhile, “Any Which Way” featured a bunch of energetic and soulful vocals from Martin and synthy beats, making it a fun one to dance to. Unlike Slayyyter, the band used the screens to showcase their presence on the stage, which I appreciate on behalf of the lawn folks, who I felt got screwed over when the screens weren’t on. (Although, for $30 a ticket, I wouldn’t expect much more than shoddy views and good vibes.)

Wouldn’t you naturally expect a band called “Scissor Sisters” to be highly sexual? Barkan rhythmically moaning and clapping her legs during the ending of “Any Which Way” and Martin responding, “I did just cum a little bit. Did you guys orgasm? Metaphorically speaking?” would be just the tip of the iceberg for the next few songs. They asked the audience to “Keep your hands together but your legs apart” for a cover of Pink Floyd’s “Comfortably Numb.” In the next song, Bridget strips down to the lingerie she had been teasing the whole set down to blank lingerie adorned with fishnets and scissor pasties and modesty patch, as well as a sparkly red telephone hat for “Let’s Have a Kiki, before toning it down to transition to the sadder, country-esque “I Don’t Feel Like Dancing.” The band ended with a bang. They did a bit about how it smells like “the kinda filthy they like” in the crowd before performing their high energy rock song “Filthy/Gorgeous.” There were large inflatable breasts on the stage and miming of fellatio on the stage between Barkan and Shears before reeling it back with “Music is the Victim,” a more folk-rock song. I don’t believe there was an age restriction for the show, and I’m honestly shocked by that decision.

It was a unique set with a wide range of genres, moods and plenty of dramatics throughout. Their set saw less intense dancing than Slayyyter, partially because of the slower groove, but the band still seemed widely received, with much of the crowd singing along, waving their hands in the air, cheering loudly, and even a few fan clackers through the crowd (a controversial behavior in and of itself, but I found it charming during this particular show). And once they left the stage, a few murmurs around me from people unfamiliar with the band showcased their approval for Scissor Sisters.

Kesha

There’s always so much anticipation waiting for a headlining set, especially when more artists are stacked for a particular event. Around 9:10, Kesha debuted an advertisement for the dating app Feeld that would get fans chanting her name in excitement for several minutes afterward, falsely under the impression that she was taking the stage.

But it still wasn’t far off. As set precedent by her last few shows, Kesha took to the stage wearing a white bodysuit and jacket a few minutes later with an extended dance mix of one of her most iconic hits, “Tik Tok,” where she started by acknowledging the recent P. Diddy trial. “We do not stan abuse in my house,” she said before the first verse launched. In the original lyric where she sang, “Woke up in the morning feeling like P. Diddy,” the singer remained silent while many chose to sing “Fuck P. Diddy!” in its place. Kesha performed the rest of the summer hit to the screams of fans, all while fondling a mannequin head.

Kesha then performed a few older and new fan favorites (“Only Love Can Save Us Now,” “Warrior”) before parading through the crowd for “C’Mon” and “Thinking of You,” making for a fun moment of interaction with her fans during some of her iconic early-2010s pop-era tracks.

Marking the transition into act two was an ambient house-y track with its high hats and big drop, with stripper visuals. Though Kesha was not on stage during this intermission, it still served as yet another awesome dance break, as would many of the intermissions for the following acts (Kesha performs a total of five acts during the Tits Out Tour).

Kesha came back to the stage with a heavier, hip-hop-inspired track, “Sleazy,” with lyrics pushing independence, girl power and diamonds. Her next song, “BOY CRAZY,” is a techno-inspired hyperpop track with the type of sexy, female-forward choreography you’d expect the track to have. Playing off that track, she starts performing her hit “Cannibal.” With some dancing and ass-shaking to start, it quickly becomes a deadly dance fest as she “kills” her dancers one by one with a prop knife during a creatively told dance bit. In the final bit of the second act, Kesha’s team brought out the first round of EDM-style lasers for the bassy club track “Take It Off.” Though this one featured plenty of skin-to-skin choreography, it did not feature Kesha’s traditional toss of fans’ clothing and undergarments on the stage, as she pre-warned fans not to throw their clothes onto the stage at the beginning of the show.

Again, another heavy house transition, the third act starts with explosive rocker energy as Kesha changes into a black latex leotard fitted with an electric guitar for “Blow,” getting a passionately screaming audience in return. She then shreds on guitar (presumably) backed up by two dancers in fur suits.

However, this fun, carefree energy during this set is short-lived, as her recent album track “The Drama” shows her being bound in a straitjacket while she sings about her self-destructive tendencies, and the word “abuse” flashes on the screen. She remains in the straitjacket as she’s roughly pushed around by her dancers, who are dressed like militia, while phone cameras film her during “Fine Line,” a song that details her experience in her personal and professional life during her 2023 lawsuit with Dr. Luke. The performance could be found triggering to those who have experienced abuse in their lives, but it ends with a profoundly inspiring message: her finding her own power in the light of fame. As “Ram Dass Interlude” plays, Kesha puts her hands in front of the phone camera on stage and pushes them away. These three performances form one of the strongest pieces of symbolism I’ve gotten to see live at a major pop show.

The singer ends act three, sitting on a box with her sparkling electric guitar and silver birthday hat, tearfully introducing her song “Happy.” The crowd voluntarily lit up the sky during this song, and the volume of lights grew with her encouragement.

“I made this song saying one day I’ve been happy, and truth is, now I’ve never been happier in my life,” she says

The final song of the act, “Eat the Acid,” sees two dancers dressed in robes approach Kesha, seemingly offering her a crown and gloves as she delivers a performance of the chilling song. Eventually, she yields the crown and gloves before leaving the stage as the drummer transitions to act four with a rhythmic solo.

Act Four saw another outfit change, this time, a bold handprint top, as she ran through tracks from her latest album, including the dancey and soulful “FREEDOM.”, the unapologetic and bold “ATTENTION!”, the avant-garde “JOYRIDE.”, and through each song, even as the whole crowd was dancing, you could see the real party happening in the pit. And once she mashed her made-for-line-dancing track “YIPPEE-KI-YAY” with her successful 2012 collaboration with Pitbull, “Timber,” bringing a newer fan favorite with a mainstream hit for a fun danceable moment, that energy spread through the entire venue once again for the fourth act.

Next, Kesha performed her track “RED FLAG,” which she rated as a “certified motherfucking banger.” As someone who had listened to her whole album and heard the tracks played aloud, I strongly agreed that this one was a standout from the new album: very reminiscent of her bubblegum pop and talk-rap style.

Kesha took a break midway through the act, acknowledging the love from her fans, tossing a used towel to the crowd and told the place, “I love you. Period,” a nod to her album title and connecting with a fan who wrote a letter to Kesha, requesting the artist to listen to her music and perhaps even consider signing her to Kesha Records.

“You are safe, you are loved, you belong here,” she told the fan before giving the letter to her security and assuring the fan that security would take it backstage.
Kesha wrapped up the act with three last tracks. She performed “Dinosaur,” where she had her male dancers dressed as cheerleaders for the chant-based track. Then she zipped back to her album for “THE ONE,” which she introduced based on the idea that she might be the love of her life. I did find this melody a bit more cheesy (sort of a mix of Disney-inspired soundtracks and modern non-denominational church music), but the song carried a sweet sentiment, and, as it paired with swarming blue lights and spiraling sun visuals, it did feel pretty powerful.

Introduced openly as her pretend last song (I appreciated the lack of pretense with her encore; I don’t get why that is still a bit), Kesha played what might be one of her most defining hits: “Die Young,” one of those moments that gets the entire crowd singing and a moment she really played up to the crowd with clear vocals and fun, sensuous choreography.

Act Five had no musical transition, only her name flashing in neon pink on the screen as the crowd chanted for a handful of minutes.

The understated transition would complement the set’s more minimalist feel. Kesha returned adorned in comparatively casual clothes (a bedazzled corset top and jeans) as she belted out shortened versions of her ballads, her recent “CATHEDRAL,” and her hit 2017 track, “Praying.”

“You don’t know how it feels to be singing this on a sold-out show on the biggest tour of my life, hotter than ever, cuntier than ever, and fucking happier than ever,” she told the audience after the tracks. “Through the darkest, most beautiful, most insane parts of my life, you’ve always had me, and I don’t know if I’d be standing here without your love. Your love has gotten me through everything.”

Of course, that called for the transition into “Your Love Is My Drug” with a warm candlelight visual and more lasers. Her voice was clear and strong in all three tracks; the latter two, though, felt a little hollow without their accompanying iconic high notes. Hearing the crowd sing out the hit was plenty rewarding.

When you have a “Born This Way” or “Fireworks” equivalent in your discography, it always serves best as a showstopper, which is exactly what Kesha did with her hit ‘We R Who We R.” The first verse, another one that skyrocketed in popularity on TikTok, got the crowd screaming along as visuals from her early touring and music video days played across the screen. Kesha delivered energetic choreography alongside her dancers, decked out in merch, as the crowd was showered in more lasers and confetti.

The Tits Out Tour gave exposure to both some of the rising and veteran names in the LGBTQ+ community through performances by Slayyyter and Scissor Sisters, giving the former artist a chance to define her image and the latter band to showcase how far they’ve come. As someone who grew up listening to Kesha’s music, it’s good to see Kesha come back on a headlining tour with her hyperpop party girl image, but on her own terms, with an ability to explore themes that resonate with her, work with the creators she wants, and create the sort of tour vision she wants. And in the light of stressful times, especially among women and the queer community, a pop party where everyone is encouraged to let loose, sing and dance their hearts out, and be the most fierce, unapologetic versions of themselves couldn’t have come any sooner.

Here are a few more photos from the show: