Kesha

Kesha and Blushers live at Perth HPC | 26 February 2026

Supplied image by Emily Sudlow

Perth HPC was adorned with tween, teen and older women (and guys) channelling the intensity of their ‘inner-Kesha’ energy. Donning short-shorts, and more glitter than a disco party. Fever pitch was already reached when a group of three girls in the queue began spraying themselves head-to-toe with glitter deodorant. Simultaneously maximizing their sparkle and flammability risk of spontaneous combustion.

For those eager to score a decent park, and brave the queues early. They were treated to the early echoes of Blusher (the support act) doing sound check. Providing an eager teaser for fans who were ready to enter.

Once the labyrinthian task of navigating the winding queues was completed. Punters were welcomed by Kebab food vans, and a row of soft drink and beer tents. It was clear that famine was not on the menu at this gig.

Image by Adrian Thomson

Inside the stadium general standing was half-full, with many groups of girls sitting on the floor to stake a claim to prime viewing real estate for Kesha. There was a weird feeling of Déjà vu, being 30 years old in a crowd of under 20-somethings. Knowing that Kesha had ‘blown up’ when I was 14/15. I felt incredibly old, and the march of time pushing me further and further to potential baldness, and more grey hairs.

But when I saw support act Blusher, I felt invigorated. I realized after seeing them there might be some truth to why elderly people do so much Tai Chai/dancing in China. They quite honestly made me feel younger.

A pop-dance trio made up of Miranda Ward, Jade Ingvarson-Favretto and Lauren Coutts from Melbourne. They announced to Punters they had started the group in one of their bedrooms, and emphasized that playing as supports for the Tits Out Tour was their biggest series of shows to date.

The trio had an ability to synchronize with each-others movements perfectly. Coupled with an energetic choreography, it hard not to resist moving along to the rhythms. With many punters trying to match the moves they showcased on stage. 

Their dance routine included a mixture of dynamic movements matching with the lyrics they sang which hyped up the younger punters (e.g. ‘Backbone’). Whilst also burning calories for the older punters (much like an f45 session). Many of blusher’s songs spoke about pain of heartbreak, but also the celebration of self-empowerment. Inviting audience members to participate, and imagine they were at a party with their crush. Causing many audience members in the standing to look sideways at the person they came with.

It was a fun start to the show, with the group undoubtedly leaving a mark on many of the punters in attendance.

On the wait to Kesha’s set. There was an esoteric, cult-like inspiration from the brief messages being shown on the stage screens. Namely reminding punters to keep their clothes on, and that the show was a sacred, ritualistic experience that had to be honoured.

This rule was notably loosely applied as later on a young man was seen, with his shirt off. With zinc or tape emblazoned with ‘EAT THIS’ with an arrow pointing down to where his junk was. So very sacred.

Supplied image by Samuel Graves

Stage props included a pyramid, with Kesha emerging with a mannequin head of herself in her harms. Dressed in what seemed to be a Cleopatra inspired get up. This was a first of many costume changes throughout the night, with later changes including more latex and kink.

Opening with ‘TiK ToK’, and getting the hit song out the way early (with the inclusion of ‘Fuck P-Diddy, oh how times have changed). Punters went wild for it. Kesha announced that much of the songs that were played on this tour were reproduced by herself. Undoubtedly taking a page from Taylor Swifts book, and a notable middle-finger to the mainstream record label/producer she was previous signed to (and in dispute with) for several years.

Her set was well choreographed, and it was clear that a lot of work was put into the production, the dancers and stage props. Pushing the boundaries of what a live show was, it at times felt like an almost self-autobiographic theatrical reflection of Kesha’s own career, and popstar journey.

Where Kesha was taking punters through an audiovisual rendition of the highs and lows of pop stardom. Whether it was hilarious joke about finding red flags ‘hot’ (and quite literally throwing her red-flags at the audience).

And mock-stabbing her own backing dancers with a knife on a crystalline chair. In between the hedonism, the wild-party-like rave music and performance. Past the layers of humorous, self-referential cynicism. There was something noticeably tender from Kesha’s performance. Which shone brightest when she arose on to the stage solo, and singing ‘praying’ in a ballad style.

This was when Kesha called out to her warriors the loudest. Perhaps by offering the wild highs and lows of the tale of her own musical journey. She could help some of the younger punters make sense of their own. As they navigated those first early, bold steps in their own lives.

Review by Joe Wilson