A massive arena, a trio of pop superstars and a production promising more lights, smoke and spectacle than you could shake a glittery stick at. The Pussycat Dolls had arrived on the banks of the Clyde, and they had come to put on a show.
A somewhat stripped-back version of the group took to the stage at the OVO Hydro tonight, with Nicole Scherzinger joined by Ashley Roberts and Kimberly Wyatt. With just three of the original Dolls in attendance, the question was whether they could deliver the sort of full-blown extravaganza for which the group had become renowned. This was, after all, a band whose reputation had been built on big personalities, bigger dance routines and pop anthems designed to get an arena on its feet.
There had also been a fair bit of uncertainty surrounding the tour. Previous plans had fallen by the wayside amid legal disputes and the disruption caused by Covid, while disappointing ticket sales had reportedly caused the cancellation of much of the American leg. Would this latest promise of a return actually materialise?
Thankfully, the answer was yes. Glasgow had its Dolls, the audience had turned up, and all that remained was for the evening to unfold without any last-minute legal drama. Sometimes getting through the doors is half the battle!
First up were Deja Vu, the Venezuelan-English trio based in London, who were embarking on their first-ever tour. Being thrown into the arena circuit was quite the introduction, but the former ‘The Voice UK’ semi-finalists appeared comfortable in front of a predominantly young female audience.
Their seven-song set delivered accessible, mainstream pop, performed with confidence and enough energy to get the evening moving. Nothing particularly revolutionary, perhaps, but there was a clear understanding of what their audience wanted. With a sizeable social media following already behind them, they looked like a group worth keeping an eye on. In an age when an artist’s online presence can be almost as important as the music itself, they certainly seemed to be playing the game.
Next came Lil’ Kim, although access to the arena for her performance appeared to be restricted to pre-approved social media representatives. Those of us without the appropriate digital credentials had to wait patiently outside for the main event.
And then came the moment everyone had been waiting for…
A huge Pussycat Dolls logo hung adorned a black curtain at the rear of the stage as the dancers began to assemble. The backing track kicked in, the lights dropped and the anticipation inside the Hydro grew by the second. One by one, the three headliners emerged from hydraulic platforms beneath the stage, with Scherzinger’s arrival suitably theatrical. Smoke, lighting and a battalion of dancers completed the opening spectacle.
There was no band on stage, just the three Dolls and their supporting dance troupe, but any concerns about filling such an enormous space were quickly put to rest. From the outset, this was a production built to make an impression.
Dressed in loose, sheer ensembles, Nicole, Ashley and Kimberly launched into their tightly choreographed routines with all the attitude and confidence expected of seasoned performers. They might have been away from the live circuit for a while, but there was little evidence of rustiness. The preparation was obvious, the timing was sharp and the three women looked entirely at home commanding an arena of this size.
It was also something of a social media influencer’s paradise. A handful of approved content creators had been visible in the photography pit, while elsewhere in the crowd plenty of younger fans seemed determined to document every second of the evening. Phones were held aloft, commentary was recorded and clips were captured for posterity. Whether everyone would actually get round to watching the footage again is another matter, but at least the memories were being saved in several different formats!
Let’s be clear, though: this wasn’t your traditional gig. It was a full-scale pop spectacular, with choreography, costume changes and theatrical flourishes taking centre stage.
The first wardrobe transformation arrived between the fourth and fifth songs, when the baggy, see-through outfits made way for sparkling, sequinned bodysuits styled rather like glamorous swimwear. The reaction from the audience was enormous. For a moment, the applause threatened to rival that given to the songs themselves.
Perhaps this is where the battle-hardened gig photographer in me struggles to keep up with the modern pop audience. I’ve spent years watching bands sweat their way through sets in dark venues, often with little more than a few battered amplifiers and a dodgy smoke machine for company. Here, a costume change could generate an ovation all of its own. Different worlds, I suppose, and there’s certainly no shortage of entertainment in either.
As the performance progressed, Scherzinger occasionally stepped aside to allow Roberts and Wyatt their own moments in the spotlight. It was a welcome reminder that the group was more than a one-woman show, with all three contributing to the evening’s relentless pace. The dancers also deserved enormous credit. Their stamina was remarkable, as was their ability to remember what must have felt like an endless succession of intricate routines while maintaining the energy to carry them off night after night.
The production barely paused for breath, keeping the audience engaged through a lengthy run of songs, choreography and visual spectacle. At approximately two hours and 45 minutes, the show offered a substantial return for anyone who had waited years to see the group back on stage.
Musically, everything sounded polished and precise. With no visible live band, the backing appeared to be prerecorded, although I would happily stand corrected by anyone with more detailed knowledge of the production. Whatever the setup, the vocals and musical arrangements were delivered cleanly, while the dancers and performers ensured there was always something happening across the enormous stage.
And, of course, there was one song everyone knew was coming.
‘Don’t Cha’ had been kept until the closing stages, and it proved to be the perfect way to bring the evening to its conclusion. Even this old gig-going hack knew this one! The arena responded accordingly, with the crowd giving the anthem the reception it deserved.
So, could three Pussycat Dolls fill the OVO Hydro? Absolutely. The evening was a triumph of pop performance, with Scherzinger, Roberts and Wyatt delivering a polished, high-energy production that kept their audience entertained from the dramatic opening to the final number.
Was it a traditional concert?
Not really. The spectacle, choreography and presentation were every bit as important as the music, and the absence of a visible band might not have appealed to everyone. But this was never about recreating an intimate club gig; it was about giving the audience a night of unapologetic pop escapism.
For the fans, the wait had been worthwhile. The Dolls were back, the Hydro had been treated to a proper arena-sized extravaganza, and Glasgow had enjoyed a generous helping of glitter, glamour and nostalgia.
Kudos to everyone involved. Three Dolls, a massive stage in a huge arena on a Thursday night in the Dear Green Place!
Review and Photographs by John Brown Photography
