Katy Perry turns TD Garden into a pop spectacle eight years in the making

It had been exactly eight years since Katy Perry last played Boston, a fact she gleefully pointed out at TD Garden on August 8, the eighth day of the eighth month. The symmetry didn’t stop there: her stage was shaped like an infinity symbol, and for much of the night she seemed suspended somewhere between pop concert and high-wire circus act.

The show opened with a surprise to many, Rebecca Black, yes that Rebecca Black, stepping confidently into the spotlight. For those who still only associate her with the “Friday” meme that nearly drove her offline as a teenager, her 30-minute set was a revelation. Backed by two male dancers and a smattering of cheeky protest signs (“Straight people” being one target), she delivered a high-energy hyperpop set that showed she has fully come into her own as an artist. Minimal stage production didn’t slow her down. She had the crowd warmed up, cheering, and ready by the time Perry emerged.

And talk about entrances. Perry began the show ascending in a cage of wires, a fitting image for the rest of the night, where she seemed in constant motion. She soared above the audience on floating flower petals, wove between fans standing inside the loops of her infinity stage, and rode a massive disco ball/cage during a particularly electric version of “I Kissed a Girl.” The production was relentless. It was a kaleidoscope of retro LED television screens, strobing lights, and choreography that at times felt more Cirque du Soleil than arena pop.

Her setlist was a career-spanning greatest-hits sprint, with the U.S. leg framed as her Teenage Dream era. It’s easy to forget just how popular Perry was in the early 2010s, until you hear “California Gurls,” “Teenage Dream,” “Last Friday Night (T.G.I.F.),” and “Firework” in the same night. For millennials, it was a nostalgia trip; for younger fans, a history lesson in pure chart dominance.

Between songs, Perry was in no rush, chatting with fans and stretching the night until it brushed up against the Garden’s curfew. By the encore, there was no question what was left to play. “Firework” exploded through the arena, and for a few minutes, the spectacle hit its peak.

Eight years was a long wait, but Perry made sure Boston’s patience was rewarded with a show that was as much a treat for the eyes as it was for the ears.

This show was covered for The Concert Chronicles. You can find the original article here.