The news of Scissor Sisters reuniting was nothing short of electrifying. After releasing three iconic, genre-defying albums, the band went on hiatus in 2012 – and as the years passed, hopes of seeing them share a stage again began to fade. While Babydaddy and Del Marquis largely stayed out of the spotlight, Ana Matronic reinvented herself as a sought-after DJ and launched a history podcast, Good Time Sallies, which has since grown into a series of long-term research and writing projects. Frontman Jake Shears, meanwhile, built a successful solo career and demonstrated his flair for theatre and acting with performances on both Broadway and the West End stages. So when the reunion was finally confirmed, it felt like a long-lost spark had been reignited. The announcement did come with a bittersweet note – Ana wouldn’t be rejoining the group this time around. And while her absence leaves some truly fabulous heels to fill, anticipation remained high as fans flocked to the band’s opening night at Nottingham Arena.
You never quite knew what to expect at a Scissor Sisters show – and this reunion is no exception. Things kicked off with a dancer in a full gorilla suit grooving to Dolly Parton’s ‘Baby I’m Burnin’, instantly setting the tone for the kind of wild, anything-goes night only Scissor Sisters can deliver. The band stormed onstage to the unmistakable opening notes of what might still be their biggest hit, ‘Laura’. The reaction was instant and electric – the entire arena on its feet, arms in the air. This wasn’t just a gig; it was a full-blown celebration. The tour marks 20 years since their self-titled debut album lit up the charts, and they wasted no time diving into the nostalgia. ‘Better Luck Next Time’ followed – a deep cut that hadn’t been performed live since 2005, only recently revived during last week’s warm-up shows. Then came ‘She’s My Man’, ramping the energy up even further and proving the band hadn’t lost a single step.
It would be dishonest to say I hadn’t wondered how they’d pull it off without Ana – especially on tracks like ‘Tits on the Radio’, where her vocals take centre stage. But the band brought in Bridget Barkan and Amber Martin to help carry the load, and from powerhouse vocals to sharp choreography to injecting cheeky backstories between songs, they more than held their own. Still, it speaks volumes that it takes two performers to even come close to filling the fabulous, irreplaceable shoes of Ana Matronic. There was barely a moment to absorb the glamorous filth of ‘Tits on the Radio’ before Jake launched into the razor-sharp opening lines of ‘I Can’t Decide’ – a deceptively cheerful, fast-paced romp about murder that had the whole arena gleefully singing along.
As the lights shifted to a sultry red glow, the pace eased for the first time as the band slipped into ‘Lovers in the Backseat’. With its moody synths and cinematic feel, it was a reminder that the band shine just as brightly in the shadows as they do on the dance floor. The slow pace didn’t last long – as the breathy intro of ‘Running Out’ kicked in, ramping the energy right back up. At 46, it’s nothing short of impressive to see Jake still nailing the original choreography from the track’s live debut in 2010, sprinting on the spot with the same manic flair. While just about every Scissor Sisters song feels like it could be a single, the band know which ones aren’t – and their knack for crafting a perfectly balanced setlist hasn’t faded. ‘Running Out’, from Night Work, gave way to a raucous, full-throttle version of ‘Take Your Mama’, complete with a surprise snippet of George Michael’s ‘Freedom! ’90’ that sent the crowd into a frenzy.
Driven by Del’s punchy, rock-forward guitar riffs, the infectious ‘Paul McCartney’ from Ta-Dah kept the energy soaring – until Jake paused to admit he never thought he’d sing the next track onstage again. The mood shifted as the opening chords of ‘Fire With Fire’ slowly built, putting the focus on his commanding vocals, which still sound as rich and powerful as they did thirteen years ago. The stripped-back intro allowed each note to shine, creating an intimate moment before the chorus exploded, with the full band crashing in and lights flashing in a perfect burst of energy. Staying in the heartfelt spirit, Del, Babydaddy, and Jake gathered on top of the car that served as part of the stage décor, with Jake reflecting on how the band’s debut album was all about learning to write songs, and how the next track held deep personal significance for him. With that, they delivered a stripped-back, emotionally charged rendition of ‘Mary’, before easing into a laid-back version of ‘It Can’t Come Quickly Enough’, which took on a much more tribal vibe than the original.
It was a welcome surprise to see the band include so many tracks from Night Work – an album long overdue for a vinyl repress – with ‘Sex and Violence’ up next, followed by a blistering performance of ‘Any Which Way’ that doubled as an opportunity to introduce the band. The chemistry between the original trio is undeniable, but that sense of community extends to the two leading ladies as well, and ‘Any Which Way’ captured that dynamic perfectly. Before the band launched into the next track, Amber turned to Babydaddy, joking that he’d been quiet for the past twenty years. He laughed, then took a moment to thank the crowd and introduce ‘Comfortably Numb’ as the song that started it all. From the first note, it was a near-biblical experience – the production was stunning, with rainbow lasers cutting through clouds of dry ice, transforming the arena into a surreal dreamscape. A complete reimagining of Pink Floyd’s brooding original, Scissor Sisters’ version is a bold, shimmering reinvention that highlights the band’s fearless creativity and their refusal to play it safe – one of the many things that has always set them apart from other bands. Commanding another dazzling laser show – equally euphoric but with a darker, more noir edge – was ‘Invisible Light’. Atmospheric in both sound and visuals, the track featured the instantly recognisable voice of Sir Ian McKellen, whose iconic monologue was projected across three screens.
One of the most memorable Scissor Sisters intros has to be the tongue-in-cheek ‘Let’s Have a Kiki’, kicked off by Bridget recreating the iconic phone call that sets it all in motion. She was soon joined up front by Amber and Jake for the club-ready anthem that transformed a queer in-joke into a global dancefloor phenomenon. While it was undeniably a standout moment in the set, Jake’s vocals felt noticeably lower in the mix compared to the original, though this could be a conscious choice to let Amber and Bridget take the spotlight. A track like ‘Let’s Have a Kiki’ is nearly impossible to follow, but Scissor Sisters weren’t done yet. Armed with an acoustic guitar, Babydaddy launched into the gentle intro of ‘I Don’t Feel Like Dancin’, which quickly erupted into a full-blown singalong. In a fitting and poignant choice, the main set closed with ‘Return to Oz’ – the haunting final track from their debut album – accompanied by striking visuals of the Emerald City.
The band returned to the stage in full force with the sleazy ‘Filthy/Gorgeous’. Though they saved the wildest moment for last: an unhinged, high-octane version of ‘Music Is the Victim’, transformed into a full-on spectacle. Confetti rained from the rafters, streamers flew through the air, and three onstage mascots joined the chaos, turning the finale into a euphoric, glitter-soaked fever dream. It was loud, camp, and completely unforgettable – exactly how a Scissor Sisters show should end.
After more than a decade away, Scissor Sisters returned sounding as sharp and fearless as ever. From heartfelt moments to full-blown chaos, they reminded everyone why they were so missed. If this was just the first big show of the tour, the rest of the dates are in for something special. It’s good to have them back – and they’re clearly not done dancing yet.
