In early October of 2017, P!nk announced the Beautiful Trauma World Tour, laying out the schedule for legs in North America and Australia. High demand would immediately force more dates in each continent, and then an additional North American leg, and then a full sprawl of shows in Europe. In the same month, she unveiled her seventh studio LP, the tour’s namesake, Beautiful Trauma.
The album debuted at No. 1 on the Billboard 200 chart and set the stage for the biggest tour of her career. After playing the last of its 156 shows on Aug. 19 at Toronto’s Scotiabank Arena, the Beautiful Trauma World Tour wrapped with $397.3 million in grosses and 3,088,647 tickets sold, according to figures reported to Billboard Boxscore.
Record Books: Altogether, the tour’s $397.3 million gross is the biggest of P!nk’s career. It also places the enduring pop star among the greatest of all time, as The Beautiful Trauma World Tour finished as the No. 10 highest-grossing tour in Billboard Boxscore’s history, and the second-highest grossing tour ever by a female artist. Additionally, it’s the highest grossing tour by a woman since Madonna’s 2008-09 Sticky & Sweet Tour ($408 million).
North America: The trek kicked off on March 1, 2018 at the Talking Stick Resort Arena in Phoenix, Ariz., where P!nk grossed $2.2 million from a sold-out crowd of 15,876 fans. She toured the U.S. and Canada, ultimately playing 46 shows in 38 different cities with earnings of $100 million from over 700,000 tickets.
P!nk returned to North America one year later, playing another 39 shows between March 1 and May 22, 2019. She topped Billboard’s Top Tours chart for the month of March and claimed the Nos. 2-3 spots in April and May. With three final shows in Uniondale, N.Y. and Toronto that capped off the worldwide tour, she added $6.3 million and 47,225 tickets to the tour’s final figures.
Australia: In between these two legs, she played 42 shows in Australia. While the Oceania market isn’t as expansive as North America, P!nk maximized her two-month run with extensive sweeps of arena shows (11 in Melbourne; nine in Sydney; seven in Brisbane). Playing a total of 42 shows from just seven markets, P!nk grossed $80.4 million and sold 559,361 tickets. That averages out to $11.5 million and 79,909 tickets in each city, indicating that she could easily consolidate her next Australian trip by playing fewer shows in larger venues.
Pink’s $209.5 million career gross in Australia makes her the country’s second biggest earner in Billboard Boxscore history, behind The Rolling Stones ($241.7 million).
Europe: Speaking of scaling to stadiums, P!nk played a full leg of stadium shows for the first time in her career on the tour’s final proper leg. From June 16 to Aug. 11, 2019, she played 26 European cities, averaging 45,950 fans per show. Ultimately, P!nk delivered an incredible $126.8 million and 1,194,697 tickets across the European dates.
Ticket prices across the entire tour were up 30-40% from her last trek but it was the capacity increase from arenas to stadiums that pushed the Beautiful Trauma grosses into the stratosphere. If P!nk charged the same $106.17 average ticket but sold the same number of tickets each night as she did in North American arenas, the European leg would have grossed $41.8 million, less than one third of the leg’s actual final figures.
Since introducing the high-wired aerialist aesthetic to her live shows a decade ago, P!nk’s touring business has grown exponentially. The Beautiful Trauma World Tour’s final earnings are up 117% from The Truth About Love Tour, which had already marked a 72% jump from 2009’s Funhouse Tour. On the Beautiful Trauma tour, she increased her total gross, average gross-per-show, average tickets-per-show, and overall ticket prices across North America, Europe, and Australia. Almost 20 years since P!nk’s Billboard debut, she has grossed $716 million and sold 7,206,475 tickets from a reported 519 shows, making her one of the 20 highest-grossing acts in Billboard Boxscore’s history.
Daring physical performance and a discography packed with instantly recognizable party songs – what more can you ask from a pop gig?
There are only a small handful of artists who could sell out Wembley Stadium 20 years into their career. This weekend, Pink did it two nights in a row.
To put the star and her myriad achievements into perspective, it’s over 10 years since I last saw her in concert – the Funhouse Tour in Manchester – and I can’t remember any of it.
Well, save for one thing: being absolutely blown away by her aerial acrobatic skills.
Over the ensuing decade, my respect for her never wavered… Even if I’ve struggled to connect with the music like I did Missundaztood’s singles in 2001-02.
I must also admit, I tired of the circus skills schtick. Especially after she scaled the side of building for her 2017 AMAs performance of Beautiful Trauma. What could top that?
Well, consider my hat well and truly eaten. Seeing such spectacle in person, and making a concerted effort to remember it this time, was breathtaking.
Watching the 39-year-old be catapulted around Wembley Stadium during the climactic So What – her reliably powerful voice on point throughout, even while spinning mid-air – was possibly the most impressive thing I’ve ever seen at a concert. I can’t imagine any of her peers having the bottle to do it.
Her entrance was equally dramatic: lowered to the stage hanging from a chandelier for compulsory show opener and all-round mission statement Get This Party Started.
The energy didn’t let up throughout, largely thanks to an extensive discography packed with instantly recognisable party songs. Many, of course, are arena-ready anthems, from Raise Your Glass to Blow Me (One Last Kiss).
In fact, my only criticism of the whole gig is the omission of certain tracks. For example, those of us who have been with her since her debut Can’t Take Me Home will know that album contained some strong songs. (Only one, There You Go, made it onto her 2010 greatest hits package).
It would be good to see them get an airing next time, but you do imagine an exhaustive two-hour spectacle stretching into three-hour territory. And while last night’s Cyndi Lauper Time after Time cover was totally superfluous, Pink still found time to revisit many past hits. (Which was more than can be said for February’s Brits medley…)
Indeed, the Beautiful Trauma World Tour show is packed with thrilling moments. There was a standout dance number for the searching Try, with Pink’s partner moving with equal precision and conviction and, evermore elaborate group choreography for What About Us.
Another touching moment was a spoken word interlude in which the 39-year-old discusses feminism and her relationship with her daughter. (‘Do you see me growing my hair? ‘No mama’ ‘Do you see my changing my body?’ ‘No mama’).
Best of all, it was simply a privilege to hear an artist belt out songs that hold so much meaning for me, and transport me back to different stages of my life, from the unparallelled Just Like A Pill and barnstorming 2017 album track I Am Here. An utterly brilliant night.
The pop singer brought huge hits and death-defying acrobatics to 17,000 screaming, gasping fans.
But that’s Alecia Moore for you, 39 years and a day past giving a frick. With Vegas-plus production behind her, Pink turned a sold-out Amalie Arena into a playground with a capacity of one, thrilling fans with her aerobatics, her voice and her catalog of pop hits that’s going on a 20 years strong.
“I’m about to turn 40!” Pink, like the rest of us, had to marvel. “That’s crazy! I just feel like a 17-year-old boy!”
She sure crashes parties like one. When the hot-pink curtain dropped Sunday, there was Pink clinging to a swinging chandelier, high above the arena floor, snarling — what else? — Get the Party Started. It was a hard entrance to top, but that didn’t stop her from trying – and actually succeeding on Secrets, where she wrapped her legs around a fellow dancer and dangled high above the floor without a wire, held improbably aloft by a hand or a foot or maybe a pact with Beezlebub himself.
Many songs crammed a tour’s worth of production commitment into just one or two songs — confectionery choreography that nodded to Busby Berkeley on Beautiful Trauma, woodsy mise en scene that felt like Andrew Lloyd Webber tackling Twilight on Try, snorts and spouts of flame on Just Like Fire.
Sometimes her endearing youthfulness shimmied through, as when a giant blow-up simulacrum of Eminem floated out, Stay-Puft style, to rap along on Revenge, only to see a wired-up Pink leap up and split-kick him in the chops. And when her band shrunk to fit on the tip off her heart-shaped catwalk, Pink let her voice, finally, outshine her tour’s production, wailing like a gospel queen on I Am Here.
And other times, the drama rose up like a crushed-velvet dragon in the mist. Try saw Pink rolling around a dry-iced stage and flipping her legs into the air atop the backs of a trio of dancers. That rolled into Just Give Me a Reason, which saw Pink floating heavenward on a four-poster bed. And from there, she stomp-started a performance of her newest single — and first from forthcoming album Hurts 2B Human — the vaguely Celtic battle cry Walk Me Home.
It was here — not up twirling in the rafters — where the Pink the world reveres today came out in force. Here was where she played a montage of news clips and headlines and interviews where she talked about it all: Feminism, self-worth, empowerment, voting rights, climate change, LGBTQ love, #MeToo. Different seats and sections cheered at different moments, but most everyone cheered at something.
And then she came back out swinging in all white, belting What About Usat the epicenter of a mini-nation of dancers. She stuck to the spotlight for the searing For Now. She dropped a clip of her famous 2017 MTV Video Music Awards speech, the one where she encouraged her young daughter — who later made a cute, quick-hug cameo — not to change to fit someone else’s idea of beauty. And she sent the crowd pumping their fists into the night with Raise Your Glass and Blow Me (One Last Kiss).
And then, in the encore, So What brought her most death-defying act yet. Anchored by four wires spanning the arena, she took off like a rocket, floating and spinning throughout the building, at times nearly 300-level high, at others just feet above fans’ heads, causing them to jump when she swung just a little too low.
She looked like Peter Pan, which is fitting. Just like the boy who wouldn’t grow up, Pink also seems ageless out there. September’s starting to seem so far away.
Whenever Pink would arrive at a curse word in one of her songs Friday night, she’d pull her microphone away from her mouth and let the expletive go unheard.
The singer was spotting lots of young children in the crowd, she explained near the end of her show at Anaheim’s Honda Center, which had the mother of two feeling “kind of proud-mom-ish,” as she put it with characteristic charm.
It was the only way in which she held back all night.
One of pop’s most ambitious — and most committed — live performers, Pink has long viewed the concert stage as a space for grand-scale spectacle. And this show, part of a world tour behind last year’s “Beautiful Trauma” album, went beyond anything she’s done before.
It opened with the singer doing “Get the Party Started” while hanging from a flame-throwing chandelier. It featured a stories-tall blow-up doll of Eminem, which rather convincingly mimed the rapper’s verse from their duet “Revenge.”
And it climaxed with Pink hooked into a complicated, gyroscope-like rig that allowed her to fly at high speed from one end of the arena to the other as she belted her song “So What,” about being a rock star with rock moves.
If this is how rock stars are supposed to move, we need to start demanding a lot more from Dave Grohl and Mick Jagger.
Yet for all Pink’s razzle-dazzle — and let me be clear in saying that this new aerial stunt was truly astounding — the primary effect of Friday’s production wasn’t practical or technological but emotional.
You left the gig feeling as if you had been spoken to from the heart, which in a room as big as this one might be the more impressive feat.
So how does Pink do it? She starts with great songs, of course: sturdy, vivid tunes like “Who Knew” and “Try” and “What About Us” that aim for all the big feelings — romance, resentment, desperation — with a refreshing disregard for appearing insufficiently hip.
On record Pink can seem slightly old-fashioned, even if her music often utilizes the textures of the day, as in “Beautiful Trauma’s” Jack Antonoff-produced title track.
Stacked back to back, though, her hit singles from the last two decades put across an idea of timelessness; she’s still taking a broadly universal approach (instead of micro-tailoring her music to the latest meme à la Drake or Katy Perry) because people are still craving romance and they’re still resenting mistreatment and they’re still feeling desperate — and they always will.
In Anaheim, Pink brought those durable sensations to life with consistently powerful singing, whether she was reaching toward the top of her range in “Just Give Me a Reason,” digging deep for a churchy “I Am Here” or happily screaming her guts out in a cover of Nirvana’s “Smells Like Teen Spirit.”
Her dancing, too, was highly expressive in sophisticated choreography that didn’t act out the songs so much as manifest their themes in physical form.
In some instances Pink was connecting with fans one on one. During an acoustic rendition of her song “Barbies,” she climbed down to the floor to hug a bald woman in the front row who was holding a sign that said she’d just completed her final day of chemotherapy.
That incident reminded you of the moral weight that Pink is thought by many to carry thanks in part to her outspoken support of marriage equality and the #MeToo movement, among other progressive causes.
Here, she preceded “Raise Your Glass” — her rowdy tribute to “all my underdogs” — with an audio recording of a moving speech she gave at last year’s MTV Video Music Awards in which she described the need for people to “see more kinds of beauty.”
Yet that sense of social responsibility never burdened this performance in the way that sometimes happens at shows by U2 or Bruce Springsteen; Pink, who’s scheduled to play Staples Center on Thursday and the Forum on Friday, maintained an essential buoyancy for the two hours she was onstage.
Or not onstage, as was the case during that flying bit set to “So What.”
Even then, though, Pink somehow made you feel as if you were right up there next to her.
P!nk took Cirque Du Soleil to new heights with her Beautiful Trauma tour stop at the Staples Center in Los Angeles on Thursday night, replete with funhouse comics projected on the screen and acrobatic moves that had concertgoers’ mouths drop.
A mix of family-friendly throwbacks from pre-show DJ KidCutUp set the mood for P!nk’s remixed vaudeville performance, created alongside Baz Halpin, producer and production designer of her The Truth About Love Tour – Live From Melbourne video documentary and Funhouse Tour: Live in Australia video. She wasn’t letting the beautiful trauma define her — despite the arena tour being titled after her seventh studio album of the same name — but rather her stage moniker: a playful color thought to be forgotten once you grew up, but P!nk’s music is as ageless as the color pink is childish.
Here are seven takeaways from the LA show that had fans remember “we’re all pink inside”:
P!nk Swings From the Chandelier During Her Opening Performance of “Get the Party Started”
The show began with an off-tune recorder playing the 20th Century Fox theme song by a man under two spotlights. The magenta curtains were elegantly poised as if concertgoers were attending a proper theatrical performance begging to be seen through opera glasses. But the curtains crashed down and the real spectacle began as her hit “Get the Party Started” roared from the speakers. Fans were welcomed to P!nk’s playhouse-meets-Cirque-du-Soleil fantasy, where metallic and sequined pink-clad acrobats flipped through the air and the singer herself swung from a chandelier while decked out in a black sequined jumpsuit, fulfilling Sia’s dreams and acting like Miley Cyrus’ predecessor of punk pop (queue “Wrecking Ball”). By swinging upside down, P!nk dynamically challenged a typical concert from “How can her vocal cords even handle this” to “Is she going to fall off?”
There Was an Inflatable Eminem Feature & Stop-Motion Animated Comedy Show for “Revenge Lyrics”
From her playhouse, spectators traveled to “Revenge Land,” an animated short prelude to P!nk’s “Revenge Lyrics” performance. Her voice could be heard over the Chicken Run-reminiscent characters running amok and being tortured with burning showers, asking, “Are you tired of your boyfriend?” Male characters entered the “unfun house” as she called it with a bleak spin of “It’s a Small World” to “It’s a Sad World” playing in the background as she temporarily flipped the Disneyland ride theme. Off-screen, real people dressed as the stop-motion comic characters and swung around the stage in agony. In P!nk’s revenge sermon, the ultimate man to pay the price was Eminem, the song’s featured act. While not physically present, a larger-than-life inflatable cartoon of Slim Shady appeared and waltzed onstage as he rapped his verse. P!nk then shot up from the stage and power-kicked the cartoon, deflating the physical statue and delivering our Saturday morning pastimes in real life.
She Brought Out Gwen Stefani & Performed No Doubt’s “Just a Girl” for a Throwback Thursday
The crowd had already been treated to comics from the funhouse, but P!nk’s “Funhouse” performance served a different slew of animations — from hamburgers growing eyes and ravenous mouths to multicolored, exploding alarm clocks to clownish kittens with faces that were anything but cute. But the loudest shrieks from the audience came when Gwen Stefani popped onstage to perform “Just a Girl” from her No Doubt days, sporting her signature platinum-blond ponytail with black tips. The ambience from the “Funhouse” portion of her set screamed rock concert, but there was no doubt — and even a portion of No Doubt — the eclectic pop P!nk is known for shimmered through the hardcore vibe.
P!nk and Her Dancer Flip Around Better Than The Greatest Showman Scene Between Zendaya & Zac Efron
While performing “Secrets” from her latest album, one of her backup dancers twirled around P!nk and eventually lifted her up with him, flipping the script on The Greatest Showman’s “Rewrite the Stars” scene when a trapeze artist (Zendaya) soared and flew through the air with the showman’s business partner (Zac Efron). Scratch that: She was the greatest show-woman — performing the daring stunt while scatting “Da da da da do do do,” like what she was doing was a “silly little game” as instructed by the end of the chorus.
The Concert Shows a Video Montage of P!nk’s Home Videos, Interviews, Music Videos, Marches & More
Making a statement is embedded in P!nk’s DNA, but her video montage of clips from her past and the country’s present, in lieu of women’s marches and the #MeToo movement, came to a humbling conclusion: “We’re all pink on the inside.” Her voice-over snippets discuss feminism, giving back and being human. “I need to know that my pain was helping your pain,” she said in the montage. It was a turning point in the show: P!nk at her most vulnerable state stepping up to the stage with unwavering vocals for slower songs to follow. We left the playhouse for her to just be herself, as the 38-year-old singer reminded the crowd that they’re all her — we’re fierce and our insides are the same color as each other’s even if our outsides aren’t.
P!nk Shares a Story About Her Daughter, Willow, Before Bringing Her Onstage for “Raise Your Glass”
P!NK remained authentic about her personal life when she shared an anecdote about her 6-year-old daughter Willow. “I’m the ugliest girl I know,” she recited to the crowd from their conversation. The impactful words popped up on the screen like a PowerPoint, which P!NK prepared for her daughter later about androgynous rock stars. Annie Lennox, Michael Jackson, Prince, Elton John and George Michael were just a few names the singer listed, which sent the audience in an uproar of praise. P!nk commandeered the celebration with her toast-happy anthem “Raise Your Glass,” as she saluted her daughter, whom she later brought onstage during the performance, wearing a red jumpsuit covering a sparkly jumpsuit underneath. It’s what’s underneath that matters anyway. Punk rock dancers stuck out their tongues and shimmied with their shoulders without a care, and P!nk raised herself too — quite literally. She was catapulted toward the ceiling, nearly ending the show where she started it, up in the skies dreaming and dancing.
She Swings Around the Whole Staples Center for her “So What” Finale
Being lifted upward wasn’t enough for the “Just Like Fire” singer. “I’m coming for you in the back!” she bellowed as her dancers seated her in a harness that would take her from the edge of the stage to the 300 level and all around the venue. There was nothing permanent or physical about the real ending of the concert. The ephemeral, fanciful swing showed that P!nk’s playhouse from the beginning of the set to the enchanted forest in the middle of the show to the haunted bedroom took fans around the many corners of her life, and we rode along for a few minutes with the mimicked sway of our phones following her fleeting silhouette.
In the history of traveling pop music outings, there’s probably never been a better first 10 seconds of any tour than the opening of Pink’s current show. After a small eternity in which the audience is left gazing at a reddish curtain, increasingly indented as unknowable pieces of staging are pushed into place, it suddenly drops and the crowd is immediately plunged into a “Get the Party Started” that appears to have already started a few hours earlier. A dozen bits of business are happening with the dancers, musicians and props, but at or hovering over the center of it all is Pink, hanging from a quadruple-scale chandelier that is already deep into pendulum mode.
The waste-no-time audaciousness of opening the show with this “joined already in progress” moment is kind of as if Cecil B. DeMille decided to dispense with preliminaries and start “The Ten Commandments” right as the parting of the Red Sea is happening, or the “Jaws” shark leaped out of the water in a jump cut right from the Universal logo. You had to suspect she was not getting the show’s climax out of the way before the opening chorus shifted to the first verse, but it was hard not to laugh out loud at the feeling that might be what was happening with this 0-to-120 turbo launch.
On Friday night at the Forum, the remaining two hours did not, in fact, register as an elongated anticlimax, with Pink’s ability to execute sequentially more impressive and physically challenging set pieces probably not coming as a surprise to anyone who’s watched two or more music awards shows this century. Friday’s show in Inglewood, following on the heels of other southern California arena dates in Anaheim, Ontario and across town at Staples Center, marked the closing night of the three-month, 38-city North American first leg of her “Beautiful Trauma” world tour. For any less severely athletic singer, the near-constant intermingling of dance and risk-baiting stuntwork might be a ticket to the trauma ward. But she makes “acrobat-diva” seem like the most natural career-day hyphenation in the world.
Cutting to the chase demands revealing what the real climax of the show actually is (this will be a spoiler only for those who plan on checking out the tour’s return to the states in March through May of next year, including a reprise visit to the Forum on April 19, 2019): That would be the penultimate number, “So What,” in which Pink turns herself into a human slingshot, zigzagging at slow and fast speeds through most of the airspace of the ticketed part of the arena, via a series of elastic contraptions that seem like they must be a life insurance salesman’s dream. I can say without too much fear of hyperbole that, in decades of concert-going and reviewing, Pink’s is the most “holy f—ing s—“ act of physicality I’ve ever seen as part of a pop show. That she almost certainly seems to be singing live during this and most of the other gyroscopic numbers was a cherry on top, in an age where most young divas cut to the pre-record the second the choreography kicks in.
Well, it’s more than a cherry. Pre-muscle mass, Pink’s vocal prowess was her original raison d’etre. And there are a few occasions in these couple of hours that she does shut off the gymnastics and sing — including the now-requisite semi-acoustic turn with some of her band members at center stage midway through the set, and again for the final encore number, “Glitter in the Air,” which feels like one of the few tunes where she’s not in the air at some point, on ropes or just being flipped over the backs of her dance squad. On these grounded occasions, you start to think: Wouldn’t it be nice if she could do at least a tour where she did nothing but show off her exquisite and powerful voice, foregoing the massive pageantry and really focusing exclusively on what’s at the heart of the music? But then she goes into another eye-popping showpiece, and you correct yourself: No. Let’s hope that never happens.
It’s worth noting, anyway, that Pink is touring behind one of her better recordings, also titled “Beautiful Trauma” (a little belatedly — those ropes and insurance take time to set up). And it wasn’t even a “video album,” so the opportunity to hear the material and experience it as more of an emotional experience than a Barnum & Cirque extravaganza is there… at home. She’s on a tier right now shared only by Taylor Swift and Beyoncé, the only solo superstars who are able to write or co-write bracingly autobiographical material and then turn it into the Greatest Show on Earth without seeming like they’re selling out the material’s original, personal impulses.
Pink is a little less concerned than Swift is on her current tour with trying to make each piece of the production fit the theme she’s singing about. Sometimes clever set design, like the melting lampposts in the opening numbers here, doesn’t need a lot of justification. A good pas de deux can fit a lot of love songs, of course. This show’s second-biggest corker, after the warp-speed solo elasticity of “So What,” is the mid-show “Secrets,” where Pink and one of her buffest male dancers take to ropes over the center ramp and do a visual duet that has them taking turns becoming a human platform to hold the other up… along with some more sensual interlocking. It’s the one time in the show where Pink did not seem to be wearing any kind of safety harness.
A couple of choices in the set don’t hold up to her best material. “Just Give Me a Reason,” her duet with Nate Ruess, is kind of looking for a reason to belong in the show — not least of all when Ruess appears on a video screen to recreate his part. Why do pop stars feel convinced that fans will balk if a celeb that contributed a featured vocal years ago isn’t represented on tape? The same problem seemed to afflict “Revenge,” her duet with Eminem from the latest album — at least until an amusingly caricaturized inflatable of the rapper that appeared to be 10 times Pink’s size was wheeled onto the ramp. She took to the ropes (naturally) to take some stabs at kicking the massive balloon’s head, though it perhaps didn’t go as planned on this particular night. “I think Marshall kicked my ass tonight,” she said afterward.
That was almost as rough as the language got, which may have been a surprise for anyone familiar only with the F-bomb-peppered explicit versions of her albums. “F—in’ Perfect” was rendered “You Are Perfect,” which loses a little in the G-rated translation. But Pink, who brought her own young daughter on stage with a giant lollipop at night’s end, is apparently okay with sacrificing a bit of her trademark directness for the chance to endow some of the mom-and-daughter couplings in the audience with empowerment messages. Without overselling the social conscience ingredient, these were present in a repeat of Pink’s pro-androgyny speech from last summer’s MTV Awards that covered for a costume-and-set change, and another awareness montage incorporating everything from her UNICEF ambassadorship to quick-flash call-outs for #MeToo, Black Lives Matter, Resist, nasty women and marriage-minded gay men.
These messages were probably too blink-and-you’ll-miss-’em to deeply aggravate whatever conservative fans might have been on hand, but they did serve to add context to the song that followed, “What About Us,” as moving an expression of political ennui in downtrodden times as we’ve had in pop music. It’s as brilliantly subtle as protest songs get, and for once her cast of otherwise jubilant dancers was charged with the mission of looking a little beaten down. The depressed part of the show didn’t last long, but even a short acknowledgement of how badly we need the celebration the rest of the show represents was flippin’ perfect.
Extra kudos to Pink for not only calling out every one of her musicians and dancers during the course of the show — only one reason why it ran well over curfew — but for including a credits roll after the encore that acknowledged the rest of the principals, too. How else would we know that the great Bob Mackie was responsible for additional costuming?