Pet Shop Boys Dreamworld: The Greatest Hits Live at the Royal Arena Copenhagen

by Mike McGranaghan

Pet Shop Boys have had remarkable consistency in their career. When their debut album Please dropped in 1986, they were already fully formed in their style of music and the image they wanted to project. During the subsequent thirty-eight years, they’ve stuck to the winning formula, refusing to buckle to trends. They are who they are, and they play what they like. Because of that, the band has amassed a loyal legion of fans (myself included) for whom their music is a virtual soundtrack to life. The concert film Pet Shop Boys Dreamworld: The Greatest Hits Live at the Royal Arena Copenhagen will provide a sense of euphoria for those fans.

Singer Neil Tennant and keyboardist Chris Lowe take the stage clad in white suits and sporting bizarre glasses that resemble tuning forks. A large video screen behind them is filled with lines that pulsate to the beat of their opening number, “Suburbia.” As the show progresses, that screen lifts, revealing four other musicians backing them. Tennant holds court at the front of the stage. Lowe stands stoically behind him, half hidden by a bank of keyboards, wearing his trademark sunglasses and “BOY” hat.

Every hit Pet Shop Boys ever had is performed to an enthusiastic audience. A particular highlight is “What Have I Done to Deserve This?” performed with the amazing vocalist/keyboardist Clare Uchima, who arguably sings the duet even better than original partner Dusty Springfield did. The band sounds great, putting out a full, rich sound. Any accusations that they’re merely a “studio act” are put to rest. The show ends with a finale of “West End Girls,” followed by “Being Boring” that finds the two main members standing side by side.

The best concert films are more than mere recordings of an event. Talking Heads’ Stop Making Sense, Prince’s Sign O’ the Times, and even Taylor Swift’s The Eras Tour all employ smart filmmaking sensibilities that capture what’s special about the artists at the center. Dreamworld doesn’t quite have that magic, although that may be partially due to the Boys themselves. Tennant looks like he’s having a blast, but he’s not the eccentric showman David Byrne is, nor does he do elaborate Swiftian choreography. As for Lowe, he just stands there like he always does.

Of course, Pet Shop Boys fans know and love this lower-key image that defines the group, so they won’t remotely care that Dreamworld isn’t the most razzle-dazzle concert movie ever made. The songs are what’s important, and they deliver. By remaining true to the vision set forth nearly four decades ago, Tennant and Lowe have established themselves as a durable force in electronic/pop music. This film is an enjoyable celebration of their legacy.

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