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Kylie Minogue, Wembley Arena

WITH Madonna receiving less than glowing reviews in the play Up For Grabs, and Britney Spears faring even less well in her terrible film Crossroads a few months back, the world is Kylie's for the taking. After a triumphant show on the first of four nights at Wembley Arena (concluding tonight), you got the impression she could go on to play Othello at the RSC and still meet with mass acclaim.

She had nothing to prove with this live show, having already succeeded beyond her wildest dreams in the past couple of years.

First there was 2000's Spinning Around, her first Number One in 10 years, followed by the 3.15 million-selling, all-conquering Can't Get You Out of My Head, the best pop song of last year. This tour is a spectacular lap of honour, complete with acrobats, a giant inflatable letter K and fluorescent speed skaters with wings.

After a long period when a Kylie single was far from a surefire hit, she seems particularly grateful for her rehabilitation, thanking the crowd often.

But she richly deserves the opportunity to put on a show on such a grand scale, because she does it so well.

Spinning Around was a bowler-hatted take on Kubrick's A Clockwork Orange, while On a Night Like This was performed as a camp boudoir scene, including men in tights, high heels and leopard-skin pants.

Shocked featured faceless robots and Kylie in the smallest sparkly skirt imaginable.

But most impressive was her reinvention of some older songs, proving that even the most embarrassing back-catalogue can be something to cherish. I Should be so Lucky became a tribal trance anthem, and The Locomotion really was a brand new dance, somehow resembling a particularly dirty Prince song.