Kylie Minogue concludes her On a Night Like This tour with an unashamed pop extravaganza on home ground in Sydney, performing to a huge audience which these days consists of more adults than teenagers. Kylie has undoubtedly matured over the years, too, and-apart from a brief stint believing she could become a "serious" artist-appears perfectly happy in her role as the Princess of Pop. Kylie fulfils different roles for different groups within the audience: for females it's all about adulation-rediscovering her childlike appeal like a long-lost friend; the men are offered a fantasy figure-the camera drawn like a magnet to her derrière for 20 per cent of the concert; and she simultaneously manages to be a gay icon, without becoming overtly camp. The joy of Kylie is that she has become all things to all people, offered up in a perfectly petite package. It's clear that the years of work as a performer have paid off, her vocals are much stronger now with a real sense of professionalism, and just to prove this she performs two old favourites as serious pieces, "I Should Be So Lucky" is offered as a ballad and "Better the Devil You Know" is transported to Shirley Bassey territory, allowing Kylie to prove her vocal range. In true show-stopping style we're offered a multitude of costume changes: from hot-pant mania to refined suits and rock-chick leather, Kylie inevitably appears looking great; although the same cannot be said for her backing dancers, whose outfits are often laughable, with all the style of a school play costume. Despite the many faces of Kylie on display here, pop stardom does not appear to have changed her girl-next-door image-Kylie remains in our hearts a true "neighbour". On the DVD: This music disc is like Kylie, perfectly packaged in every way. The menu is beautifully laid out (even though the images offer an excess of cleavage) with a great range of easily accessible options. You can choose simply to play the concert straight in its pristine 16:9 anamorphic screen ratio or you can select your favourite songs from the track selection option; you can visit Kylie backstage or watch the great music video for "Spinning Around". [+]

Conceived by the French director Adrian Maben as "an anti-Woodstock film," Pink Floyd: Live at Pompeii was shot in October 1971 in the ancient city's vacant, 2,000-year-old amphitheatre-a venue chosen to accentuate the grandeur and spaciousness of the band's Meddle-era music. This disc contains a new, 90-minute director's cut as well as the original 60-minute concert film, whose production and effects feel inescapably dated. Maben's cut goes to great lengths to lend the film a more contemporary feel, but it's the earlier version that makes this disc such a gem, being more focused on the music and more holistic in vision. The anamorphic, 16:9 director's cut interweaves the Pompeii performances with fascinating but distracting interviews and music snippets filmed later (mostly during the recording of Dark Side of the Moon). The movie was originally prepared in a 4:3 aspect ratio, however, and the widescreen version crops perfectly framed images like the nine-square mosaic of drummer Nick Mason in "One of These Days". The original offers plenty of close-ups of fingers on frets and keys, with shots that are often luxuriously long in duration. And the picture quality from Pompeii is revelatory: outstandingly sharp and clear, rich in subtle grades of light and colour. Generous extras include everything from original posters, reviews, bootleg album covers and song lyrics, to a 24-minute interview with Maben. But for all the director's talk of the glorious acoustics in Pompeii's amphitheatre, there's little natural ambience to be heard. The Dolby Digital 2. [+]

Even before he steps out onto the stage, the audience is on its feet clapping and screaming for Barry Manilow in Manilow Live!, which was filmed in Nashville in February 2000. Walking out and launching into "Could it Be Magic?" Manilow proves his pipes are as strong and clear as ever and his suits still as dapper. He promises "beautiful melodies, passionate lyrics, great grooves, and maybe even some swivelling hips", to the delight of the sold-out house. A consummate showman, Manilow performs 24 of his biggest hits accompanied by full orchestra. During "Can't Smile Without You", the audience holds up signs bearing smiley faces, hearts, and "ME" in hopes that the singer will pick them for his traditional duet. "Bandstand Boogie," the long-time theme song for American Bandstand, rocks the house, then Manilow brings it down for perennial favourite, "Mandy", which segues into "Even Now". His timing is impeccable, and he knows exactly how to work the adoring crowd. The accordion interlude is particularly amusing, as is "Flight of the Bumblebee" played on a kazoo. Mixing pop, jazz, disco and big band, Manilow moves smoothly through the two-hour set, alternately sitting at the piano or standing at the mike. The bluesy "That's Life" gets an infusion of energy from audience participation, and "Copacabana" is just as infectious as ever (with Manilow doing a little of that hip-swivelling). [+]

The Pier,New York was a pretty ironic location for the climax of Big Country's 1986 "Seer" tour of America,overshadowed by a massive aircraft carrier stacked with winged artillery.

They may be every parent's nightmare, but the rap all-stars that comprise the 2000 Up in Smoke tour (smoke, as in blunts and chronic-or marijuana, for the uninitiated) are incredibly popular with a surprising cross-section of young music lovers today. This two-hour-plus DVD captures most of one concert by the four rappers who joined together for this tour: Ice Cube, Eminem, Dr Dre, and Snoop Dogg. If you aren't a fan of the music, don't expect this to change your mind, or even to help you understand these rappers' appeal. For the devoted, however, you get heaping doses of four of the hottest acts working, in a show that includes lavish production values, as well as plenty of backstage footage and photographs as extra features. Given the slice-and-dice editing (no shot, it seems, is allowed to last more than two seconds), it's hard to get a fix on them or a true picture of what the show looked like if you happened to be sitting in the audience. -Marshall Fine.