The penultimate night of the Boney M Tour of Australia 2026 (just one date left in Adelaide before it heads to New Zealand) rolled into The Astor Theatre for a second sold-out evening that felt as much like a celebration of the glory days of Pop Music as it did a concert. From the moment the doors opened, the room literally shimmered—sequinned dresses catching the light, flared satin trousers swaying in time to the pre-show soundtrack and warm-up band. And whilst sadly platform boots were thin on the ground, glittering jumpsuits did make a welcome appearance completing a crowd that had fully embraced the spirit of disco. There were also a number of feather boas, metallic shirts, and more than enough sparkle to rival the mirror ball hanging above the stage. It all added to a sense that this was more than nostalgia—it was compulsory participation.
The warm-up set and 70’s-themed playlist that followed turned the theatre into a singalong long before the main event began. Every chorus was met with enthusiastic, if not always in-tune voices, every familiar groove with a packed dancefloor and even some majestic steps were going on in the aisles. It set the tone perfectly for what was to come: a night where the audience weren’t mere observers, they were part of the show.
When the band took the stage, resplendent in crisp white suits, the visual contrast was striking. The instrumentation was tight, providing a polished backbone for the vocalists, who delivered the colour and personality the songs demand. At the centre stood Maizie Williams, the original member whose presence anchored the performance with huge charisma. She commanded attention without excess, allowing the music and the other performers to speak for themselves.
Boney M’s catalogue remains one of the most recognisable of the Disco era, and the setlist leaned into that strength. ‘Daddy Cool’ and ‘Ma Baker’ arrived early after a wonderful ‘Sunny’ that opened teh evening, immediately lifting the energy in the room. It was ‘Sunny’ that from the off showcased the group’s ability to blend pop sensibility with inescapable rhythm and drive.
;Rivers of Babylon’ was of course one of the night’s standout moments, its communal chorus echoing throughout the theatre, while ‘Brown Girl in the Ring’ brought a lighter touch that had the crowd fully engaged.
The performance never relied just on spectacle or nostalgia; instead, it was the consistency of the songs and their enduring appeal that carried the evening. Each track felt carefully placed, the setlist wonderfully curated, building momentum without overwhelming the audience. There was a clear understanding of pace, allowing moments of reflection between the more energetic numbers, and giving the crowd space to appreciate just how huge these songs still are in popular culture.
By the time the final notes rang out, it was clear that disco, far from being a relic, remains very much alive—at least within the walls of The Astor. For a few hours in Perth, the spirit of the 70s wasn’t just remembered; it was shared, and celebrated with genuine warmth. Now Adelaide and New Zealand it’s your turn…
