If only we could hear Norma Desmond belt out, “Don’t cha wish your girlfriend, that little tart Betty Schaefer, was hot like me?”

That moment doesn’t come during Nicole Scherzinger’s latest series of performances, which made an entertaining stop Thursday night at Walt Disney Concert Hall in downtown Los Angeles. The evening felt like two shows in one, musical theater tunes filled most of the night, while the familiar Pussycat Dolls hits dominated the final stretch.

Even so, the mix didn’t feel disjointed. When Scherzinger performed two powerhouse numbers from Sunset Blvd., the stage production that reignited her career, it was clear that her Norma Desmond is far from a tragic relic. The reimagined version she starred in on Broadway and the West End turned Norma into a glamorous, self-aware woman who still knows how to command attention. And it worked.

There’s still a sense of longing among Los Angeles theater fans who never got to see her Sunset run live. Many did make the trip east to witness her Tony-winning turn in late 2024 and early 2025. “You were everything in Sunset!” someone shouted from the audience, a perfect comment for a diva’s big night. The crowd seemed split between those who had already experienced her Broadway performance and those finally getting the chance to see what the buzz was about.

When the Sunset section arrived midway through the concert’s second act, “the show that got me here today,” as she told the audience, With One Look served as the warm-up. The real showstopper was As If We Never Said Goodbye, a moment that recalled Barbra Streisand’s grand interpretation of the same Andrew Lloyd Webber song. As she sang, you could feel the audience itching to leap to their feet, holding their breath until the final note before erupting into applause.

Not long after that peak, Scherzinger swapped elegance for attitude, segueing into the Pussycat Dolls’ Buttons while revealing a sleek, button-free catsuit. Though she now leans toward her stage-actor era, she clearly hasn’t lost her pop-star spark, gliding through familiar choreography with the same energy that once filled arenas.

Nicole Scherzinger at Walt Disney Concert Hall, Oct. 30, 2025.Timothy Norris/Los Angeles Philharmonic

This wasn’t part of a full tour but rather the finale of a three-date run at legendary venues, Royal Albert Hall, Carnegie Hall, and finally Disney Hall, just one day after being honored at Variety’s Power of Women L.A. event. You can easily imagine her taking this format on the road or setting up a residency. Whether audiences come for the Dolls material or her Broadway ballads, she’d probably win them all over by the end.

The concert opened with an unmistakable statement of intent as she tackled Don’t Rain on My Parade. For someone relatively new to the musical theater spotlight, it was a bold move, practically stepping onto Streisand’s territory. Her performance was strong, though traditional, and from there she loosened up with a sultry take on I Put a Spell on You. She followed it with Diamonds Are Forever, a perfect nod to the greatest Bond theme ever recorded. While Shirley Bassey remains unmatched, Scherzinger handled it impressively, and certainly more convincingly than Doja Cat’s recent Oscar misfire.

The mood shifted when she introduced her first recognizable hit, playfully leading in with, “Y’all look so good, I think I might ‘stickwitu’ forever. That reminds me of a song…” It was a brief nostalgic detour before returning to theater classics. A medley of Sondheim’s Losing My Mind and Not a Day Goes By hinted at the emotional terrain that would define the Sunset segment later on.

For her pre-intermission closer, Scherzinger delivered Maybe This Time from Cabaret, the ultimate anthem for underdogs. While she might not fit today’s trend of casting fragile waifs in the role, her confident, powerhouse take recalled the days when performers aimed for sheer vocal impact. At the end, she injected a touch of humor by crouching near her side table, seemingly searching for something, before triumphantly raising her Tony and Olivier Awards, declaring, “Maybe this time, I’ll win!” She affectionately introduced them as “Laurence and Antoinette.”

Intermission thoughts: You either adore this kind of showbiz extravagance or you don’t. The patter, the bravado, the storytelling, it’s all part of an old-school charm that’s rare these days. Scherzinger feels born for this space between pop stardom and theater royalty. She’s as confident delivering quips between songs as she is nailing coloratura runs. If this marks the beginning of her next era, one that leads to her singing I’m Still Here two decades from now, she’s on the right path.

“The ladies are looking absolutely divine,” she told the crowd, before adding, “A lot of hot men in the house tonight.” She knows how to work a room, whether it’s the posh halls of Carnegie or the lively energy of Royal Albert. “Looks like all the WeHos showed up,” she joked, drawing thunderous laughter.

Her humor stayed sharp throughout. Speaking about her mixed background, she said, “I’m Hawaiian, Filipino, Spanish, Chinese, Polish… Irish 2%… and I’ve also got some English in me. His name is Thom.” The crowd laughed as she gestured toward her fiancé, Thom Evans. Later, she introduced her only original song of the night, Bullshit, explaining, “This is my idea of a love song. It’s about waiting for that special someone to, how do you say, get it together and put a ring on it.” After flashing her engagement ring, she grinned: “Needless to say, he got the message.”

Scherzinger didn’t neglect the audience behind her either. “You’ve got the best seats in the house!” she told the upper balconies early on, then later joked about forgetting they were there. “Oh great, you guys are here; I’d forgotten. Give it up for my surprise party back there.” She grew emotional recalling her connection to Prince, calling him “a big part of who I am — my mentor, my big brother.” Turning away for a moment, she dabbed her eyes and laughed, “Thank God for these tissues.”

Her rendition of Purple Rain honored that bond beautifully. For the crowd’s LGBTQ+ contingent, she offered a powerful take on I Am What I Am, the Jerry Herman anthem from La Cage aux Folles. To please the musical theater purists, she opened her final act with the cheeky Show Off from The Drowsy Chaperone, fully embracing its playful spirit.

Appearing in what looked like a stylish dressing gown, she sipped tea and quipped, “Let me put this down before I spill too much,” before slipping into a more revealing look as the show built toward its sultry finale.

The closing Pussycat Dolls medley found her dancing in black lace and heels, towering in presence and energy. It was pure showgirl glamour, the kind of spectacle that could anchor a Vegas residency without question.

But what lingered most for the Disney Hall audience was that breathtaking Sunset Blvd. sequence, where Scherzinger’s Norma Desmond shimmered once again, this time without the Broadway cameras or heavy dramatics. Instead, she delivered something softer, warmer, and irresistibly magnetic. Norma didn’t have to be a villain that night, because from this dazzling performance, it was already clear that Nicole Scherzinger herself is the real showstopper.

Setlist for Nicole Scherzinger at Walt Disney Concert Hall in Los Angeles, Oct. 30, 2025:

Don’t Rain on My Parade
I Put a Spell on You
Diamonds Are Forever
Stickwitu
You Raise Me Up/Reflection
Losing My Mind/Not a Day Goes By
Maybe This Time

Set 2:
I Am What I Am
Bullshit
With One Look
As If We Never Said Goodbye
Purple Rain

Set 3:
Show Off
Buttons
When I Grow Up
Don’t Cha
Don’t Hold Your Breath

Kanye West, the artist and producer now going by Ye, stepped back onto a Los Angeles stage focused purely on the music during night one of his two show run at SoFi Stadium in Inglewood, California on Wednesday, April 1. The return arrives after years filled with controversy, public scrutiny, personal struggles involving mental health, and his January apology published in The Wall Street Journal addressing his antisemitic comments. Showing unusual restraint, the outspoken performer chose not to address any of the criticism during what marked his first major U.S. performance in years.

Public backlash did little to slow the momentum of the event as thousands of supporters filled the venue floor and stands. Many arrived dressed in Kanye merchandise, avoiding controversial imagery, along with lucha style shirts fresh from the merch counters. A look at ticket prices shows Ye continues to command major revenue from his catalog despite his offstage controversies. According to Ticketmaster, general admission tickets for the April 3 show were listed at $537.80. Resale listings for upper tier seats, which offered clearer views of his half sphere inspired stage design, were also priced in the hundreds. Fans who could not attend in person were able to watch through a livestream that appeared on his Instagram just hours before the performance began.

Across a two hour performance, Ye delivered a wide ranging set filled with classic favorites, repeated tracks, and selections from his recently released twelfth album Bully. Wearing a black face covering, he walked alone across the curved stage structure designed to resemble Earth and at moments gave the impression of a solitary figure on his own world.

The crowd reflected different generations of listeners as younger fans sang along to newer tracks such as “FATHER” and the André Troutman collaboration “ALL THE LOVE.” Energy spiked when a mosh pit formed during “Blood on the Leaves.” Older millennial fans found their nostalgia during a sequence of songs spanning Kanye’s early and mid career from 2004 through 2016, from The College Dropout through The Life of Pablo. Songs like “Can’t Tell Me Nothing” and “N—-s in Paris” echoed through SoFi Stadium with the same intensity as when Graduation or the Jay Z collaboration Watch the Throne first arrived. “Say You Will” and “Heartless” from 2008’s 808s & Heartbreak brought back familiar feelings tied to heartbreak and the era when Auto Tune shaped the sound of pop and hip hop. The closing stretch featuring “All Falls Down,” “Jesus Walks,” “Through the Wire,” “Good Life,” “All of the Lights,” and the emotional finale “Runaway” sparked a sense of longing for earlier days both for fans and for the Chicago native himself.

Aside from the nostalgic song choices, technical problems occasionally interrupted Ye’s creative plans. Early performances of “KING” and “THIS A MUST,” which he later repeated, were affected by microphone and audio complications. He also stopped “Good Life” three separate times because he was unhappy with what he called the “corny” lighting setup. “Is this like an SNL skit or something?” he asked the production team. “Stop doing the vibrating Vegas lights, bro. We went over this in rehearsal.” The first SoFi Stadium show almost felt like a preparation run for the April 3 performance, which also happens to land on Good Friday. The timing also recalls the G.O.O.D. Friday song releases that led into his landmark 2010 album My Beautiful Dark Twisted Fantasy.

Despite frustrations with the production, Ye did not perform alone. Longtime collaborator Don Toliver joined him onstage for performances of “Moon” and his own track “E85.” Ye’s daughter North also appeared, bringing bright energy and her blue hair to performances of “Talking” and “PIERCING ON MY HAND.” She wore one of her father’s concert shirts during the appearance, all while it was still a school night.

As the concert continued, Ye handled the technical setbacks as they happened without turning the situation into a rant. For longtime fans, separating his unpredictable public behavior from his extensive catalog of influential songs remains complicated, especially for those who still feel connected to his earlier creative periods. At the same time, his former close collaborator Jaÿ Z is preparing for his own stadium appearances this summer, which adds another layer of reflection about what their partnership once represented. Ye may be staying quiet publicly for now, yet questions remain about whether a full redemption era could still be ahead.

Ye 2026 Set List

1. KING
2. THIS A MUST
3. FATHER
4. ALL THE LOVE
5. Father Stretch My Hands, Pt. 1
6. Can’t Tell Me Nothing
7. N—-s in Paris
8. Mercy
9. Praise God
10. Black Skinhead
11. On Sight
12. Blood on the Leaves
13. Carnival
14. Power
15. Bound 2
16. Say You Will
17. Heartless
18. Moon (with Don Toliver)
19. E85 (Don Toliver)
20. KING
22. THIS A MUST
22. FATHER
23. ALL THE LOVE
24. Talking (North West)
25. Piercing On My Hand (North West)
26. Everybody
27. All Falls Down
28. Jesus Walks
29. Through the Wire
30. Good Life
31. All of the Lights
32. Runaway

This article was originally published on VIBE.

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