OAKLAND — Aphrodite, the Greek goddess of love, beauty, pleasure and procreation was literally center stage Sunday at Oakland Arena. An enormous golden statue of the curvaceous, recumbent, nude figure took up the entire length of the stage. It represented the three-act journey through which Sam Smith would travel: love, beauty and sex. It was also a playground for dancers.

Cymbals crashed over a delicate piano interlude as Smith emerged and sang the first few words of ballad “Stay with Me.” The lovelorn track seemed out of place in the roaring party atmosphere. Smith was outfitted in gold lamé pants and a glittering, bejeweled corset. The backup singers and dancers all wore glimmering gold accessories.

Smith’s earnest eyes twinkled under the beaming blue lights.

“I feel like tonight is going to be a good night,” they said. “You have to forgive me. I’m so sunburnt it’s crazy. I went to Alcatraz yesterday and I got burnt. Burnt!”

Smith talked about how a lot had changed since the last time they had performed in Oakland back in 2018. They thanked fans for the support and revved up the energy.

“I know it’s Sunday. And we have work tomorrow, but fuck it—we have to have fun,” Smith declared. “This show is about one thing and one thing only: It’s about freedom, so so let’s sing, let’s dance, let’s get naked!”

Smith then sat down and huddled with the backup singers for the poignant and melancholic “Too Good at Goodbyes.” The sparse and emotive piano chords, finger-snapping and airy percussion supported Smith’s flexible tenor. The words “take this flower it is my heart” flashed on the screen behind the musicians. The tender moment was nearly subsumed by ambling electric guitars that threatened to drown out Smith’s vocals.

Smith disappeared behind the statue and reemerged in another outfit. There were many costume changes throughout the show and at this point the singer wore a ruffly white dress with draped long sleeves that resembled that of a 16th century poet. They gave the audience a flirty wave before belting out the signature powerhouse vocals.

Smith was then briefly joined by opener Jessie Reyez for slow-burning R&B tune “Perfect,” a featured artist on their latest album, Gloria.

The following song, Smith said, was a favorite. They strutted around the stage in sky-high platforms as they sang “How Do You Sleep?” Misty lights gleamed a royal purple.

The screen then indicated that the show had reached the second act: “Keep still you beguiling statue,” it seemed to allude to Aphrodite herself.

Smith floated onto the stage in an ornate ballgown encrusted with crystals. Yet the next song, “I’m Kissing You,” was stripped of adornment. Smith’s soft falsettos were perfectly juxtaposed with deep, rich tones. Smith asked fans whether they liked the dress and then invited backing vocalist LaDonna Burns to join them for “Lay Me Down.”

Her fluid runs and Smith’s buttery vocals harmonized beautifully. As the subdued song faded out, a sextet of scanitly clad dancers rested in a heavy languour across Aphrodite. In an unexpected transition, they began gyrating during “Gimme More.” Reyez appeared once more to join Smith for the chorus. By then Smith had changed into an all-black outfit and presided with pride over the entire maudlin scene.

Smith’s vocals were smooth and soulful on “Promises” and “Lose You.” While the uptempo beats thumped and the lights pulsated, the dancers flirted with one another, appeared to kiss and pushed each other away.

The next song, “I’m Not Here to Make Friends,” was a grown-up disco bop powered by Smith’s joyful vocal delivery. Smith was enveloped in a feathery, barbie-pink coat while being fanned by the dancers. Together, they performed a memorable choreographed routine.

Techno beats transitioned this song into a delicious cover of Donna Summer ‘s “I Feel Love.” Kaledescopic rays of light triangulated the stage. They’d also later include a cover of Madonna’s “Human Nature,” and early career hit “Latch,” though the biggest chunk of the songs were from Gloria.

 

The dancers started removing layers of Smith’s clothing for the final act. Screens on both sides of the stage depicted salacious glimpses of erogenous zones. The lights turned ocherous and high-pitched, whispered vocals echoed throughout. “Brace yourself,” the whispers warned.

Smith, whose head was crowned with laurels and face and body were draped in a transparent white shroud, came into view. Smith revealed the latex bottoms, fishnets, nipple tassles and thigh-high black boots.

As if shaming Smith, dancers shrouded in black surrounded and taunted the singer. Staticky heavy metal guitar riffs drove them offstage. Smith, however, remained and smiled as they shook their hips at the audience.

“Unholy” started playing and the crowd went wild. And while Kim Petras wasn’t there, Petras was still broadcast on the screens, present in spirit. Scarlet lights flooded the stage and Aphrodite looked as if she had caught on fire.

Smith wore a top hat with devil horns and even held a red trident.

“Welcome to my gay cabaret,” Smith gleefully yelled.

Was this supposed to be hell and the singer its mephistophelean sovereign? If so, hell never looked so good.

Canadian singer-songwriter Jessie Reyez, who would later slide down the statue and twerk on the floor, also performed an opening set. For her first song, “Shutter Island,” she unapologetically demanded that Oakland raise its hands up high. Soon after, she freed her long and wavy brown hair from her braid. It’s as if she was telling attendees that it was time to let their hair down and have some fun.

The emphatic performance included songs like “Mutual Friend” and “Still C U,” as well as a cover of Dua Lipa’s and Calvin Harris’ “One Kiss.”

Reyez’s raspy vocals soared over thunderous percussion. She ended her set calling for the audience to join her in saying affirmations: “I am strong, happy, healthy. I am beautiful and I’m here, bitch.”

Follow photographer Matt Pang at Twitter.com/mattpangs.