Describing Scissor Sisters’ reunion show as “maximalist” feels like too tame of a word. It’s clear before the show even starts, a gorilla-suited opener pulling open the curtains on a giant pair of rainbow-litted scissors, blades curving into a pair of high-heeled legs.

The fact is hammered home when the main lights turn on, revealing a stage filled to the brim with campy decor. The lineup of musicians that make up Scissor Sisters’ current lineup are also immediately visually striking, including Jake Shears and his glittery denim overalls, an incredibly cool and collected Del Marquis and a vinyl trousers and fedora-wearing Baby Daddy.

From then on, the show becomes a sort of 2000s disco extravaganza, flavoured with healthy amounts of glam-rock, honky-tonk soundscapes and tongue-in-cheek humour, jumping head first into the opening track ‘Laura’, which immediately forces the hips to sway with its infectious rhythms and bouncy guitar riffs.

Campiness is lined throughout the set and Scissor Sisters’ entire discography. Groovy pop music lined with languorous rock sensibilities, all wrapped up in extravagant and tirelessly boisterous performances, send you right back to the band’s humble origins in the New York electroclash scene.

Adding to the feeling are the captivating backup singers and occasional dancers Bridget Barkan and her Jessica Rabbit-esque outfit, as well as Amber Martin, wearing a bedazzled zebra-printed dress for the occasion. The two of them make the perfect accompaniment to Shears’ gently wacky choreo (his first for a Scissors show, he said to Hot Press last month) and its delightful, never-ending hip-shakes.

With the notable absence of co-singer Ana Matronics, the band have made the choice to adapt their lineup with the addition of the two performs – a genius move, by any means, given that they steal the show on multiple occasions, with their eccentric theatrics and incredibly rousing solos, like on the dance-inducing ‘Tits On The Radio’ or the flamboyant ‘Any Which Way’.

Adding to the euphoric feeling of the evening is the clear, relentless, unapologetic fun that the whole band seems to be having, playing absurdly lively tunes one after the other – tracks they have not performed in almost twelve years. Following a madly spirited rendition of ‘Take Your Mama’, Shears jokes that, after all this time, “it’s amazing how little we’ve all aged” – and you would be inclined to agree, given how contagious their energy is. It feels like the whole room cannot help but laugh, dance, and accompany the band in their bustling theatrics – especially visible in the Barkan-fronted ‘Let’s Have A Kiki’ and its buoyant choreo, which makes you, by all mean, feel like you are at a proper kiki.

Around the middle of the set, the band allows themselves a slight emotional section, starting with ‘Fire With Fire’ and followed by an acoustic rendition of ‘Mary’, where the three original members stand in a triangle in the corner of the stage, mood suddenly intimate, gentle, and stirring all at the same time, demonstrating that Scissor Sisters are not only capable of delivering the most madly boisterous show I’ve seen all year, but also to slow down and bring you into a world of gently gripping nostalgia.

Scissor Sisters have also not lost one bit of their sonic quality, each and every one of Del Marquis guitar solos measured to a T and Shears’ voice sounding straight out of the studio. The harmonies he, Barkan and Martin offer on tracks like ‘Lovers In The Backseat’ and ‘I Can’t Decide’ also line the tunes with a new and magnificently silky quality.

After almost an hour and half of relentless fun, the band wraps up the show with an encore composed of ‘Filthy/Gorgeous’ and ‘Music Is The Victim’. Notably reentering the stage surrounded by giant inflatable breasts (which also move to the beats of the iconic tunes), Scissor Sisters last appearance perfectly encapsulates the entire show: incredibly funny and over-the-top, and a riveting celebration of the extreme.