But, in the event, my eyes were full of tears. And so were the diminutive diva's as she told fans at her first UK concert since her breast cancer diagnosis last year that she was surprised to be spending the night with us.
The date had been added to her Showgirl Homecoming Tour only three weeks ago, and sold out within the hour.

But there she was: a tiny, sparkling thing, rising up through the centre of the stage beneath a mammoth, flamingo-feathered Mohican headdress.
Women in flashing bunny-ears and men in PVC trousers raised their hands above their heads and roared with support for the woman who was little Charlene in Neighbours, who sang I Should Be So Lucky in her bubble bath, who got cool, who got ill, and who has now come back, bursting into her 1990 Stock Aitken and Waterman hit, Better the Devil You Know with a toothy grin beneath the lipgloss and, behind her, a troop of dancers in black wings and little else.
This year will see Kylie's fabulously camp wardrobe celebrated in a V A exhibition and her live show is all about the spectacle and the sequins and the silliness.

She takes us through nearly three decades of fashion, from the asymmetric 1980s to their post-millennial revival.

Kylie is a performer who constantly winks at the karaoke-ness of her own material. A night with the Australian pop princess is a night to be entertained and enjoy the costume changes and dance routines rather than to muse on the merits of the music.

Astride a pommel horse, she even does the rap section from Madonna's Vogue. The Locomotion perhaps her cheesiest song is given a brilliant reworking as a speakeasy cabaret number shot through with innuendo and, at its finale, belted out Chicago-style.
Kylie's famously rather thin, nasal voice actually has a lot of welly in it.

After a short interval, she reappears in red sequins on a mirrored crescent moon to sing Somewhere over the Rainbow with her tiny feet dangling over the open-mouthed crowd. It's adorable and moving.
And then there's a cyber-style finale of her finest and most infectious song Can't Get You Out of My Head in which the stage becomes a techno-wedding cake of futuristically chromed choreography before she counts in the New Year and sings Kool and the Gang's euphoric Celebration.

Her jacket reads 'Kylie's Back'. And she is.