Matt Goss

No “Dirty Virgins” aren't the latest Caesar's Palace cocktail quirk, so you can rest easy in the knowledge that ordering from the casino bar won't be a blush-inducing experience. A night with Matt Goss on the other hand, could influence a 90-minute spell of flushing you just can't shake. The debonair English 80's pop star was a relative unknown in the United States – until “Matt Goss” the show launched it's Las Vegas debut on March 12th 2010. His suave good looks have drawn comparisons by critics to ladies man Calum Best, while his old fashioned charm finds favor with lovers of vintage Vegas – even prompting speculative likeness to the late great “showman of Vegas” Frank Sinatra.

Pussycat Doll's visionary Robert Antin, is the man accredited with the creative development of the “Matt Goss” show, despite Goss himself having more than an ambitious influence. Robert Antin is largely responsible for the developmental choreography of the “Dirty Virgins”; a dance troupe who (if they had the vocal excellence to match the moves) would probably have endured greater longevity than the “Dolls” themselves. Former Bros front-man Matt Goss takes on the shows musical structuring, including the assembly of reworked Bros material – with over 17 million albums sold, he's more than up to the job!

Twin brothers Matt and Luke Goss, along with bassist Craig Logan formed the UK boy-band trio “Bros” in 1986, headed up by former “Pet Shop Boys” manager Tom Watkins. Crashing into the charts with their second release “When Will I Be Famous”, the pretty boy trio quickly rose to prominence with a largely teenage following. On the back of the second single, the band's first album “Push” soon followed, courting widespread media attention and paving the way for a multi-continent tour of the same title. Between 1988 and 1992, the band dominated the British and European charts with a re-issue of “I Owe You Nothing” (their first single), “I Quit” and “Are You Mine”. Craig Logan chose to depart in 1989, however the siblings continued to perform under the “Bros” antonym until 1992. Matt then commenced upon a solo career which stayed true to the original pop brand of “Bros”, yet also delved into the realms of soul, trance and disco – his single “Firefly” remixed by Paul Oakenfold crashed into the trance chart at No. 1 in September 2010.

“Matt Goss” - the stage revue, stays true to much of the artist's solo achievements, yet backed by a 9-piece big band, and the seemingly burlesque style of the “Dirty Virgins” dance troupe, the show attempts forays into favorites of the 50's and 60's – most notably the works of Frank Sinatra. Very early on, you get the impression this is a man attempting to shrug off the candy-pop persona that fueled his boy-band career, and step into the shoes of a vintage casino showman. Matt Goss now performs Caesar's Palace Barge; a venue which remains true to it's archaic history, as one of the most affluent old showrooms in Sin City. Ironically, it was also a favorite Vegas venue of “Ol' Blue Eyes” himself; Frank Sinatra delivered an inimitable show in 1974, and returned in 1978 to perform and film for the audio movie “Frank Sinatra: Vegas Live From Caesar's Palace”. It's an almost honorary tribute that Goss chooses “I've Got The World On A String” and “Luck Be A Lady” as some of his openers.

The “Dirty Virgins” may sound like a daringly named erotic dance show (the likes of which Las Vegas has many), however, the expectation for excessively lascivious dancing is blasted, by what happens to be more akin to a showgirl routine. Sure, there are aspects of Beyonce's booty shaking; a little over-enthusiastic street-style bump 'n' grind, as well as a couple of Goss-sandwich moments – but the overall effect is sexy, as opposed to smutty.

Few British acts ever make it to the entertainment capital that is Las Vegas; fewer still find a residency that will sign them beyond an average six months. For Matt Goss, relative anonymity Stateside seems to have swung in his favor. He is now appreciated not for the mega hits from his days as a manufactured package, but for his raw vocal dynamism and enigmatic stage presence. Sure, there were a host of critics who labeled him over-ambitious, but he has had the last laugh – recently celebrating his first sell-out year at Caesar's. Rumors are also abound he has signed up for a further year's residency!