One of the UK's most prominent pop practitioners, Olly Alexander has had a varied career over the last few years. He was the frontman of successful electropop trio Years & Years, which was repurposed as his solo project in 2021, and later abandoned as he decided to perform under his own name.

His starring role in the hit 2021 UK series It's a Sin, about the '80s HIV/AIDS crisis, earned him critical acclaim and several accolades. That same year, he also gave a stunning performance alongside Elton John at the BRIT Awards, covering the Pet Shop Boys' song that gave the series its title.

But arguably the most talked-about moment of his recent career was his 2024 Eurovision performance, in a year of the competition that was steeped in controversy.

Deemed by some as the "gayest Eurovision performance of all time" – which is saying something for a contest not particularly known for its heteronormativity – Alexander's entry was cool, perfectly executed, and indeed, homoerotic. He still managed, however, to get nil points from the audience, something not uncommon for UK entries in the contest.

But rather than keeping a low profile following that experience, the singer-songwriter has come back exuberantly confident. Polari, released in February of this year, is his first studio album under his own name – and on Tuesday night he came to Dublin's 3Olympia Theatre as part of what he described himself as "the first-ever Olly Alexander tour".

It was honestly refreshing to see an artist known for his LGBTQ+ activism be so charismatic, happy, and confident as Alexander was on Tuesday night – particularly in our current time, as fascism rages around the globe, and queer identities are increasing threatened every day.

Olly Alexander at 3Olympia Theatre. Photo Credit: Jason Doherty.

Polari, named after a code language used in the UK when homosexuality was still illegal, is an ode to queer identities. And that was exactly what Alexander sang to in Dublin – embracing an exuberant queerness infused in his music, alongside the familiar pop themes of love and lust.

Supported by two back-up singers, a drummer and a guitarist/keyboardist, the singer played an exciting show in which he performed his well-honed array of hits.

Starting his set with Polari's title-track opener, the songs from the singer's last album delved into his love for '80s club music, from the hi-NRG of 'Make Me A Man,' about a gay Garden of Eden, to the synth-pop and stammering, sampled vocals of 'I Know,' and the pulsing 'Cupid's Bow,' with its lyrics about hookups and cruising.

The singer managed to make a strong setlist – in which moments of pop perfection abounded – even more interesting through new arrangements.

For instance, the polished, Scandinavian-style synth-pop of 'Dizzy' was turned into a beautiful, intimate ballad. Alexander sat down to play a grand piano, singing with his controlled, powerful voice while his back-up singers stood by his side and harmonised.

The thick, tropical mid-2010s EDM of 'Desire' was substituted for an acoustic guitar and piano riffs, which eventually gave way to synth and drums, growing progressively until climaxing in an explosive last chorus.

But the real euphoria came when the bubblegum pop of 'Archangel' suddenly switched to the stadium anthem 'King,' which had the crowd passionately chanting the chorus's infectious melody.

Another exciting moment was the dramatic intro, filled with storm sounds, that preceded 'It's a Sin'. Alexander sat atop the grand piano before briskly throwing himself onto the stage, and the song gained momentum as the singer's belts were followed by an electric guitar solo.

The night's special song – the one that deviates from the fixed tour setlist and is different every night, in the style of Taylor Swift's surprise songs – was 'Lucky Escape,' which he delivered with passion over soft piano chords.

It was easy to tell Alexander loves performing, and was having a great time. With a permanent smile on his face, he constantly waved to the audience, and almost every song was preceded by a short monologue.

"I hope this night we share together will be something to remember, I'm going to remember it forever," he said, not long after having stated he could already tell we were "a good crowd" just three songs into the set.

The singer's performance was lively and filled with melodramatic arm movements and poses. He was funny at times (he walked onstage wearing a studded jacket with the words "Angry Homosexual" written on the back) and flirtatious at others: "I'm seeing a lot of cute people in the audience," he said at one point.

Perhaps the night's funniest moment was when the singer pulled out from a trunk the gaudy red pants he wore for his Eurovision performance. He said he was "attached to it now," despite all the "secrets and the trauma" associated with the garment.

"This codpiece alone offended thousands across the continent," he added, which was met with a loud laugh from the audience.

There were times when you did miss some more movement or complex choreography to match Alexander's up-tempo tracks, especially when you consider the danceability and strength of his electropop, and the breath-taking drops of his choruses. 

However, the singer's mobility was reduced – as he explained towards the beginning of his set, he had sprained his ankle a few days before.

A special mention must also be given to opening act Jacob Alon – who, despite being sick, offered up a moving performance with their beautifully fragile voice, which often slipped into airy falsettos, and their nimble guitar picking.

The night finished with Alexander performing the immaculate 'Shine', which had the entire audience  – from pit to balconies to boxes – jumping and dancing carefree, as he sang: "When I saw you on that stage / I shivered with the look you gave..."

The power to make you shiver is, undeniably, pop's underlying strength – and Olly Alexander sure knows how to exploit it.