Longevity in pop music is underrated, particularly in today’s world, where the all-encompassing “Brat summer” is already a distant memory and TikTok’s algorithm can make or break an artist’s career at the drop of a hat. In that sense, the fact that Kylie Minogue is both still here and still relevant is something of a miracle. The original Aussie pop star has endured across almost four decades, especially in the 24 years since her reinvention with Light Years, her dance pop-infused album. The gold-hot-pants industry has never been the same since.

Her 17th studio album is presented as the sequel to Tension, from last year, although Minogue says it’s more energetic. There is certainly more meat on the bones of this record, even before mentioning big-name guests such as the Blessed Madonna, Sia and Tove Lo. The chic Eurodance of Lights Camera Action sees her croon “I look stellar tonight, my armour is my Gaultier”; Taboo evokes memories of Madonna’s Abba string sample on Hung Up; while the nifty standout track Someone for Me adopts a Jessie Ware-style, soul-infused dance-pop approach. On it, she cheekily tells a friend, “Never seen you like this before, girl you deserve to be adored / You look happy, but ... do you have someone for me?”

Kiss Bang Bang is a whip-sharp fever dream; Hello subtly incorporates a sinister narrative of a jilted lover’s 4am plea. It’s one sexy banger after another, so when the glut of guest tracks comes at the end of the album, it feels somewhat unnecessary. That said, Edge of Saturday Night (with the Blessed Madonna) is taut and glossy, while both Dance Alone (featuring Sia) and My Oh My (with Bebe Rexha and Tove Lo) are undeniably catchy, danceable affairs. Midnight Ride, with the country star Orville Peck, is a curveball rather than a misstep – an interesting collaboration but perhaps placed on the wrong track list. It’s a nit-picky slip on an otherwise tenacious collection – one that proves that, after 36 years of releasing albums, Kylie is not only surviving but thriving.