Some megastars, like the Rolling Stones and Rod Stewart, make albums to tour behind. Others, like Sting, Bowie, Springsteen and Prince, expand their musical palette well into middle age, for better or worse. Though hardly an innovator, Elton John is once again selling out concerts not just because he is who he is, but because he’s crafting consistently high-quality records. He must be finding the overwhelmingly positive press for this resurgence gratifying, for in terms of attracting lurid headlines, he was once a rival for Michael Jackson. His protracted midlife crisis is well documented: the addictions, health panics, court cases, failed relationships and bereavements – Freddie Mercury, Gianni Versace and Princess Diana among them. 

But the 2000s have been halcyon days for the man born Reginald Dwight, now 61. As the celebrity ‘responsibilities’ (lavish parties, Vegas residencies, highprofile charity events) piled up, they often overshadowed his renaissance as a prolific creator of first-rate adult-rock albums. Perhaps inspired by ‘marital’ bliss, a trilogy co-written with lyricist Bernie Taupin – Songs from the West Coast, Peachtree Road and The Captain & the Kid – has tapped into a reflective nostalgia recalling his early-’70s peak. Meanwhile, last year’s Rocket Man collection compiled the big-hitters on one CD for the iPod era. A clean bill of health, favourable reviews, universal respect and domestic harmony: from the virtual burn-out of 20 years ago, Sir Elton’s emotional, physical and musical rehabilitation seems complete. 

One reason why John’s grip on popular culture has endured has been his embrace of genre-straddling modern pop: through savvy collaborations with Eminem, Ryan Adams, Pete Doherty, Pet Shop Boys and Scissor Sisters, he’s become a sort of fairy godmother to today’s music scene. And the legacy runs deeper: the baroque pianopop of Rufus Wainwright and Ben Folds, to name but two, bears his unmistakable imprint; singers as diverse as Thom Yorke and Billie Joe Armstrong are said to be fans. 

Even those unswayed by the countless hits couldn’t deny that John practically wrote the book on high-camp showmanship. Whether his first full-band gig here proves as excessive as the recent Caesar’s Palace ‘Red Piano’ extravaganza remains to be seen, but colourful entertainment, at the very least, is guaranteed. So don those white ties and tiaras: it’s going to be a long, long time before Singapore sees a star of this stature again.