Update: Kate Bush is back! She's announced a bunch of London dates, which you can read about here.

It's become the music world's ultimate Unimaginable, that Kate Bush, who last toured in 1979, should perhaps decide to return to the stage one day and do some live shows. Every year or so someone would start a tour rumour (including pretty loud Olympics whispers about Kate singing the 2012 remix of 'Running Up That Hill' at the Closing Ceremony) but, so far, nothing has crystalised into anything other than the odd televised performance, the most recent of which was a Top of the Pops outing in 1994.

Kate's ambitious and seminal one-and-only foray into gigging, the Lionheart Tour (later known as the Tour of Life), spanned just under 30 dates across Europe, with each show involving numerous costume changes, challenging choreography and elaborate mime. We say seminal - one example of how pioneering Kate's shows were is the headset microphone she had her engineer design especially for her. Insisting on being able to dance without clasping a handheld mic, Kate thought a device using a wire clothes-hanger might do the trick. And so it did. Now an industry standard piece of equipment, it is used widely by musicians everywhere.

On 'Hammer Horror', Kate and a dancer recreated the single's music-video and a note in the tour programme warned punters that the vocals were pre-recorded, in order to allow Kate to focus on the movement. Instead of pretending to sing, Kate just danced. She explained her decision in an interview for KBC (Kate Bush Club) a couple of months after the end of the tour, saying: "In the show I wanted to use the same routine [as the video], but I couldn't possibly sing it and dance at the same time and I thought it was important not to mime it, as I wanted it to be a dance number, totally dedicated to dance, so I could let rip more. It was important that everyone should know that it wasn't a cheat, so I decided to dance to a backing track, and it was the only number in the show that wasn't live."

A London date from May 1979 was captured on Live At Hammersmith Odeon, Kate's first commercial videotape release from 1981, which featured highlights from the show (essentially, 12 songs out of a total of 24 performed). It is certainly a good lesson in how to captivate an audience and, if you wanted to see Kate Bush live, this has - in the intervening decades - been the best (well, only) alternative.

Still, prodded about live shows when promoting the release of 50 Words For Snow back in 2011, Kate nudge-nudge-wink-winked a 'never say never' reply. We reckon that if Kate were to ever make a comeback to the stage, this would be the perfect year for it, so we thought we'd scribble down some musings on how she might go about it and what we'd like to hear her do live.

First, we'd be very surprised if Kate were to do another actual tour, as such. A residency somewhere seems much more likely. Ideally, we'd want at least twenty dates but, realistically, we're probably looking at no more than ten. Devoted to her family, Kate has taken her time where albums are concerned, so as to have the leisure to raise her son, Bertie, with partner, Danny McIntosh. A London residency would enable her to re-enter the live arena with the option of nipping home every night, after each show. Level of disruption to normal life: fairly low.

Speaking of arenas, we somehow can't see Kate choosing a huge venue like the O2. A smaller-scale option, such as the Roundhouse or Barbican Centre might make a better match, allowing for the kind of intimacy you'd want from a 2014 Kate Bush show. Mind you, we dare say that - for nostalgia's sake - a residency at the Eventim Apollo in Hammersmith (née Hammersmith Odeon, home to the Tour of Life) would have a nice, coming-a-full-circle, feel to it and would certainly fit in more audience members than, say Barbican could.

In terms of what format the show would take, our bet would be against a straight-forward live concert. This is Kate Bush, after all. We imagine there'd be a strong element of theatre to the production and Kate's songs certainly lend themselves to theatricality, with many written - by her own admission - as short stories. Take, for instance, the 1989 single, 'This Woman's Work', which tells the tale of a husband faced with the potential loss of his wife and baby. A video directed by Kate, starring Tim McInnerny, beautifully portrayed this in a simple, well-choreographed play-like manner. The plot and its execution could work really well on stage. Other songs which could similarly benefit from the theatrical treatment include, 'Experiment IV' (about the Ministry of Defence inventing a sound that can kill, as depicted in a video starring Dawn French and Hugh Laurie), 'Heads We're Dancing' (fabling a dinner party with Hitler), and 'King of the Mountain' ("Elvis are you out there somewhere looking like a happy man?"). Just picture how exciting it would be if Kate were to perhaps work with people such as Handspring Puppet Company (the puppetry masters behind National Theatre's War Horse) or circus movement specialists, to create stunning live visual accompaniments to her evocative back catalogue.

Kate is said to struggle with her earlier works, particularly second album Lionheart, which she was allegedly pushed by EMI to rush-record and rush-release a mere few months after her debut, The Kick Inside, came out. We imagine there isn't a huge likelihood of material from the first couple of records featuring heavily in any new show. What could work well, however - especially in the event of a several date residency - is a revisit of one particular album each night.

A live rendition of 1982's The Dreaming in full, for example, would be many fans' wildest dream come true. At the time of its release, Kate's fourth long-player was described as her "she's gone mad" record but its ten expansive, challenging and hard-to-ignore songs would make an incredible focal point for a show. Equally, tackling Hounds of Love's flipside concept album, 'The Ninth Wave', or Aerial's second suite, 'A Sky Of Honey', in their entirety on stage would be magical.

Another option is Kate being joined on stage by an orchestra, reinterpreting old compositions and giving them a new sheen. On 2011's Director's Cut Kate revisited The Sensual World and The Red Shoes and gave some of the songs from those albums completely different arrangements, showing that she is not afraid to make changes and explore alternative attire for her songs.

Or, suppose these hypothetical shows were to crystalise in support of a brand new album? Stranger things have happened - after all, in 2011 we got two new ones - would it be impossible to have a new Kate Bush record and a set of shows promoting it? We can but hope.

In any event, it's safe to say that, should Kate ever decide to perform live again, whatever she ends up doing will, undoubtedly, be exciting, surprising and incomparably special.

Tell us what you'd like to hear Kate do live in the comments below.