St. Louis has had its share of defining moments in Black music — in rooms both intimate and enormous. From W.C. Handy’s appearance at the 1944 Negro Music Festival at Sportsman’s Park to Beyoncé’s Renaissance Tour at The Dome at America’s Center eight decades later, there’s a familiar pride in being able to say, “I was there when…”
Another one of those moments unfolded at The Dome last night, when tens of thousands packed in for the St. Louis stop of the R&B Tour featuring Usher Raymond and Chris Brown.
Both artists have made recent visits to St. Louis. Usher’s Past, Present and Future tour sold out two nights at Enterprise Center in 2024. Brown’s Breezy Bowl XX filled The Dome less than a year ago. Each show stood on its own. So it wasn’t surprising that combining their star power resulted in a production that left jaws dropped — not because it repeated what they’d already done, but because it delivered something entirely new.
Aside from the late start — fans arrived well before doors opened at 6:30 p.m., but the show didn’t begin until 9 — there was little to criticize. And thanks to Brown’s tour hype man DJ Fresh, even the delay became part of the atmosphere. By the time Brown and Usher opened with “Party,” the night was already in motion. It was clear from the first song that the audience was in for something memorable.
The R&B Tour lived up to the months of anticipation sparked by a cryptic social media teaser. It offered a distinct experience from their recent solo shows. Over two and a half hours, Usher and Brown reminded the crowd why each is a defining figure in R&B — and why mainstream pop had no choice but to absorb their influence.
The show was curated with intention, leaning on top-tier audiovisual elements that gave it a near-theatrical feel. They could have easily relied on a rapid-fire “all the hits” approach, squeezing in snippets to check boxes. Instead, they performed more than 50 songs between them — and together — while still leaving room for the production to breathe. The pacing allowed the audience to take in the technical elements, including video, pyrotechnics and Brown’s aerial stunts on a 3-D wire rig.
The outfits, dancers, scene changes, video interludes and three-tiered set kept the crowd visually engaged. But both artists delivered performances strong enough to stand without any of it.
Twenty years into his career, Brown performed with the urgency of someone still determined to prove himself. Usher’s set carried the confidence of an artist with nothing left to justify — punctuated by the crown he placed on his head after performing “Confessions” from a throne.
Usher is more than a decade older than Brown, but it didn’t show. If Brown hadn’t respectfully referred to him as “uncle” multiple times, the audience might have forgotten. Both moved with the precision of performance athletes.
Their chemistry was evident as they opened and closed the show together and tagged in and out of segments. It was especially clear during their “Nice and Slow”/“It Depends” mashup, with Usher surrounded by dancers and Brown moving across the stage as screens cut between them.
True to its cinematic nature, the show was divided into acts — each with its own lighting, costumes and occasional pyrotechnics. Brown’s most striking set featured a vintage convertible and styling that appeared to nod to the Black film classic Cooley High. Usher’s bedroom and gentlemen’s club scenes were among his visual highlights.
Usher’s strongest performances included “You Make Me Wanna,” “Yeah” and “Love In This Club,” with vocal standouts on “Climax” and “Burn.” Brown impressed with his aerial work and nonstop choreography, with vocal bright spots on “She Ain’t You” and “Take You Down.”
Their contrasting approaches to audience-participation seduction moments added levity — Usher gently caressing a woman on satin sheets, while Brown placed his guest in handcuffs.
They also brought guests. Emerging R&B artist and longtime Usher background vocalist Eric Bellinger satisfied fans with a brief set. St. Louis erupted when Brown brought out hometown star Nelly, who performed “Dilemma” and “Hot In Herre.” Near the end, Mario delivered “Just a Friend,” “How Do I Breathe” and “Let Me Love You.”
Rather than overshadowing one another, they stood comfortably in each other’s light. The final and most visually dramatic segment belonged to Brown, who appeared at the side of the stage and flew to a second platform to perform a trio of songs including “Hearts All Over the World.”
They reunited — with Usher wearing a St. Louis Blues jersey — to close the night with “New Flame.” Because the song features both artists, it was a fitting finale.