When R. Kelly pulled a lever set onstage that catapulted streamers into the crowd, it wasn’t necessarily a precursor for an over-the-top R&B spectacle. Even still, his abbreviated run through his hits that permeated radio airwaves from his start in the early 1990s still garners respect and reverence.
It was clear from the standing attention of the crowd (which though not a sellout, was respectable in size) that Kelly had enamored from the start of his “Love Letter Tour” Friday night at Chaifetz Arena. Mirroring a scene from Casablanca, the show began with a filmed skit featuring the advances of a former lover. It served as a reflection of a singer that evolved from a sexually charged thug to a refined and classy debonair while promising to give “the greatest show on earth.”However, such an proclamation might have gotten muddled in his ninety minute set by the heavy focus on his former salacious material.
In front of a backdrop of nostalgic neon lights, brightly colored jazz band styled music stands, a ramp that went out into the audience, and a bar that housed an emotionless faced bartender; R. Kelly opened with lighter offerings of “Step in the Name of Love,” “Chocolate Factory,” “Happy People” and the title track to his latest album “Love Letter.” Dressed in a suit, scarf, and glasses; Kelly presented himself as a seasoned performer who triumphed over past legal troubles and matured from his pelvic popping beginnings. However the feeling didn’t last long.
Once he entered into “Freaky in the Club,” the tone was set for the remainder of his outing. This raunchy excursion continued as he quickly ran through selections like “So Sexy”, “Hotel”, and “Slow Wind” while mostly showcasing each with just one verse or chorus. It was “Strip for You” that found Kelly most interactive while propositioning a strip tease from an audience member in exchange for the same. He then moved onto “Snake,” “Home Alone,” and “Ignition.” As he walked into the crowd and posted upon a platform, the coarser “Real Talk” ensued as many in the audience recited with him line for line. He returned to the stage with signatures like “Bump and Grind,” “12 Play,”and “It Seems Like You’re Ready.”
Although Kelly’s song selections were varied, his more polished work like “I Believe I Can Fly,” “I Wish,” and even his recent release “When A Woman Loves” were all absent. Such an oversight caused his display to be less rounded with his vocal ability underutilized. The growth that was advertised through multiple video montages that included a reflective look into the artist’s history “written” by his deceased mother, remained only confined to such. While Kelly’s dexterity and longevity are widely respected, showcasing only one layer of many seems like a quiet cheat. Even if it does seem like it is his more popular one.
Waned singer Keyshia Cole, was on hand as an opening act in support of her latest release, “Calling All Hearts.” However, her set was mostly filled with more trademark hits such as “Let It Go,” “Love,” and “I Should Have Cheated.” Marsha Ambrosius of Floetry fame also contributed featuring selections from her first solo album, “Late Night and Early Mornings.” The notably stronger vocalist of the bunch, offered yodeled renditions like,”Far Away,” “Hopes She Cheats on You (With a Basketball Player), and the Floetry hit “Say Yes”.
