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Celeb News: TTAL Tour | Reviews
Member Since: 5/15/2012
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The Gaga and Madonna dragging though  And how they're already disappointed Rihanna or Beyonce won't be able to top her
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Member Since: 8/10/2012
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All of these reviews, honestly I can't believe it. A true, critically acclaimed touring artist. 
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Member Since: 9/6/2012
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Pink flaunts washboard stomach in concert
Pink has revealed a finely toned midriff Jessica Ennis would be proud of while performing at New York's Madison Square Garden.
The 33 year-old star, real name Alecia Moore, is currently on the North American leg of her Truth About Love tour, which hits the UK on April 14 at the Manchester.
The tour has won rave reviews so far, with some claiming Pink is currently the most entertaining live draw on the planet.
Keep clicking more pics of Pink's spectacular stage show... http://music.uk.msn.com/features/pin...ach-in-concert
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Member Since: 7/22/2012
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EW stanning hard!!!!!!! 
Pink spins out over Madison Square Garden: On the scene
Reports of Pink’s acrobatics have not been greatly exaggerated.
Over the course of the pop star’s two-hour set in Madison Square Garden last night, she took flight on no less than three occasions — spinning, dangling, and twirling. Once, she crawled in, out, and over a giant metal sphere as it hovered in the air. I think it was meant to visualize her inner turmoil, or maybe her arm muscles.
Regardless, the scale of the setting suited her, with the audience as her echo chamber. It was so large in fact, with so much constant bigness, that everything small or smaller was swallowed. What remained had to boom.
The “Truth Above Love” tour is a lot of things (including game show and circus) but it is one thing above all: a showcase for the power-pop anthem, which Pink pulled and pushed on with a showboating snarl. (Look carefully and you’d have seen a high-kick or two in the choreography.)
The night opened with “Raise Your Glass” and essentially didn’t stop. Even the ballad-y ballads got the arena treatment — a good thing, because some of them are, like, not very good. (Example: “Just Give Me A Reason” with guest-via-video-screen Nate Ruess, or, a good song strangled by a bad one.) Nothing was under-produced, with a crew and set design that included, at minimum, a dozen screens, a dozen dancers, and a dozen singers and musicians.
While performing “How Come You’re Not Here,” off her latest album, Pink was backed by the moving images of a videogame nightmare come to life in which she was pixelized and chased by spiked missiles. Elsewhere, the muscular backs of her dancers offered as much spectacle as the high-wires that strung across the ceiling.
Do you have to be a Pink fan to enjoy the tour? It’s a ridiculous question: you’ll be blasted by almost two hours of music and end up a Pink fan, regardless. The wall-to-wall setlist had its interludes, in the form of spotlit one-offs (a guitar solo; an appearance by a man-in-the-moon straight out of a Méliès short; philosophy from our host of the game show-within-a-tour) and a late-in-the-night turn toward the acoustic. But the audience filled in around even the sound of a lone instrument. This was not the kind of crowd for stillness.
And why should it be? At 33, Alecia “Pink” Moore has become the grand dame for sloppy, self-actualizing feminism. She’s a dork! She’s a ****! (Reformed!) And she is, it must be said, the fount for some truly great music, if the definition of greatness has room for surround-sound choruses and sticky, bounce-back lyrics. (The setlist ranged from a dance-heavy medley of her early 2000s R&B moment, including ”There You Go” and “You Make Me Sick”; more personal mid-career numbers like “Family Portrait” and “Just Like a Pill”; a cover of Chris Isaak’s “Wicked Game” and her trademark **** anthems “F—in’ Perfect,” “So What,” and “U + Ur Hand.”)
The night ended not at all as it began, with the show’s game show motif, and attendant faux-host, wrapped up and sent off before a second encore of “Glitter in the Air.”
Of course, Pink used it as a chance to fly — and, for the first time in the night, dip herself into the water. The audience stood cheering up to the credits, as if they hadn’t quite gotten over not being her loudest backing vocal. And what about Pink? She’s somewhere, I’m sure, still soaring.
Pink spins out over Madison Square Garden: On the scene
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Member Since: 9/6/2012
Posts: 5,634
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Quote:
Originally posted by pinktennisfreak
EW stanning hard!!!!!!!
Pink spins out over Madison Square Garden: On the scene
Reports of Pink’s acrobatics have not been greatly exaggerated.
Over the course of the pop star’s two-hour set in Madison Square Garden last night, she took flight on no less than three occasions — spinning, dangling, and twirling. Once, she crawled in, out, and over a giant metal sphere as it hovered in the air. I think it was meant to visualize her inner turmoil, or maybe her arm muscles.
Regardless, the scale of the setting suited her, with the audience as her echo chamber. It was so large in fact, with so much constant bigness, that everything small or smaller was swallowed. What remained had to boom.
The “Truth Above Love” tour is a lot of things (including game show and circus) but it is one thing above all: a showcase for the power-pop anthem, which Pink pulled and pushed on with a showboating snarl. (Look carefully and you’d have seen a high-kick or two in the choreography.)
The night opened with “Raise Your Glass” and essentially didn’t stop. Even the ballad-y ballads got the arena treatment — a good thing, because some of them are, like, not very good. (Example: “Just Give Me A Reason” with guest-via-video-screen Nate Ruess, or, a good song strangled by a bad one.) Nothing was under-produced, with a crew and set design that included, at minimum, a dozen screens, a dozen dancers, and a dozen singers and musicians.
While performing “How Come You’re Not Here,” off her latest album, Pink was backed by the moving images of a videogame nightmare come to life in which she was pixelized and chased by spiked missiles. Elsewhere, the muscular backs of her dancers offered as much spectacle as the high-wires that strung across the ceiling.
Do you have to be a Pink fan to enjoy the tour? It’s a ridiculous question: you’ll be blasted by almost two hours of music and end up a Pink fan, regardless. The wall-to-wall setlist had its interludes, in the form of spotlit one-offs (a guitar solo; an appearance by a man-in-the-moon straight out of a Méliès short; philosophy from our host of the game show-within-a-tour) and a late-in-the-night turn toward the acoustic. But the audience filled in around even the sound of a lone instrument. This was not the kind of crowd for stillness.
And why should it be? At 33, Alecia “Pink” Moore has become the grand dame for sloppy, self-actualizing feminism. She’s a dork! She’s a ****! (Reformed!) And she is, it must be said, the fount for some truly great music, if the definition of greatness has room for surround-sound choruses and sticky, bounce-back lyrics. (The setlist ranged from a dance-heavy medley of her early 2000s R&B moment, including ”There You Go” and “You Make Me Sick”; more personal mid-career numbers like “Family Portrait” and “Just Like a Pill”; a cover of Chris Isaak’s “Wicked Game” and her trademark **** anthems “F—in’ Perfect,” “So What,” and “U + Ur Hand.”)
The night ended not at all as it began, with the show’s game show motif, and attendant faux-host, wrapped up and sent off before a second encore of “Glitter in the Air.”
Of course, Pink used it as a chance to fly — and, for the first time in the night, dip herself into the water. The audience stood cheering up to the credits, as if they hadn’t quite gotten over not being her loudest backing vocal. And what about Pink? She’s somewhere, I’m sure, still soaring.
Pink spins out over Madison Square Garden: On the scene |
LOVE it! 
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Member Since: 7/22/2012
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Pink swings into action at the Izod Center
An impish grin on her face, Pink slipped the brass ring around her waist. Within seconds of the first downstroke of “So What,” the pop star was airborne, hoisted up above the stage. The song reached its combative chorus, and Pink was propelled above the crowd at the Izod Center in East Rutherford with startling speed. She was like a small golden pebble in a slingshot. As the brass loop carried her from the front of the arena to a small platform in the rear, she did somersaults midair — just because she could.
Throughout, she never stopped singing. The laws of gravity — or physiology, she seemed to be suggesting — do not apply to her.
Growing up in Doylestown, Pa., Alecia “Pink” Moore was a distinguished gymnast. She put that background to work for her at a Saturday night concert that felt like a visitation from Cirque du Soleil. She opened the show upside-down, suspended above the set in the arms of male acrobats. She sang the anthemic “Raise Your Glass” like that, occasionally plunging, bungee-like, toward the stage before bouncing back upward.
“Try,” one of her many empowerment ballads, was performed on a trapeze; Pink cooed the reassuring words into her headset microphone as she spun with velocity that could have disoriented a toddler.
During the mid-tempo stomper “Sober,” she took to the air in a cage that behaved like a gyroscope. She clung to the iron bars of the contraption as it turned viciously on its axis, howling out the chorus as she did.
Many pop stars pantomime childlike enjoyment during their shows, but approach their stage contraptions with their worries barely concealed by a stuck-on smile. Pink was not like that. Her pleasure seemed to be genuine. She sprinted through the set like a kid at a carnival who can’t wait to get to the next ride.
The singer, who was relaxed and conversational throughout the 90-minute show, apologized to the audience for her dancing (it was quite good), and confessed that flying around was easier for her. Acrobatics have often been part of her performances: her trapeze stunts stole the show at the MTV’s 2009 Video Music Awards. But her current tour contains the most spectacular stunts she’s yet incorporated into a concert, and the purest physical expression of the self-confidence she’s always taken as her major lyrical theme.
All of it was jaw-dropping, but none of it was strictly necessary. Pink, who has been recording for more than a decade, has amassed a deep repertoire of entertaining songs, many of which, like her recent hit “Blow Me (One Last Kiss),” turn on a mildly titillating double entendre. Released late last year, her album “The Truth About Love” continued her transformation from a dancefloor commander to a rock bandleader comfortable crooning over abrasive guitar. Pink claimed to have shouted herself hoarse at prior concerts, but did not seem to be taking it easy — and a little gravel suits her, anyway. Occasionally, she leaned hard on her backing singers, but during a soulful acoustic rendition of the ballad “Who Knew,” she left nobody in doubt about her talent, or about the strength and flexibility of her instrument.
Pink’s videos have often been borderline gauche — missives from a woman determined to make an impression at all costs. Yet surrounded by friends and a fine, supportive band, she ditched the provocation and chose instead to foreground her glee. Her attempts to align herself with modern rock were more convincing in concert than they are on the radio: Thumpers such as “**** Like You” and “How Come You’re Not Here” burst through the hems of their tidy recorded versions.
Pink sprinted through a few dance-pop numbers during a short but exciting medley of early material, then returned to the task of establishing her rock bona fides. This was a pop show that contained a drum solo, a long spotlight guitar lead that didn’t feel obligatory, and plenty of meaningful interaction between the singer and her musicians.
Pink followed a cover of Chris Isaak’s “Wicked Game” with three strong songs written in collaboration with prominent rock musicians: “Trouble,” penned with Rancid’s Tim Armstrong, “Just Give Me a Reason,” a duet with fun. frontman Nate Ruess, and “Are We All We Are,” a grinding, anthemic track with Butch Walker’s grimy fingerprints all over it. Even her choice of opening acts — the Hives — signaled her allegiance to guitar music. She’s still not exactly a rocker herself, and her unconventionality remains more hypothetical than actual. But her love for punk is real, and she makes fine use of its energy — and, in carefully circumscribed fashion, its rebelliousness, too.
Pink gave the Hives a tough task. The long-running Swedish band, which is associated with the brief back-to-basics garage rock revival of the early ’00s, had to translate the intimacy and intensity of its primitive musical attack to an arena setting. “Howling” Pelle Almquist, the singer and bandleader, compensated for this with nonstop crowd interaction; at one point, he spent precious minutes of the opening set trying to convince people to sit down. Almquist is a funny guy, and he kept his tongue in his cheek as he was barking his orders to his audience. His antics wore down the initial resistance of a crowd not predisposed toward scruffy garage rock: Fans of Pink found him endearing, or enough of a curiosity to pay attention and play along.
The Hives were so determined to get audience members clapping and cheering and hopping and waving their fists that the band almost forgot to play any songs. Those they did play were propulsive and engaging, but awfully similar — and that had as much to do with the limitations imposed by the garage rock style as it did with the Hives themselves.
http://www.nj.com/entertainment/musi...on_at_the.html
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Member Since: 7/22/2012
Posts: 8,401
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Pink soars at Nassau Coliseum
Pink didn’t need to take a single flying leap to be entertaining Monday night.
When she sat on a stool in the middle of Nassau Coliseum, accompanied only by Justin Derrico on acoustic guitar, and sang an emotional version of “Who Knew,” Pink was as potent as any of her pop peers.
When she takes flight, though, either in some sort of bungee-jumping harness for “Raise Your Glass” or cables that allowed her to soar giddily around the Coliseum for “So What,” turning mid-air somersaults and swooping dives where she would stop just above the outstretched hands of those standing on the floor, Pink is a singular performer. Not just because her high-flying acrobatics take an incredible amount of skill and practice, which they do, or because she sings while doing them, something that should shame so many lip-synchers who claim that singing live while they two-step across the stage is too taxing, but because she seems so joyous as she does it.
There’s a lot going on during Pink’s two-hour extravaganza, from flashing screens to intricate choreography, as well as a framework of a game show. There’s also a lot going on with her music, which ranges from her anthems of esteem-building and acceptance to her more personal tales of her tumultuous relationships.
However, as fun as it is to watch her and her troupe of dancers blow off some steam during “Blow Me (One Last Kiss),” it is an even greater marvel to see how well her quieter suite of songs works. Her recent singles “Try” and “Just Give Me a Reason” bookended a lush version of Chris Isaak’s “Wicked Game,” followed by a lovely dance piece set to Chopin, showing how well the “Truth About Love Tour” could have gone if they went in a quieter direction.
Pink presides over it all with a down-to-earth ease, whether she’s proclaiming, “Being a terrible dancer is way more fun!” before busting out The Sprinkler during “Leave Me Alone (I’m Lonely)” or acknowledging as a new mom that she’s softened a bit, to the point where singing the racier version of her hit “Perfect” makes her slightly uncomfortable.
Her medley of early-Aughts hits “Most Girls,” “There You Go” and “You Make Me Sick” was a reminder that when Pink started out, she was positioned as a one-woman Destiny’s Child. It’s thrilling to see that she has found exponentially more success just being herself, her own high-flying, potty-mouthed, opinionated, obviously smitten self.
Pink soars at Nassau Coliseum
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Member Since: 5/15/2012
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Member Since: 9/1/2012
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Member Since: 2/6/2010
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Seeing her in Indy this fall 
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Member Since: 7/22/2012
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Concert review: Pink sails through Mohegan Sun show
UNCASVILLE, Conn. – It may have been the most spectacular stunt ever pulled at an arena concert.
Hooked at the waist to cables strung from the farthest reaches of Mohegan Sun Arena, pop-rock star Pink sailed to all four corners of the venue, spinning, cavorting and deftly touching down on slim steel girders at the back end of the hall.
This wasn’t Taylor Swift’s little pulley-princess carriage ride or Carrie Underwood’s makeshift pick-up truck jaunt.
This was an acrobatic, mesmerizing, Spiderman / Cirque-du-Soleil, soon-to-be-a-ride-at-Disney, feat of wonder.
The journey was part of Pink’s “So What” encore to the two hour and 30 minute “Truth About Love” tour stop at the casino on Wednesday night. It wasn’t the first time during the evening that the energetic star was seen hanging from a rope.
Rarely has a rock star been propped as high and dropped as far as Pink was, from her set opening “Raise Your Glass,” while bounding from the rafters attached to bungee ropes, to her mid set, suspended-cage ride during “Sober,” Pink seemed to be in hanging in perpetual motion.
Surrounded by a full band and a bevy of dancers (utilized during several modern dance interludes during the show) Pink delivered 18 songs over the course of the set.
Behind all the bells and whistles (and ropes and pulleys) was one amazing concert performance. Despite what she called “the worst sound issues I’ve had in my career” Pink sounded incredible on songs like “Just Like a Pill,” and a cover of Chris Isaak’s sultry “Wicked Game.”
She had early trouble with an ear-piece monitor, and while it may have impacted her on-stage sound, it wasn’t noticeable to the audience. During an acoustic “Who Knew” she reached out and stopped the guitar, again wondering if she might be off-key (she wasn’t). She finished the song a-capella showcasing one of the most powerful voices in pop.
Pink pulled liberally from the “Truth About Love” release performing the album’s three hits “Try,” “Blow Me (One Last Kiss),” and “Just Give Me A Reason.”
The latter song, recorded with Nate Ruess of fun was performed as a duet with Ruess adding his parts via the large video screen that backed the stage. Songs “Trouble” and “All We All We Are” were also highlights.
The night was also the last night of the tour featuring The Hives as openers.
“We are The Hives, we are from Sweden, and we are rock’ n’ roll,” claimed lead singer Howlin’ Pelle Almqvist who wore a top hat and tails during the performance.
http://www.masslive.com/entertainmen...ails_thro.html
It seems like they have some sound issues.
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Member Since: 5/15/2012
Posts: 19,136
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TheO that is the exact same review pinktennisfreak has posted above 
So proud anyway.
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Member Since: 9/6/2012
Posts: 5,634
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lol I'm sorry... I should probably read before post next time. Deleting my flop "posted before" review.
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Member Since: 9/6/2012
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Member Since: 7/22/2012
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Pink shows tough, tender sides in high-flying show
If you had to guess, Pink was *probably airborne for a fourth of her show at TD Garden Thursday night, springing up and down on bungee cords, twirling midair on fabric ropes, suspended by cables and soaring over the sold-out audience as if she were Tinker Bell in a Broadway sendup of “Peter Pan.”
Motion suits Pink, and it is the foundation of her latest road spectacle, a hulking production billed “The Truth About Love Tour,” named after her most recent album.
In front of 13,000-plus fans, Pink put both her body and her voice through the paces in an expertly choreo*graphed, two-hour show backed by a full band and a cast of dancers. She is the rare performer who handles party anthems (“Raise Your Glass”) and heartbreaking ballads (“Just Give Me a Reason”) with equal élan.
In a prerecorded video played before she took the stage, she acted as if she had no use for love. “You want to know the truth about love?” she asked before answering her own *question by flipping the bird to the the camera.
That was part and parcel of her punk sensibility, but in reality, Pink is a big believer in matters of the heart. An acoustic set, with just the singer and her guitarist seated in the middle of heart-shaped extension of the stage, showed her softer side with a pair of tearjerkers: “Who Knew” and “Perfect” (which she rechristened without the expletive that’s usually in the title).
Before that, she simply smoldered on an ethereal rendering of Chris Isaak’s “Wicked Game” (though she couldn’t quite hit Isaak’s high notes, but then, who can?).
She has come a long way from her debut released in 2000, but she revisited those years with a lean medley that mashed up “Can’t Take Me Home,” “There You Go,” and “You Make Me Sick.”
The Hives, the Swedish band whose outsize frontman, Howlin’ Pelle Almqvist, was hellbent on winning over the crowd (and mostly did), opened with a taut blast of guitar- *driven rock.
http://bostonglobe.com/arts/music/20...u8M/story.html
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Member Since: 7/22/2012
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Hm, not sure what to think about this review. 
Quote:
Something in the Air? It Must Be the Headliner
“The Truth About Love Tour,” which stopped at Madison Square Garden on Friday night, is built on a suspension of disbelief, but maybe not the one you’re bracing for. It isn’t about the way that Pink, the tour’s vocal dynamo and principal object in motion, defies logic and the laws of gravity during her unstoppable two-hour show. The aerial acrobatics, the taut cables and spinning cages, the whole business of soaring around an arena like a pop-punk Peter Pan: by now she has trained her audiences to expect this species of amazement in concert. It’s a condition of her current reality.
What, then, stands in for fantasy? In a taped video prelude for the show Pink was seen tossing back shots at a bar, laughing and sobbing, a cartoon mess. Then she emerged to perform a pair of defiant party songs, “Raise a Glass” and “Walk of Shame,” set on either end of a night that got out of hand. Pink performed both of these sloshy anthems — and, a bit later, one called “**** Like You” — with winning gusto, though they represent a receding vantage for her. Judging by the rigors of her tour, an honest testimonial would mean songs about protein shakes, stretching routines and therapeutic massage.
“Honesty” is one attribute that Pink’s admirers have steadily extolled since she transitioned from pattering R&B to chest-beating power pop about a dozen years ago. It resides near the core of her aesthetic identity — what you might call her brand — alongside cheerful vulgarity and barbed resilience. Her blockbuster tour gets its name from “The Truth About Love” (RCA), a brash and sturdy album released last fall and certified platinum (for sales of more than a million copies) within a few months.
The tour confirms that Pink intends to have it both ways, as she put it herself in the lyrics to “Leave Me Alone (I’m Lonely),” a typically contradictory anthem for her. She sang powerfully and credibly, though at times she openly entrusted the task to her background singers, or (less infrequently) the safety net of a recorded track. She presented herself, through song and deed, as both broken and invincible.
That soaring-around set piece, which led off the encore, was coordinated to “So What,” a nose-thumbing taunt released in 2008, during a highly public rough patch in her marriage. “So, so what? I’m still a rock star,” Pink belted (or so it seemed) as she gracefully wheeled above the crowd, almost but never quite close enough to touch.
Pink’s better songs, created with or by collaborators like Max Martin and Billy Mann, are compact studies in pop construction, and she could easily use them to enthrall an arena with few diversions. She did pare down occasionally, as when she sang “Who Knew” as an acoustic duet with her guitarist, Justin Derrico. During “Just Give Me a Reason” — currently a Top 10 single, featuring Nate Ruess of Fun — she merely strutted a catwalk. (The crowd cheered Mr. Ruess’s rubber-faced arrival on a video screen.)
Where the tour stumbles is in concept. Each concert is halfheartedly framed as a game show, though its male master of ceremonies seems better suited to the role of a circus barker. (Alas, Pink already covered that ground with her Funhouse Tour, in 2009.) At times the concert tilted too far into camp; not even the impressive corps of dancers could redeem the “Grease”-like choreography or trite stripper pole during “**** Like You.”
But those were earthbound moments. Pink was better in the air, demonstrating how spectacle could serve the essence of a song, most effectively during “Sober,” involving a cagelike structure high above the stage, and “Glitter in the Air,” with the same twirling-sling conceit she employed at the 2010 Grammy Awards. Then there was “Try,” one of the stronger tracks on the new album, even if it’s structurally a Heart song.
“You gotta get up and try, try, try,” Pink sang, entangled with trapeze ropes. And the crowd seemed to grasp her message fully. At the very end of the show, as extensive credits scrolled down one screen, the other screens showed footage of her arduous rehearsals: the truth about the Truth About Love Tour. Hardly anyone left the seats.
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http://www.nytimes.com/2013/03/25/ar...re-garden.html
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Member Since: 12/19/2011
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I went to the Boston show last night, it was amazing. This was my first time seeing her live but I've been wanting to now for quite some time. She definitely did not disappoint!
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Member Since: 7/22/2012
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P!nk at The O2 | Review
The lights dimmed and a rather peculiar little man, who was a cross between Ron Jeremy and a field-mouse, took to the stage reciting verse as if we were witnessing some dodgy theatre show. Soon after, the curtains were raised to reveal the stage which housed an elaborate set with stairs to a mounted platform, a full-live band, a half-dozen or so huge HD screens, seven half-naked dancers, and above all this read the words ‘Truth About Love’. A few seconds later the show began and for the lack of a better description; **** popped off.
The band belted out Raise Your Glass as the dancers leapt across the stage, but still no sign of P!nk. Three herculean men were perched in the rafters of the O2 stage and as the first chorus dropped, so did P!nk. She tumbled from a cocoon type berth from behind the men and acrobatically slingshotted up and down singing from her attached harness. From the ridiculously elaborate stage set-up, to the bonkers acrobatics and choreography; this was certainly not going to be an ordinary night of entertainment.
Walk of Shame from the new album had P!nk and her abs roaming the stage with her batch of cat-like dancers as the entire O2 became transfixed to the onstage spectacle unfolding in front of their eyes. Just Like A Pill saw P!nk fall to the floor and deeply entangle herself with the fans in the pit; some of whom queued for 12 hours to gain access and others who paid exorbitant prices for special tickets. You and Your Hand is one of the quintessential P!nk attitude numbers as she roams the stage exuding ‘Girl Power’ and charisma.
It becomes quite clear this isn’t just a music concert; this is well oiled and drilled machine of a show. When P!nk leaves the stage, the band and screens trudge along, all in time, with even our creepy mouse man and master of ceremonies returning to narrate the show to the crowd. P!nk then appears from the extending platform that sprawls into the middle of the O2 pit. She elevates far above the crowd wrapped in fabric as she intricately contorts her body, all the while beautifully singing Try.
P!nk changes costumes regularly throughout the night and appears in a tight leotard with a raunchy ‘x’ placed over her lady garden – *insert ‘x’ marks the spot joke here*. Trouble and Are We All We Are plays as the crowd get sucked further into this spectacular show; most still wide-eyed, surprised and picking their jaws from the floor. During Are We All We Are, the onstage extravaganza shows a video done through pixel art with an animated P!nk running around a dainty little pixel house. Mid-way through the song as P!nk surveys the front row of the pit, she halts mid-sentence to break up a kerfuffle happening in the pit between two guys as she says: “Hey you, yes you. Stop fighting, it’s all about peace and love”.
The highlight of the night comes as P!nk along with her dancers elevate themselves once more into the O2 air, housed in an complex cage. She sings Sober while performing some stunning choreography from the cage. This is something that even Cirque du Soleil would be proud of as the crowd try and remind themselves that this is just a pop concert.
P!nk showcases her voice as she exclusively sings Fire and Rain by James Taylor with just her and her guitar player; no frills, no gimmicks – simply brilliant. P!nk then harks back to her hip-hop and R’n'B past as she performs a Most Girls / There You Go / You Make Me Sick mega-mix with dance routines and visuals to boot. A worrying/hilarious moment for Irish culture comes as P!nk asks the crowd “Who here is a ****?”. The crowd respond with a deafening “me”, louder than any other moment on the night – oh dear.
The final hoo-haa as it were comes as P!nk performs So What for the final encore of the night. (video below) Four wires cascade from each corner of the O2 and attach themselves to P!nk’s mid-drift. As the first verse sounds out she rises up and down again wrapped in this peculiarly engineered ring that allows her to spin and flip simultaneously. As the chorus begins, P!nk unbelievably launches into the air and glides all over the O2 arena. She hovers over the upper-tier of the arena, only stopping on top of pillars at the very back of the O2, giving the ‘people in the back’ a great close look at the star on show.
As the night ended and with the crowd still in shock, a credit list scrolled through on the big screen, just like at the end of a movie with hundreds of names credited for this mammoth show. Not only was this a showcase for P!nk’s ripped abs, quirkiness and acrobatic skills; it also paraded P!nks impressive voice in the most testing of scenarios. The Truth About Love tour is about as close as you’re going to get, in pop music terms, to the equivalent of a blockbuster Hollywood movie. And even with the expensive ticket prices, this show can only be deemed as a spectacular bargain. P!nk and your abs – bravo.
Source: http://www.goldenplec.com/pnk-at-the-o2-review/
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Member Since: 7/22/2012
Posts: 8,401
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PINK KICKS OFF UK TOUR WITH HIGH-FLYING MANCHESTER GIG
Star returns to the UK to perform spectacular show, soaring above the stage on Truth About Love tour!
14 April, 2013: Pink kicked off her The Truth About Love UK tour last night in Manchester - and as was to be expected, the show offered something a little more spectacular than the run of the mill pop gigs.
Pink gigs are really quite something. Not only is the 'Just Give Me A Reason' star a flawless live singer, but she is known for performing much of her shows from high above the stage, suspended on ropes - all while singing live. You wouldn't get the same from a Britney Spears concert, that's for sure.
The US star is currently enjoying huge UK success with her Fun. duet 'Just Give Me A Reason', which has taken up permanent residence inside the UK top ten, and following previous successes from her current album, 'Try' and 'Blow Me (One Last Kiss)'.
Source: http://www.gigwise.com/news/80947/pi...manchester-gig
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