Crítica «FutureSex/LoveShow»: Houston

Timberlake brings style, soul, sexyback to Houston fans

Bringing sexyback was just the beginning for Justin Timberlake. The former boy-bander brought style, soul and extreme showmanship to Sunday night’s second-loudest crowd. (Top ear-piercing honors go to Hannah Montana’s record-breaking set at Rodeo Houston.)

Timberlake is an idol at the top of his game. He’s scored three consecutive hits off sophomore solo disc Futuresex/Lovesounds, which has moved more than three million units. He’s also expanded into film (Alpha Dog, Black Snake Moan) and has maintained a wry sense of humor about his mega-success.

The Futuresex/Loveshow, however, was all about music.
Several hundred fans flocked around the immense, tri-level stage, which sat in the middle of Toyota Center. They fidgeted anxiously on a red carpet around the perimeter and just outside on the general floor area.

Scrims descended from upstage as images of a close-cropped Timberlake and four key words (Future. Sex. Love. Sound.) flashed, a technique used throughout his two-hour set. He finally appeared center stage, bathed in red light, to the booming groove of FutureSex/LoveSound.

An army of nine dancers pounced and swiveled with precision, and Timberlake matched their every move. He was decked out in a tailored gray suit and white sneakers–a sharp-dressed heartthrob–and strapped on a guitar during Like I Love You. That moment of musicality, however, seemed more cosmetic than anything else.

Recent single My Love started slowly but soon kicked into its full electro-gallop, which allowed Timberlake to indulge in a sizzling solo dance spotlight. Senorita found the band huddle center stage as its leader pounded on a keyboard, and Sexy Ladies was a funk-flavored workout.

Velvety ballad Until the End of Time was a rare mellow moment, with Timberlake positioned at a revolving piano. It was one of the set’s best showcases for his impressively maturing voice, thanks to a smoother arrangement than the one featured on disc.

Many of the beat-heavy Futuresex/Lovesounds tunes differed from their source material. The live instrumentation helped relax the rhythms and turned many moments into full-fledged soul revues.

There were bursts of unexpected energy throughout the show, thanks to an impressive synchronicity between Timberlake, his band and his dancers. Every moment, every mark was hit with ease. He benefited greatly from a quartet of African-American singers, but Timberlake’s dazzling falsetto is something American Idol’s male contestants can only dream about.

What Goes Around built to a dramatic high as a wheel of lights spun just above Timberlake’s head. He even picked up a video camera and turned it on himself, recreating the vibe of his recent Grammy performance. Flipping the bird, however, was a new addition to the on-camera action.

Producer du jour Timbaland joined Timberlake onstage during Chop Me Up, and the pair circled the stage, dancing and beatboxing. Timberlake descended offstage and left his partner to entertain fans on the turntables during a 20-minute intermission. It was a predictable mix of tunes (Nelly Furtado, Michael Jackson, a really cheesy cover of Kelly Clarkson’s Since U Been Gone) accompanied by a puzzling video mix that featured animation and clips from contemporary horror films (Saw, The Ring, The Grudge).

The most interesting moments came near the end of the DJ set: a short tribute to late hip-hop princess Aaliyah and Give It To Me, the Furtado/Timberlake collaboration featured on Timbaland’s upcoming solo disc.

Timberlake returned in a black fedora and vest, bouncing to groove-conscious hit Rock Your Body. He soon slowed things down for a medley that included Gone, the only nod to his ‘N Sync days.

Cry Me a River was a mix of ominous chants and fierce guitar riffs, a predecessor to SexyBack, another signature hit. Reunited onstage with Timbaland, Timberlake turned that recent smash into a party-time stadium anthem, complete with sing-alongs and shout-outs to the crowd.

Fans began scurrying to the exits after that last Sexy note. But Timberlake wasn’t done. He reemerged in a white T-shirt to express a heartfelt thanks to Houston, where he’d spent «the last couple of days» playing golf and enjoying dinner at the downtown Strip House.

«It’s a restaurant», he assured the throngs of young fans. He returned to a center stage piano to croon (Another Song) All Over Again, a lilting ballad that again played up to his vocal chops.

As Timberlake made his exit, a familiar face greeted him onstage. The lights were up, but he grabbed a microphone to announce her arrival.

«This is your sister, your daughter, your niece», Timberlake shouted. «Give it up for Robyn Troup! She won the Grammy contest».

There were no duets this time, but Troup still earned rapturous applause. Maybe soon, she’ll be joining her Grammy guardian angel on the charts.

Opener Pink flexed her pop muscle like a pro during a high-energy, 40-minute set. Her own toned physique was equally impressive. She quickly greeted fans on the floor before bounding onstage in a bright orange dress, a black jacket and boots. The music kicked off with ‘Cuz I Can, a riot-girl rebel yell from 2006 disc I’m Not Dead.

She kept the pace with a rock-tinged assortment of singles, including Just Like a Pill, which still shimmers with urgency; and Who Knew, a flame-out on the pop charts that should have been a smash.

Stupid Girls was cheered on by several of the same type of females the song is ridiculing, and it was accessorized with appropriately bimbo-fied dancers. No one ever called Pink subtle.

Dear Mr. President, a piercing, potent criticism of the Bush administration, was a highlight. It segued directly into Don’t Let Me Get Me, Pink’s personal anthem of individuality.

Pink’s popularity has been dampened by her abrasive, uncompromising personality, but she likely wouldn’t have it any other way. Even lesser tunes pack a punch. U + Ur Hand is a roaring kiss-off to unworthy suitors, and Leave Me Alone (I’m Lonely) is a No Doubt-esque romp better than any of Gwen Stefani’s recent solo material.

The raspy-voiced singer changed into a sparkly black one-piece for set closer Get the Party Started and engaged in some Cirque-style acrobatics. She spun and swung on a long piece of material, interlocking limbs with her female dancers and hoisting herself to the top of the stage. Just another surprising moment in Pink’s left-of-center pop life.