International Diana Ross Website

I Love You - U.S.A - Florida - West Coast 2007 (Misc.Performances)

November 04, 2007 - Oakland , CA  - Paramount Theatre
- Setlist -

November 09, 2007 - Reno , NV  -  Grand Sierra Casino & Resort

Diana Ross: She’s coming out.

Where: Maricopa County Events Center in Sun City

Details: Diana Ross is scheduled to perform on Tuesday, November 6.

Diana Ross is divine in Oakland

Forty-six years after breaking into the music business, Diana Ross still reigns supreme.

The 63-year-old Detroit native, who came to fame as the leader of Motown's Supremes, was definitely in royal form on Sunday night at the historic Paramount Theatre in Oakland.
Her show was as flawless as any I've witnessed this year -- an absolute blueprint for how to put on a concert that thrills from start to finish.

Of course, in order to properly follow that blueprint a star would need plenty of great songs, ones that encompass several different styles and genres, and connect with multiple generations of listeners.

Unfortunately, few can match Ross in that regard.
The vocalist took the stage right at the advertised start time, a joyous novelty in these days when second-rate divas like Lauryn Hill are known to make crowds endure hour-plus waits. The house lights dimmed and the stage lights stayed dark. Then we heard that singular voice, one that has sold some 100 million albums and singles worldwide, calling forth from the pitch black with a promise:
"I'm coming out!"

The cloak of darkness lifted and Ross made an elegant entrance as she appeared at the top of two-level stage wearing a sparkly red dress and a huge poufy wrap. She looked every bit the queen -- the drama queen, that is -- as she began to walk down the stairs while singing the 1980 dance-anthem "I'm Coming Out."

- Setlist - click here ( .Doc file )

Moving from the tail end of the disco daze, Ross immediately jumped back to the mid-'60s for a quick run through four songs from, what the star called, "the super-duper Supremes." These tunes -- "My World is Empty Without You," "Where Did Our Love Go," "Baby Love" and, especially, "Stop! In the Name of Love" -- are some of the best-loved songs of the last 50 years and the crowd reacted to them like hundred dollar bills where falling from the rafters.

It was a gutsy move to hit the Supremes songbook so early in the show. Yet, it paid off for the supremely talented singer. The songs worked as a rocket ride, both in lifting fans' enthusiasm to an even higher level and in projecting this show forward with a sense of momentum that would never be lost throughout the evening.

Credit that to the strength of Ross' own solo catalog. It's also a sign that this lady, plain and simple, knows how to organize a show.

Working in front of a seven-piece band, complete with two percussionists, Ross sounded terrific as she moved into the '70s for two No. 1 hits, the power-ballad "Touch Me in the Morning" and the boogie-number "Love Hangover." She also looked beautiful and healthy, not nearly as sickly thin as in the past.
Ross continued to make all the right moves as she bounded through several wardrobe changes and hit all the musical styles that have colored her songbook over the years. She walloped the crowd with tremendous takes on the 1980 disco-era classic "Upside Down" and the groovy "Ease On Down the Road," from the 1978 movie "The Wiz."

The vocalist then did a complete turn and transformed, quite convincingly, into a jazz diva for a reprise of her role in the 1972 Billie Holiday biopic "Lady Sings the Blues." She performed stunningly beautiful --and, again, authentic -- versions of the standards "Fine and Mellow" and "Don't Explain."

She closed the show in triumphant fashion with "Why Do Fools Fall in Love," which led into an exuberant encore that included "Ain't No Mountain High Enough" and the disco anthem "I Will Survive."

She didn't have to tell us twice, but she did, choosing to play "I Will Survive" once all the way through and then deciding to call it back for a reprise at the very end of the show.

Ross is indeed a survivor, having weathered her share of difficult times over the years, but from our vantage point she looked and sounded as supreme as ever.

Diana Ross has done her best to halt time. Impeccably coiffed and made up Tuesday for her 90-minute set at the Gibson Amphitheatre, the regal entertainer still manages to look much like she did at the height of her career, rather than her age of 63.

Her stage show was pure old-school glitz, from the floor-length red-sequined gown she wore as she entered to the strains of "I'm Coming Out," to the Motown standards and '70s pop hits she unfurled on a light-bedazzled stage that could have been a Vegas supper club.
But she can't freeze time any more than the rest of us mere mortals can. When she acknowledged this, confessing before her final song that her father had died earlier that day, her power as a performer was confirmed.

The revelation was as well-choreographed as any of the evening's perfectly timed moments, segueing into the ballad, "I Love You (That's All That Really Matters)," from her latest album, "I Love You," a compilation of classic and contemporary love songs.

But there was nothing artificial about the collective gasp that rose from the audience at the news. Ross really seemed to want to share her grief with her fans. Having worked so hard to maintain her perfect facade for them for so many years, Ross seemed to indicate that fans do have a place in her heart right alongside her family, who joined her onstage.

The rest of the night, however, was all about the show. That meant gratifying both those who came to adore the former Supreme and those who were there to worship the gay icon Ross has become. As her more exuberant fans danced, waved their arms, and flirted with Ross, the singer sassed them right back.

The playfulness with which she approached her own legend was what made the night so much fun. While the quality of her voice varied, and some of the musical arrangements delivered by her eight-piece band were schmaltzy, Ross was always in full control of her primary instrument -- herself.

She worked the room during versions of "Baby Love" and "Where Did Our Love Go" that softened their original snap but still had infectious swing, and got the crowd to vamp along to "Stop! In the Name of Love." Amid three costume changes, she delivered '70s staples including "Love Hangover" and "Ain't No Mountain High Enough." Ross managed to render the usually dark Billie Holiday song, "My Man" into a sweet tribute to Berry Gordy, who was in attendance, and orchestrated her role in the Holiday biopic "Lady Sings the Blues."

No matter how many years pass, or what personal losses she suffers, Ross remains an icon, thanks to her ability to deliver the show her fans long to see.

Diana Ross performes at Ruth Eckerd Hall APR 26 , 2007



The original "Dream Girl" makes her debut performance at Ruth Eckerd Hall. In a remarkable career spanning over 40 years, she has become accomplished in music (as lead singer of the Supremes and a solo artist), film (an Oscar nominee for Lady Sings The Blues, as well as turns in Mahogany and The Wiz), television (A Golden Globe nominee as star and executive producer of the TV movie "Out of Darkness"), and Broadway (An Evening With Diana Ross). Be sure to catch Miss Ross as she performs songs off her newest album as well as the hits "Ain’t No Mountain High Enough," "Touch Me In The Morning," The Theme From Mahogany, "I’m Coming Out," and "Upside Down."

Diana Ross dazzles in concert - BY PAM HARBAUGH

MELBOURNE FLORIDA -
As soon as she stepped on stage,it was clear a diva had arrived.
Diana Ross made her first Brevard County appearance Wednesday night at the King Center for the Performing Arts.
It was one of four Florida stops on her international "I Love You" concert tour.
The audience had to wait 30 minutes for the show to start because Ross got stuck in traffic,
but no one seemed to care.
When she took to the stage dressed in a dazzling red gown and lavish,thick boa,Ross stepped to the microphone and sang,"I'm Coming Out."
"All night we're going do lots of memories,"she said.
Ross seemed to thrill the audience with happy-go-lucky Supremes'classics like "Baby Love,"My World Is Empty Without You,"and,of course,"Stop! In the Name of Love,"which brought most of the 1,600 people in the audience to their feet,dancing and singing along with the Motown icon. Ross was lead singer with the legendary Motown group.
The Supremes were the inspiration for the Broadway musical and recent movie,"Dreamgirls."
"Oh, I can't believe it," said beaming Melbourne hair stylist Steven Sterling.
"I love her.Part of who I am is because of Diana.Every time I make an entrance,I feel like her."
As soon as Lisa Patrick of Cocoa heard Ross would be performing here,she hurried to get tickets.
"I said I'm gonna get me a ticket,"she laughed."I grew up with the music and the movies."
Ross,63,was born in Detroit and grew up singing in a church choir. She made her name as lead singer with the Supremes from 1961 to 1970,using her sultry styling with finger popping tunes that became love anthems for a generation.
In 1972,she was nominated for an Academy Award for her portrayal of the blues singer Billie Holiday in "Lady Sings the Blues." She also appeared in "Mahogany" (1975) and "The Wiz" (1978). She has worked with Lionel Ritchie and Michael Jackson. Most recently, she made an appearance on "American Idol."
Friends Janet Dunkin of Melbourne and Jane Gautier-Shadoin of St. Raphael,France,dressed up in glamorous finery for the show.

They both said they were"speechless"when they found out Ross would be performing here. "Look at me,"Gautier-Shadoin said."I'm thrilled to death to see her.
However,both the women wished Brevard would have dressed up more for the event. "Why flipflops?" Gautier-Shadoin said. "This is rhinestone event."

Diana Ross: A trip down memory lane

Diana Ross described it well:
"It's memory time!"the iconic diva proclaimed early in her performance Tuesday at Hard Rock Live.When it comes to old favorites,Ross and her arsenal of Motown classics are hard to beat:
"My World Is Empty Without You,"Where Did Our Love Go,"Baby Love,"Stop! In the Name of Love" — Ross rolled out the big Supremes'hits early in her 80-minute show.

The opening number,appropriately enough,was a quick taste of"I'm Coming Out,"in which the band's introduction lasted longer than the song itself.
Ross looked resplendent in a glittering red evening gown, with a massive matching wrap that stretched from her shoulders to her ankles.When she tossed that accessory aside,the slinky dress revealed that she still has an admirable hourglass figure at age 63.

The star was accompanied by an economically constructed 5-member band (keyboards, guitar, bass, drums and percussion),as well as two backup singers.

Aside from a low staircase in the middle of the stage, there weren't any visual distractions.
Behind the ensemble long curtains framed a starry backdrop.
Ross delivered the old hits faithfully,although the band did enliven"Touch Me in the Morning"with some sassy Latin rhythms.

After about 20 minutes,Ross left the ensemble to jam alone as she executed the first of three costume changes.Nothing radical,in the Cher mode,just matching glittery gowns in different colors.
As a singer,Ross has always possessed a voice that's occasionally thin and a bit idiosyncratic.If she were an American Idol contestant,it's easy to imagine that Simon would have snarky criticism,but she would be a fan favorite.

She does have the distinct advantage,however,of being the one and only Diana Ross,a role that she still plays with style and confidence.The other thing that's readily apparent is the quality of the old songs: More solid pop creations would be hard to find.

And Ross used her voice to great advantage on Billie Holiday's solitary "Don't Explain"and"Theme From Mahogany(Do You Know Where You're Going To)."

There were a few of the hits that she didn't do and those songs might have been better than the time-chewing closing combination of "I Will Survive" and "I Love You (That's All That Really Matters)."
Ross dedicated the latter,a ballad on her latest album,I Love You,to the families of the Virginia Tech victims.
"Let's have a celebration of life and love,"Ross told the crowd,and be positive about keeping love alive."
After all these years,it's easy to forget the love in these old songs,so it's nice to have Ross around to remind us.

Diana Ross proves she has survived - BY HOWARD COHEN

Dreamgirls come,dreamgirls go,but there's only one Diana Ross.And that Ross,in all her sequined glory,had one of the more successful dates of her current'I Love You Tour'Monday night at Hollywood's Hard Rock Live.

Drawing 5,000 or so fans for the closing date of her American leg,about double the number she has lured for some earlier stops on this tour, Ross, 63, covered the basics,her Supremes hits and her'70s pop and disco numbers and wisely ignored her lackluster new CD of remakes,except for the syrupy title track,I Love You,as her encore.

But it was a cover plucked from her obscure 1995 Take Me Higher album that turned an often-perfunctory performance from a mere cavalcade of oldies and a fashion show of tulle and spangly dresses into something slightly more personable.
The song was Gloria Gaynor's I Will Survive,sung late in Ross'80-minute set.Given all that she has been through,not the least of which was a high-profile disastrous vocal performance on American Idol last month,I Will Survive felt like a mission statement.

Sure,Ross could endure 23 years without a major hit single in America;the DUI arrest five years ago;singing out of tune before 30 million viewers in a show of solidarity with Sanjaya on Idol.But Miss Ross will not be denied her stature as a consummate show business entertainer.

Unfortunately, her concert sparked in fits and starts.Her entrance to an abbreviated I'm Coming Out,in a blazing red gown and wrap,led to a plodding and tinny series of'60s Supremes hits,My World Is Empty Without You,Where Did Our Love Go,Baby Love and Stop in the Name of Love.
The latter and Love Child skipped out of the'60s arrangements they once wore and,with thumping pulse,took on aspects of '70s disco.Yet,at times,Ross seemed to lack confidence and didn't command her stage, sticking to a small area with an arm extension sufficing as her grand gesture.For a woman whose lively music was so often an aerobics class staple,Ross keeps her movements to a bare minimum.

So can Ross still sing,Idol notwithstanding?The answer is yes, as well as ever on a tender and lovely God Bless the Child,dedicated to"Mother Kendrick''in the audience.Unfortunately,Ross followed that classy one with the disposable Why Do Fools Fall in Love,wasting her voice on meaningless fluff.Where is Ross'manager?

At times,as on a hurried Ease on Down the Road from 1978's The Wiz,or on the irresistible disco tune Love Hangover,where singing was an afterthought(she only sang the opening verse and first chorus before fleeing from the stage for another outfit),Ross seemed more concerned with her entrances.But when she slowed the tempo,putting a jazzy,seductive spin on her 1973 pop hit Touch Me in the Morning or the lesser-known It's My House she rose above her bland,nondistinct five-piece band.The Ross of old,the star,appeared.

A Diana Ross concert doesn't have the energized air of Event the way,say a Streisand show does.This icon's career has been too often mismanaged and marginalized. But few can deliver the feel-good showmanship the elegant Ross delivers-if only the highlights hadn't proved so fleeting.

Randy from Orlando, FL -

Just walked in the door, but am busting to share what occurred tonight. I was so scared after seeing AI and the Good Morning America show that she would be off in concert. As has been reported, she is on, totally on! She was not thin voiced as reported earlier on Ain't No Mountain High Enough. And OH MY GOD, "I Love You" could not have been done better; no recording, the real Diana, and it was heart felt. The audience in Orlando was a true Diana fest! I didn't know they were out there in this area. It was a pure love fest from start to finish. Lots of bouquets of flowers; she even invited a guy up on the stage to dance with her.

Lots of new merchandise, and there was quite a line the whole time. This was the Diana I know and love. The songs were the same as reported in earlier shows, but the sound, it was truly there. My partner, who is fairly critical, agreed that this is the Diana that all admire. She was four rows away and looked flawless and totally into the show. She dedicated her last song, "I Love You," to the students at Virginia Tech. Concert #10 for me was such a trip back in time; the intimacy of the band and her genuine praise of all it's members made for a show Ross can be proud of. She took her time with the numbers and kept the majority of the audience on their feet for over half the show. I will go to bed with a smile tonight knowing that Diana still has the entertainer- extraordinare qualities that she has always been known for! The Hard Rock was such a great venue for this show and whoever is promoting this tour needs our plaudits! High on Ross again!

Randy in Orlando

Diana Ross on stage can still hypnotize an appreciative crowd

Liz Smith

Originally published April 11, 2007

DIANA ROSS became a truly iconic figure in pop music the day she stepped in front of Mary Wilson and Flo Ballard and they then became Diana Ross and the Supremes. Now 63, with some troubles behind her, can Diana still claim icon status? Wonder no more; just get yourself to whatever venue Miss Ross is playing in a current series of one-night stands across the country and see this phenomenal woman.

Diana took the stage Friday at the Theater at Madison Square Garden, exploding into view in skintight red with a humorously mammoth organza wrap, belting, "I'm Coming Out." (The gauzy accessory seemed about to suffocate her, but she bested the fabric.)

Diana knows what she is, what she represents, what the fans want. Like Cher, who is more laconic and laid back, but equally determined to lift her audience up, Diana knocks out one breathless hit after another, songs from her Supreme days, her disco era, the Billie Holiday tribute. She made four costume changes -- all but one included a massive beaded, fluffy or feathered cloak, which she would eventually toss aside, to be swept up instantly by a minion. Her mane of hair has been tamed enough to display her beautiful face.

Diana also vamps, she pouts. She shakes what the good Lord gave her in a manner that shouldn't work for a lady of a certain age, but Diana's celebration of her mature sensuality is never embarrassing. Her body is in fine shape; only her stomach reveals the convex pillow of one who has given birth to five children.

And what of the famous voice, that unmistakable, urgent, perfect pop instrument? It is still in fine fettle. She's lost a few top notes, but brilliant backup singers and a hot, driving band compensate. And her tone survives beautifully in her solos; "Fine and Mellow" and "Don't Explain" were jaw-dropping, jazzy, soulful forays into the kind of sensitive work she isn't as known for. Later, with only a little explanatory chat, she sang the title track from her new CD, "I Love You." The song is so well suited to her voice and style, it seems like a Ross standard a

The lights went down at 8, and we were spilling onto the street at 9:45. The Madison Square Garden audience seemed very satisfied, though some fans complained on Web sites of the brevity, comparing it to shows from back in the day.

From Diana Ross, hits and a few misses

By Kevin L. Carter

For The Inquirer

For a self-described "aging diva," Diana Ross certainly looked beautiful Saturday night at the Borgata. As she always does when performing, she made a series of wardrobe changes during the show, each more spectacular than the next.

Shame that her music wasn't always as beautiful as she was.

The majority of Ross' hits, especially during her Supremes and post-Supremes period, were characterized by sophisticated, multilayered orchestral backdrops that surrounded her soft but dramatic - even melodramatic - singing style.

But at the Borgata, Ross, 63, performing with a stripped-down seven-piece band, only sometimes achieved the intended effects of her three-decade array of hits.

"Ain't No Mountain High Enough" is, arguably, one of the greatest pop songs ever written and recorded. The lyrics (by Ashford and Simpson), the meticulous, clockwork-precise instrumental and vocal charts, and Ross' partly spoken, partly sung lead on the recording were all spectacular then and remain so today. But live, the song came out as little more than a weak, ghostly projection of the original. A quarter-century after the fact, you would have a right to expect a bit of a dropoff, but this was just too disappointing.

Nevertheless, Ross did provide the sold-out crowd with some nice moments in the quick-moving 90-minute show, even a few that were gorgeous. She was sassy on the assertive "My House" and "The Boss," shaking and shimmying her shoulders sexily.

"Love Child" began earnestly but lost focus and passion, which she and her band regained by adding an exuberant Latin coda.

Later, an instant of pure beauty: playing an intimate version of "Don't Explain," Ross commanded full attention with her exacting, jazzily enunciated wordplay. While she never had a jazz diva's voice, she always had the attitude and certainty. It came out to great effect when Ross was at her most quiet and vulner

Asbury Park Press (APP.COM)

Ross dazzles, delights Red Bank crowd

Posted by the Asbury Park Press on 04/11/07
By Kelly-Jane Cotter
Music Writer

Still a fox at 63, Diana Ross knows how to make an entrance.

The house lights went down at Count Basie Theatre in Red Bank on Monday night, and the audience at the sold-out show heard just one word:

"I'm . . ."

 And everyone cheered.

 "I'm coming . . ."

Whoooo!

"I'm coming out!"

And then, ta-dah! There she was onstage: Diana Ross, descending a staircase, wearing a form-fitting, scarlet, sequined dress with a diaphanous wrap billowing around her dainty shoulders.

"Helloooooo," she said, spinning on high heels for her admirers.

She'll have you aching for more glamour even before that first song ends.

Ross has a regal presence onstage, but she's also warm and engaging. She beamed at the audience, giggled when people really started dancing and graciously accepted a bouquet from a pre-schooler while singing "Theme From Mahogany (Do You Know Where You're Going To)."

"Oh, my goodness I can't bend over," said Ross, who at this point was wearing another mermaid-like number, a black sequined gown, as she tried to reach the little girl's gift. The girl was boosted up to stage level and gave Ross a big hug.

Ross held that bouquet through the entire song, and then placed it on the piano before launching into her signature song, "Ain't No Mountain High Enough."

Ross, who has been recording and performing since her days with The Supremes in the '60s, still has an expressive voice and a repertoire of coos and "oohs" and "ah-ha's" that serve as grace notes to her songs. Her voice was in splendid shape Monday night — it has grown richer with age, while still remaining delicate.

She is expert at portraying silky vulnerability. Hear Ross sing "Touch Me in the Morning," and you'll bristle at the cad who's threatening to leave her. But then you'll realize, he's gonna have second thoughts, if he's smart.

Her rapid-fire, multicostumed, 90-minute concert made clear how versatile Ross has been. She was the quintessential '60s Motown dream girl, and then she became a sultry disco queen, and then a standard bearer of the torch song. She still can perform material recorded when she was a young adult — "Baby Love," "Stop! In the Name of Love" — without sounding foolish, and that's a credit to Motown songwriters as well as to Ross.

The audience was with Ross every step of the way, and she seemed delighted.

"I want to see a lot of chair dancing out there," Ross teased her audience, shaking her cloud of curls. "I want to see shoulders moving, all that."

Her fans obliged. This was such a cute crowd — you'd see the men popping up from their seats like dandelions to do a furious dance, and then they'd reluctantly sit back down when the song ended. The audience was unusually diverse — black and white, straight and gay, male and female, lots of seniors and at least one little kid.

"Touring gets hard for a person my age — that airplane stuff is hard," Ross confided to her audience at the end of the show.

She sang the title track from her new album, "I Love You," and said she named it so as a dedication to her fans.

"You've given me so much over the years," Ross said.

 

Music Review: Diana Ross gives fans what they want at MSG

BY GLENN GAMBOA
glenn.gamboa@newsday.com

April 9, 2007

Diana Ross knows how to give her fans what they want.

In her 75-minute set, she packed in 19 songs, five glamorous gowns (including one seemingly inspired by the Li'l Kim MTV Music Awards outfit she liked so much), four costume changes and enough diva hair flips and dramatic spins to keep everyone happy until the next time. She entered to "I'm Coming Out." She paid tribute to her Supremes days with "Where Did Our Love Go" and "Stop! In the Name of Love." And she recalled Disco Diana with "Upside Down" and "Love Hangover" -- which, like most of her songs, were done in nearly the exact arrangement that made them hits 25 or 30 years ago.

In fact, aside from the title track from her new album "I Love You" (Angel), all the material was tried and true. Even her choice of a cover that isn't associated with her -- Gloria Gaynor's "I Will Survive" -- wasn't much of a stretch.

None of that should really matter much. Ross is far from the only veteran artist out on the road steeped in the good-old-days and offering up nostalgia for around $100 a head. And unlike so many of her contemporaries, she can still hit all her notes and look good doing it.

However, Ross is a rare diva, capable of much more than she tends to let on. She added a bit of an island feel to "It's My House" and a nice Latin touch to "Love Child," which also gave her five-piece band and two backing singers a chance to shine.

"Not bad for an old broad, huh?" asked Ross, who turned 63 last month, after showing off some bootylicious Beyonce moves during "It's My House."

Even more impressive, though, was her jazz segment from "Lady Sings the Blues." Her subtle reading on Billie Holiday's "Don't Explain" was the evening's highlight, perfectly delivering the song's wrenching acceptance in her hesitant phrasing and the delicate gloss she brought to her minor-key vocals -- a remarkable change of pace from her usual over-the-top, boa-hugging glamor.

"Don't Explain" serves as a reminder of Ross' artistry, of what she still is capable of as a singer and performer. Unfortunately, her new album "I Love You" doesn't provide any more examples and the way she timidly broached the subject of playing new material at her concert showed she was less than confident about how it would go over. Though her first-ever stage performance of "I Love You" was passable, it lacked the grace of her older material.

Ross needs to decide what she wants. Nostalgia tours and "American Idol" appearances are easy enough. But if she wants to be taken seriously again, she needs to apply herself a bit more than re-crafting "I Will Survive" with ad libs such as "I will, you will, we will survive." Forget simply surviving. Ross should want to thrive again.

DIANA ROSS. Easing on down the road, pleasantly and risk-free. At the Theater at Madison Square Garden Friday night.

Diana Ross still reigns supreme

Saturday, April 07, 2007
By RAY KELLY
rkelly@repub.com

MASHANTUCKET, Conn. - Fresh from a stint as a coach on "American Idol," Diana Ross continues to show would-be pop divas how to do it right.

Ross kicked off her North American tour Thursday night at Foxwoods Casino's intimate 1,463-seat Fox Theater. The sold-out show served as a warm up for last night's scheduled stop at Madison Square Garden in New York City.

In a 75-minute set, Ross managed to pack in 18 fabulous songs and five dazzling costume changes.

She teasingly opened the show by singing "I'm Coming Out" off-stage before making a grand entrance in a form-flattering, red sequin gown. Her slightest shake or shimmy provided squeals from the audience.

Ross quickly followed with a faithful cover The Spiral Starecase's "More Than Yesterday," which is featured on her new album, "I Love You," a collection of classic love songs.

"We're going back to the good old days," Ross promised the audience before beginning a trio of No. 1 hits from her days with The Supremes: "Where Did Our Love Go," "Baby Love" and "Stop! In the Name of Love."

Those early Motown classics were followed by two solid Ross solo hits, "Touch Me in the Morning" and "Love Hangover."

Ross' five-piece band and two backup singers continued to play "Love Hangover," while she exited the stage for a quick costume change. Returning in a yellow sequin gown with feathered cape that would have made other women resemble Big Bird, Ross launched into "The Boss" and "It's My House."

Ross and company shined on a calypso-tinged "Love Child," the well-received "Upside Down" and the jubilant "Ease on Down the Road" from the box office dud "The Wiz."