Amazing, the things they do in concerts nowadays. The stage. lights hovering above Whitney Houston last night were an in- credible, triple-gimballed, multi-filtered, rack-and-pinioned array that pitched, yawed and tum- bled through the X, Y and Z axis like the Mothership from "Close Encounters" come to bless the tiny beings on stage.

There was even a guy tethered up there in a pilot's seat controlling a single spotlight trained dead-eye smooth on Houston, just in case she deviated from her regular programming.

Amazing, the way the mind wanders during a concert. It's frankly hard to tell one Houston song from another, they're all so chipmunky cheerful. Other than the MTV-heavy rotation plays like "How Will I Know," "The Greatest Love of All," and "Saving All My Love for You," Houston's sound is a slick amalgam of Michael Jackson rhythms gussied up with Temptations harmonies and slipped under the door in spectacular Motown style. Songs that drop through the radio speakers like so much ear fodder become intense, stretched-out mojo jams, heavy on the rhythms.

With the high-end seats going for $22.50 a pop, it's important to stretch things out, and deliver them soulfully and loudly. Money's worth, and all that.

Whitney Houston is very, very popular. Her two Ken Rosene Presented concerts here—the second is tonight—sold out lickety-split. She's the sort of artist admired by fans of all ages, because she not only has a big, soulful voice, she's so gosh darn cute. She's very, very safe.

Houston is no Aretha in vocal range, but on the other hand, Aretha's no size-4. Houston's a slight, slinky woman with a big smile, and when her band starts funking, and her background singers provide a solid wall for her shrill vibrato to bounce off of, and the lights start flashing—wow! Entertainment!

She even appeared, a couple of times, to work up a sweat entertaining us.

(Honolulu Star-Bulletin)

1. The Greatest Love of All (Intro)

2. Wanna Be Startin' Somethin'

3. Eternal Love

4. You Give Good Love

5. Hold Me (With Gary Garland)

6. How Will I Know

7. Take Good Care of My Heart (With Gary Garland)

8. Nobody Loves Me Like You Do (With Gary Garland)

9. Saving All My Love for You

10. Someone for Me

11. I Am Changing

12. Heart to Heart

13. I Wanna Dance With Somebody (Who Loves Me)

14. He / I Believe

15. The Greatest Love of All

She's tall, slim, elegant, good-looking... all that and a voice, too, even after an attack of bronchitis and laryngitis which forced her to cancel her appearance in Brisbane.

But even if Whitney Houston's voice had let her down, the audience which packed out the Swimming Pool for the first of her four concerts there last night would have loved her still.

They had come to see and hear their Greatest Love Of All and that's what they got, two hours of this 23-year-old American thrush backed by a crisp and professional seven-piece band and a back-up quartet which included her brother, Gary Garland, also tall and blessed with a fine voice which he used for duetting, and a cousin.

Ranging through the hits from her self-titled album of last year—"The Greatest Love of All," "You Give Good Love," "Saving All My Love for You"—some new material, some borrowed, some old, Ms Houston showed that, all the U.S. hype apart, she does indeed have a strong, pure and flexible voice.

And if some of the songs were a little too stretched out—the introduction of the band alone took 11 minutes, including the soloing—nobody seemed to mind.

(Written by Paul Speelman)

Whitney Houston's first album posed, a simple dilemma: this major singing discovery follow Diana Ross through the golden gates of Vegas, or would she maintain her dignity by hopping aboard the soul train? On Sunday I breathed a huge sigh of relief. Not only has Houston a voice of classic proportions, she clearly wants to tell us about it. Her current show is a high-grade soul revue of the type I was beginning to fear we would never see in Australia. While it's not uncommon to witness soul acts spoil their music with crass presentation, Houston's show is its sumptuous good taste.

With the aid of a silky four-piece chorus, Houston stretches out the ballads, bypassing the flat, slushy arrangements of the recorded versions in favor of a full range of subtle dynamics that let the songs ebb and flow. The result is a sound not entirely dissimilar to the lush Beverley Glen studio sound patented by Anita Baker and Bobby Womack. On record, The Greatest Love Of All is a grandiloquent ballad that could almost have been designed for Barbra Streisand; as Houston's finale it becomes a glorious anthem of self-reliance, making Gloria Gaynor's I Will Survive and Janet Jackson's Control sound like they're merely pussyfooting around. Saving All My Love For You is slowed down to the speed of a caress as Houston explores the song's corners, emphasizing the light and shade.

Her balladry might seem like a brave move, but Houston has the pipes. She can traverse the full dynamic range, from a whisper to a shout, within the space of a few bars. As she plays with a song's contours, a sudden emotional volley will floor you, before she returns to making quiet suggestions.

Considering she's only 23 years old, there's astonishing maturity at work here. Her voice is framed by sympathetic stage presentation, a light show that puts most other Entertainment Centre acts to shame, the stage kept spare as the musicians and singers stand at the side or on podiums. On the occasional fast song like How Will I. Know? Whitney strides back and forth atop legs that reach for the sky, slowing down for ballads like the duets Hold Me and Nobody Loves Me Like You Do, performed with her brother, Gary Garland. top it all, she complains of having a cold. 

(The Sydney Morning Herald)

1. The Greatest Love of All (Intro)

2. Wanna Be Startin' Somethin'

3. Eternal Love

4. You Give Good Love

5. Hold Me (With Gary Garland)

6. How Will I Know

7. Take Good Care of My Heart (With Gary Garland)

8. Nobody Loves Me Like You Do (With Gary Garland)

9. Saving All My Love for You

10. Someone for Me

11. I Am Changing

12. Heart to Heart

13. All at Once

14. I Wanna Dance With Somebody (Who Loves Me)

15. He / I Believe

16. The Greatest Love of All

This year we had Prince, and just when I thought I’d finally gotten a taste of something special that only comes around every few years, they went and booked another Whitney Houston concert. It’s been a pretty fruitful year. What’s more, later this year we’ve got Houdini and an R&B concert coming up. There’s nothing lonelier than going to a concert, seeing a boring show, and going home. In that sense, this year’s live scene has been reasonably good. Though, to be honest, lately—even at concerts by established artists—I rarely feel truly moved anymore. Whether that’s because I’ve become more discerning, or because there are fewer artists who can move me, I can’t really say.

I went to her concert once. The Budokan stage is large, so the whole venue feels more luxurious, and it was almost completely packed. She wore a red long dress on the first day at Budokan, a sequined mini suit on the second day, and a green long dress on the third. The show opened with a few hits, two or three at a time, performed as a medley. Then the tempo gradually picked up, and Whitney Houston slowly appeared on stage. An artist’s entrance is always thrilling, but this time I felt strangely uneasy.

Michael Jackson’s “Wanna Be Startin’ Somethin’” seemed to stick in the air, followed by “Eternal Love” and “You Give Good Love.” They kept the pace moving at full speed. Her “Eternal Love” is a slow ballad included on the album featuring the Weather Girls’ huge 1983 hit “It's Raining Men,” which was also popular in Japan. Perhaps because it was her first recording, she seemed particularly attached to it. It’s a really good song, and I pulled out the record to listen to it myself for the first time in three years. By the way, I wrote the liner notes for that LP, introducing Whitney Houston.

Of course, this was my first time seeing her on stage. Before anything else, I was struck by how incredibly expressive her voice was. It had been two years since the recording, but she was several levels better than on the record—truly moving. Where in her body did that vocal power come from?

She possessed exceptional singing skill, power, and charisma. The time between her debut and her current superstar status feels far too short, but she is undoubtedly a singer who comes along maybe once every ten years

Her stage presence truly shines in slow ballads. Songs like “Saving All My Love for You” and “The Greatest Love of All” were sung at a tempo slower than the original recordings, which was astonishing. She sang them with even more passion than the originals. Normally, singing slow songs carries a high risk of making the show feel dull, yet in her case she completely avoided that pitfall. By slowing them down even further, she deepened the songs, making them more compelling than the recorded versions. It was hard to believe she was a new female singer, just 20 years old.

Her greatest moment came when she sang “I Am Changing” from Dreamgirls. It was truly a showstopper.

Twenty thousand eyes blurred with emotion as they watched her. And she sang with all her might—boldly. I paid 5,000 yen for this song alone, and it was worth every penny.

Every note she sang carried the spirit of gospel. She truly is the daughter of gospel singer Cissy Houston. That gospel training sets her apart from mere pop singers. She sang the gospel song “He/I Believe,” which she said she learned early on, and though her appearance is adorable, her voice is incredibly powerful.

There’s just one thing that doesn’t quite work: the band—and the costume changes. I wish they’d focus more on the entertainment aspect. If they did that, it would be a perfect show.

1. The Greatest Love of All (Intro)

2. Wanna Be Startin' Somethin'

3. Eternal Love

4. You Give Good Love

5. Hold Me (With Gary Garland)

6. How Will I Know

7. Take Good Care of My Heart (With Gary Garland)

8. Nobody Loves Me Like You Do (With Gary Garland)

9. Saving All My Love for You

10. Someone for Me

11. I Am Changing

12. Heart to Heart

13. All at Once

14. I Wanna Dance With Somebody (Who Loves Me)

15. He / I Believe

16. The Greatest Love of All

Whitney Houston’s Japan debut at Festival Hall and Osaka Castle Hall was a triumph of pure vocal artistry. Rising to global superstardom with just one album, Houston has been hailed as a once-in-a-decade vocal sensation—and her performance proved why.

On the first night at Festival Hall, the venue was packed to standing room. The palpable tension before the show made it clear that anticipation and expectations had reached a fever pitch. Houston appeared from the rear stage, beginning the concert with an opening set that referenced Michael Jackson hits, before moving swiftly into her own repertoire.

Hopes for colorful costume changes were dashed—she remained in a pristine white gown throughout the evening. While many expected her to showcase dance moves to match her glamorous image, Houston instead focused entirely on her voice, leaving the dancing largely to her supporting performers.

Her stunning legs were glimpsed only briefly, but the emphasis was unmistakably on sound over spectacle. Whitney, often seen in countless stylish photos and videos, projected instead the image of a serious singer dedicated to her craft.

Backed by Teddy Burnett and a tight four-member chorus, Houston delivered a warm, intoxicating set that included a sweet duet with her brother Gary Garland. Highlights included The Greatest Love of All, Love’s Tender Touch, and new material that left the audience eager for her next release.

Her vocal mastery was extraordinary—powerful yet controlled, with a natural richness that seemed almost effortless. At times, the intensity of her delivery bordered on overwhelming, but it was clear that this was simply her style.

At just 23, Houston carried herself with the scale, poise, and authority of a seasoned superstar. She made the audience forget that she was still at the beginning of her career, with only one up-tempo hit (I Wanna Dance with Somebody) among a repertoire dominated by ballads.

Whitney Houston’s Japan tour confirmed it: she was not merely a fashionable beauty, but a world-class vocalist at the dawn of a legendary career.

Whitney Houston came to the Scottish Exhibition and Conference Centre with all the hype that accompanies a young singer whose debut album has broken sales records, includes three No. 1 hits, and has been showered with industry awards. She also arrived with her own staging and, as a result, may have solved the problem of how to present a solo performer in this much-criticized venue. Ms. Houston performed on a circular stage in the center of the hall, with her band to one side on a slightly lower level.

Performing in the round has its problems, but Ms. Houston has the distinct advantage of looking good from any angle. When she wasn’t strutting around with a lithe and easy grace (which was most of the time), the stage discreetly revolved. This was a very slick and carefully managed package, with good sound and lighting, together with a superb band and backup vocals.

As for Ms. Houston, her voice has a remarkable dynamic range—from a low growl and creamy middle to a crisp, but never shrill, top. In style and presentation, she has picked up a lot from her mother, Cissy, and cousin Dionne Warwick, but it would be a pity if she emulated the latter’s recent musical tastes, which—judging by this tour—seems possible. Too many songs sound the same: nice, easy, middle-of-the-road ballads for the middle-income group.

There were, however, high points in her dance numbers. Michael Jackson’s “Wanna Be Startin’ Somethin’” got the show off to a blazing start, and with integrity she turned “Saving All My Love for You” on its head with a slow, bluesy reading that made sense of an otherwise bland song. It wasn’t what the audience expected—or possibly wanted—but it was a courageous move, and it worked.

(The Herald)

Afterwards, she was satisfied with a packet of crisps. But her performance on Tuesday at Vorst-Nationaal showed more luxury and class. “I haven't changed, but the people around me have,” says Whitney Houston.

Her debut album has sold 7 million copies in America and another 4 million in Europe. Yet the 23-year-old niece of Dionne Warwick is already putting on a show lasting almost two hours, which stands on its own and is not part of the promotion for her only album.

With the song “I Am Changing” from the musical ‘Dreamgirls’ (about The Supremes), she received a standing ovation. She was greeted by a remarkably enthusiastic audience in Vorst. “And it's like that everywhere,” she said afterwards.

The new album is expected in February and is said to feature more up-tempo material than the first. She played one song from it on Tuesday: “I Wanna Dance with Somebody Who Loves Me.” There are many fans waiting.

1. The Greatest Love of All (Intro)

2. Wanna Be Startin' Somethin'

3. Eternal Love

4. You Give Good Love

5. Hold Me (With Gary Garland)

6. How Will I Know

7. Take Good Care of My Heart (With Gary Garland)

8. Nobody Loves Me Like You Do (With Gary Garland)

9. Saving All My Love for You

10. Someone for Me

11. I Am Changing

12. Heart to Heart

13. All at Once

14. I Wanna Dance With Somebody (Who Loves Me)

15. He / I Believe

16. The Greatest Love of All

With the barest accompaniment, Ms. Houston froze before the mic stand as if impaled upon the point of her own self-belief. Uncurling just enough to make us truly believe, she wound the song up into a succession of growled exclamations of a single word: “Me!” It was at these vivid moments that Whitney made everything stick. For that, she deserves our admiration, if not yet our full respect.

Hers is not the most expressive of voices, but its control and projection are flawless, and in this pluralistic crowd of dinner suits, diamonds, and romantica, that is what mattered most. Whitney caresses each phrase and emotion with kid gloves. She plays to the crowd with the poised contrivance of the fashion model she once was: a pout, a shimmy, a secret smile.

There are dance numbers at regular points, but the ballads are what people want. “Hold Me,” the hit she scored with Teddy Pendergrass, was among the duets, performed with her immensely polished backing singer. There was an element of tightness about Ms. Houston’s bearing early on, which redoubled the sense of fabrication.

The songs she really tore the guts out of were those self-assertion anthems that so befit her star-bound persona, where the contradiction between underdog pride and showbiz ambition is resolved. The closing “The Greatest Love of All” was a powerful finale.

But it was the showpiece “I Am Changing” that injected serious conviction.

(The Independent)

1. The Greatest Love of All (Intro)

2. Wanna Be Startin' Somethin'

3. Eternal Love

4. You Give Good Love

5. Hold Me (With Gary Garland)

6. How Will I Know

7. Take Good Care of My Heart (With Gary Garland)

8. Nobody Loves Me Like You Do (With Gary Garland)

9. Saving All My Love for You

10. Someone for Me

11. I Am Changing

12. Heart to Heart

13. Didn't We Almost Have It All

14. I Wanna Dance With Somebody (Who Loves Me)

15. He / I Believe

16. The Greatest Love of All

Whitney Houston began her concert at the Pacific Amphitheatre by teasing the audience. On a darkened stage, the band played while Houston’s voice was heard amid whispers of “Where is she?” She was singing snippets of her pop hit “The Greatest Love of All” while concealed offstage. When she finally danced into view, the crowd cheered at a fever pitch. This is a lady who knows how to make an entrance.

Houston said she was happy to be at the Amphitheatre in Costa Mesa (she pronounced it “Cost-a Mesa”), and she promised the audience an evening of “partying and good music.” The pop singer had no trouble keeping that promise as she officially opened her set with Michael Jackson’s hit “Wanna Be Startin’ Somethin’.” Her next number, “How Will I Know,” had the audience literally dancing in the aisles.

Later in the concert, Houston told the crowd she wanted to share a song taught to her by her mother, gospel singer Cissy Houston. The song, “Someone for Me,” was quiet and soulful. The audience swayed along with the music and the breeze. Though the concert was outdoors, it felt close and personal, as though it were being held in a friend’s living room. The moonlit night only added to the mood.

Singing is a family affair for Houston. Her cousin is pop singer Dionne Warwick, and Gary Garland, one of her backup singers, is her brother. Displaying the clear, resonant voice that has made her famous, Houston sang two duets with him. However, Garland only served to detract slightly from the quality of the duets: his voice was above average, while Houston’s was superb.

The backup group was solid, but there was a strange disparity in dress among the singers. The male members of the group and the band dressed like college preppies in brightly colored sweaters and chinos, while the women wore dazzling sequined evening gowns. It seemed a testament to the identity crisis embedded in Houston’s performance. One moment she was a smooth, sophisticated vamp; the next she radiated the shy innocence of a schoolgirl.

Houston wore a short sequined dress with a plunging back. Her face was alive with the classic good looks that have made her a favorite for magazine covers. She was also sporting an engagement ring, but she shook her head at audience members who shouted, “Who’s the lucky guy?”

Houston later answered the question obliquely by singing “I Am Changing,” from the musical Dreamgirls. The song is about a woman discovering her identity and talent while reassuring her lover that she still needs him. In the final part of the set, Houston slipped back into her sultry, searing stance with “Take Good Care of My Heart.” She also belted out “Saving All My Love for You,” the tune that helped her win a Grammy earlier this year for Best Female Pop Vocal Performance. She was also nominated for three other awards, including Album of the Year.

Houston completed the concert by singing “The Greatest Love of All” in its entirety. The audience responded with a standing ovation. Houston may be only 22 years old, but she is definitely on her way to even bigger and better things.

She performed at the Pacific Amphitheatre on September 19. Houston was also scheduled to appear at the Greek Theatre in Los Angeles from Sunday through Wednesday, although the Wednesday concert was postponed until the next night because of rain.

(Simi Valley Star)

Whitney Houston's appearance at Selland Arena Tuesday night begged the question: Is The Voice enough? Are an extraordinary set of vocal cords, some carefully chosen "nice" songs, and a classy reading of them enough to rate as excellent? It's easy to see why the crowd, which nearly filled the arena, responded so enthusiastically to Houston's 115-minute show, and why just about everybody in the music industry has gone gaga over the 23-year-old singer.

She sings with a power and control few possess, and her squeaky-clean image is a blessing in a business where inflated egos and eccentric behavior abound. But despite The Voice, her Fresno show fell ever-so-slightly short of the kind of excellence you could rave about. Before you start rolling your eyes at what sounds like a petty criticism, ask yourself this question: What is Whitney Houston like?

She's eminently likable, no question there. Is she strong-willed? Perhaps. Is she impressionable? Hard to say. Does she have a frisky, no-holds-barred side to her personality? Maybe. Is she extremely introspective? Who knows? A singer who is not also a songwriter has a difficult task to perform. If Bob Dylan yowls like a hoarse coyote, he nevertheless communicates to his audience through his own words. But a singer like Houston, who performs others' material, must get inside a song so convincingly that we believe she lives it.

It's a subtle nuance that Houston didn't consistently conquer Tuesday night. Almost invariably, Houston added some dimension to her hits from her hugely successful debut album, which can be pretty lifeless and even sappy at times. The vocal interplay between Houston and her four backup singers on "Saving All My Love for You" was fun, and though she seemed a little stiff at the start, Michael Jackson's "Wanna Be Startin' Somethin'" was an appropriate way to kick off the show.

While she neatly avoided the vocal histrionics of someone like Patti LaBelle, Houston still occasionally bulldozed her way through some songs when it wasn't required, and some of her material was too thin, with overlong crescendos. Her disciplined seven-piece band was, for the most part, tightly arranged, but it seemed as if Houston's weaknesses were accented instead of diminished.

When it came time for the upbeat material, songs like "How Will I Know" and "I Wanna Dance with Somebody (Who Loves Me)" never galloped with the force they should have. If, on the other hand, Houston is aiming for the presence of a controlled, calculating chanteuse, she still needs to develop more assurance.

Her career has been carefully orchestrated by her management and those at her record label, particularly Arista president Clive Davis. They obviously know they have an artist with exceptional potential, and you can't blame them for being cautious. But the revealing moments Tuesday were so few and far between, you couldn't escape the feeling that Houston was figuratively looking over her shoulder. She may have moved into the spotlight these days, but she hasn't entirely become at home there.

Two songs she said would appear on her next album, "I Wanna Dance with Somebody (Who Loves Me)" and "Didn't We Almost Have It All," fit right alongside her current hits but didn't expand upon her performance or character. That Houston would bear such scrutiny, of course, is a testament to her talent.

Even singing traditional music, she has the ability to create a visceral excitement without succumbing to the latest fads. During those few moments when she was able to immerse herself in a song, Houston was impressive. The gospelish "I Believe" and "The Greatest Love of All," paired at the close of the show, were particularly heartfelt.

And Houston effectively evoked the transformation from indecision to celebration during "I'm Changing," originally recorded by Jennifer Holliday. It's essential to remember Houston is just starting out, despite her heady success. Her biggest challenge may be to find the kind of songs that can match her potential and bring out her best.

She has reached her first commercial peak. But to suggest that she has reached her artistic peak as well would be a disservice.

(The Fresno Bee)

1. The Greatest Love of All (Intro)

2. Wanna Be Startin' Somethin'

3. Eternal Love

4. You Give Good Love

5. Hold Me (With Gary Garland)

6. How Will I Know

7. Take Good Care of My Heart (With Gary Garland)

8. Nobody Loves Me Like You Do (With Gary Garland)

9. Saving All My Love for You

10. Someone for Me

11. I Am Changing

12. Heart to Heart

13. Happy Birthday to You (Dedicated to her dad)

14. I Wanna Dance With Somebody (Who Loves Me)

15. He / I Believe

16. The Greatest Love of All

Whitney Houston's debut album is inarguably very good, garnering her a Grammy for Best Pop Female Vocal Performance and a host of "favorite" awards from everybody from Music Television to People magazine.

Yet it is only during her live performance that her immense talents shine through. After weathering a torrential downpour 10 days earlier when Houston postponed her fair appearance and suffering through a preconcert traffic jam Sunday, 16,600 music fans finally got more than their money's worth, as Houston worked her way through 90 minutes of the best vocal work in popular music. The most remarkable thing about Houston's voice, which is not quite as evident on record as it is in person, is the range. Often within the same song Sunday, she went from sweet to sultry, from a beautiful soprano to a soaring contralto.

Houston, only 23 and already being ranked with the greats, took the stage to the strains of the "2001: A Space Odyssey" theme, which was highlighted by the percussion work of Ohene Kwadwo Larbi, and worked her way into Michael Jackson's "Wanna Be Startin' Somethin'." Forced by the weather to forsake her usual elegant gowns for a satin MTV jacket and a blue pantsuit, Houston then offered a rendition of "Eternal Love," a beautiful ballad from her pre-platinum days. This tune closed with a perfectly sustained high note that brought the crowd to its feet for the first of many ovations. Her hits "You Give Good Love," "How Will I Know," "Saving All My Love for You," and "The Greatest Love of All" drove the sellout crowd into a frenzy.

A group of young women kept chanting in harmony, "We love you, Whitney," while gentlemen of all ages responded enthusiastically when the former cover girl sang "Someone for Me." Gary Garland, Houston's brother and backup singer, proved an even better accompanist than Jermaine Jackson or Teddy Pendergrass, as he joined the singer for duets on "Hold Me," "Take Good Care of My Heart," and "Nobody Loves Me Like You Do." The latter featured the two vocalists creatively alternating elongated high notes with doo-wop background singing. "It's cold. Am I warming you?" Houston asked before launching into her final three songs. That question proved to be an understatement.

(Syracuse Herald-Journal)

1. The Greatest Love of All (Intro)

2. Wanna Be Startin' Somethin'

3. Eternal Love

4. You Give Good Love

5. Hold Me (With Gary Garland)

6. How Will I Know

7. Take Good Care of My Heart (With Gary Garland)

8. Nobody Loves Me Like You Do (With Gary Garland)

9. Saving All My Love for You

10. Someone for Me

11. I Am Changing

12. Heart to Heart

13. Didn't We Almost Have It All

14. I Wanna Dance With Somebody (Who Loves Me)

15. He / I Believe

16. The Greatest Love of All

The only real question heading into pop singer Whitney Houston’s concert last night at The Forum concerned stage presence. Would she project, live, the maturity of her debut album, the sensuality of her videos, and the energy of her television commercials?

The answer, friends, was a resounding yes.

With the poise and style of a young Diana Ross, Houston dazzled the capacity Forum crowd with her vocal pyrotechnics and friendly, elegant presentation.

Mostly, she took the fans on a musical tour of her debut album, Whitney Houston, which has sold 7 million copies, produced four hit singles, and vaulted her in just a year to the arena circuit. Ballads like “You Give Good Love” and “Saving All My Love for You” are excellent showcases for her powerful voice, and she made them memorable last night for her predominantly female and wildly enthusiastic audience.

But she can swing, too, as she proved on the irresistible “How Will I Know” and another album cut, “Someone for Me.”

Wearing a slinky gray outfit, Houston took the stage to the theme from 2001: A Space Odyssey. Her first song was a surprise: Michael Jackson’s “Wanna Be Startin’ Somethin’.”

Also on her set list was “Heart to Heart,” a hit for Kenny Loggins, and “I Am Changing” from the Broadway musical Dreamgirls, which earned her a standing ovation and a rose from one admirer.

The weakest parts of the show were the duets with her older brother, Gary Garland. On record, Jermaine Jackson and Teddy Pendergrass handled the male leads, and the versions with Gary tended to be slow and somewhat overdramatic.

On the whole, though, the show confirmed the wonderful promise of Whitney Houston, just 23. Being able to entertain on record doesn’t necessarily mean you can do it effectively in front of 18,000 people. This model-turned-singer can.

She has a voice that can fill the Forum without losing its character or intimacy—and she should be around for years.

(The Gazette)

The girl with the tousled hair and oversized earrings leaned over, barely able to contain her enthusiasm, and gushed: “Isn’t she awesome?”

Well, in a word: yes.

Whitney Houston turned in the best and most pleasantly surprising of the Canadian National Exhibition Grandstand shows so far. It was a dazzling performance, one that suggested her debut album only hinted at her true power. At times there was nothing to do but sit awestruck; there was simply no way she should have been this good.

Her 100-minute show (which seemed much shorter) was the perfect blend of artistry and commerce, a magnificent display of pop and gospel vocal power, slickly and attractively packaged.

There were plenty of reasons to expect a good show. Her debut album, Whitney Houston, had already sold three-quarters of a million copies in Canada and counting, suggesting an enormous amount of talent. Pedigree is also on her side: Cissy Houston is her mother, Dionne Warwick her cousin, and brother Gary Garland—with whom she sang several duets—was onstage.

But there were reasons for skepticism, too. Houston may already have won a Grammy Awards, but her only album was already 18 months old. She had also become almost as well known for her Diet Coke commercials as for her singing. And while she first drew raves in New Jersey cabaret clubs, many great performers have struggled to translate that intimacy to stadium-sized venues.

Any fears about the statuesque, impossibly pretty singer’s ability to hold the attention of a large audience disappeared minutes after she hit the stage. Before a transfixed crowd of about 23,000, she radiated confidence.

Clad in pink skin-tight pants, a shirt, and a matching jacket, she began with a few bars of “The Greatest Love of All,” which segued into a tightly reined version of Michael Jackson’s “Wanna Be Startin’ Somethin’.” From there it was an endless series of emotional peaks and valleys, a masterful pacing of introspective ballads and celebratory uptempo numbers.

“Eternal Love” (during which you could hear a watch ticking) led into “You Give Good Love.” The climaxes of “Nobody Loves Me Like You Do” (a duet with Garland) and “Saving All My Love for You” produced goosebumps.

The newer songs pointed toward the future: “Didn’t We Almost Have It All,” a sweeping emotional ballad in the style dominating AM radio, and “I Wanna Dance with Somebody (Who Loves Me),” a funky, sax-driven number in the vein of “How Will I Know.” They were as strong as anything she sang that evening and just as warmly received—clear bets to become future hits.

Her backing band was precise and professional, providing a suitably lush sound, while a quartet of backing singers (including Garland) filled out the harmonies impressively.

If Houston had one weakness, it was in her stage patter. Everything she said—including her announcement that she was happy to be performing in Canada for the first time—sounded choreographed and polite. There was a hint of Las Vegas stiffness, unusual for someone so young. A little more spontaneity might have helped.

Still, her disarmingly bright eyes and toothpaste-advertisement smile erased any fears of insincerity.

What was most impressive about Houston was her poise. Like an Olympic gymnast, she seemed completely in control, even during her most acrobatic vocal runs. She never strained; singing appeared as natural as breathing. And even at her most unrestrained, you sensed she was still holding something back.

The most exciting thing about this near-perfect show is that at 22, Whitney Houston could only get better.

(Waterloo Region Record)

Despite the No. 1 singles, the multi-million-selling debut album, the magazine covers, and even the No. 1 home music video in the country, Whitney Houston is still working her first album and her first major tour. That means she is still introducing herself to the masses and setting the foundation for what she hopes will be a long, lucrative singing and acting career.

So Tuesday was “Meet Whitney Houston Night” at Pine Knob Music Theatre, the first of the 23-year-old singer’s two shows.

Like a proper pop debutante, she presented herself with an encore-less, 16-song, hour-and-45-minute show that went beyond her album to touch on her gospel and soul roots, gave an indication of her musical tastes, and offered a glimpse at the future. Overall, it was a smooth, likable concert that showed Houston’s singing prowess could be just as striking live as it is on record.

Because the show was designed to show off her admirable vocal cords, however, there were moments of showy indulgence, as well as the kind of thin spots most young artists encounter when they move beyond familiar material.

As her seven-piece band finished the theme from 2001: A Space Odyssey, Houston strolled onstage in a colorful print dress, crooning a snippet of her recent chart-topper. Then came Michael Jackson’s “Wanna Be Startin’ Somethin’,” capped with a modified high-energy finish.

She followed that by dipping into “Eternal Love,” a song she recorded years earlier. It wasn’t the voice of a fragile newcomer, but that of a singer who clearly knew how to use her instrument.

That song led directly into her first touring hit parade. Houston rolled through “Hold Me,” “How Will I Know,” “Take Good Care of My Heart,” “Nobody Loves Me Like You Do,” “Saving All My Love for You,” and “Someone for Me,” all of which brought thunderous ovations from the near-capacity crowd. They were deserved ovations.

Rather than playing the songs exactly as they appear on her debut album, Whitney Houston, Houston and her band rearranged them, presenting stripped-down versions that moved away from the slick studio originals. The vocal arrangements with her four backup singers—including her older brother Gary Garland, who handled the duets on “Take Good Care of My Heart,” “Hold Me,” and “Nobody Loves Me Like You Do”—gave the material more depth and dimension.

Placing most of the album material in the middle of the show had its drawbacks, however, clearing a path for a long stretch of unfamiliar songs. Houston’s rendition of “I Am Changing,” Jennifer Holliday’s showstopper from Dreamgirls, was creditable until the end, which she stretched with a series of needless vocal gymnastics. The moment was nearly disrupted when bassist Ricky Minor’s strap broke.

Her cover of Kenny Loggins’s “Heart to Heart” served mainly as an excuse for a lengthy band introduction, and “Didn’t We Almost Have It All,” slated for her second album, was too subdued to grab much attention.

(Detroit Free Press)

Forget about the four No. 1 hits from her debut album, which has sold more than 10 million copies worldwide. Forget about her radiant good looks. Forget anything you've ever read about her.

To believe Whitney Houston, you simply have to see her. An estimated 17,300 fans did just that at her Grandstand performance Saturday night at the Indiana State Fairgrounds. Gate receipts from the show broke the record set the previous night by Alabama.

If you think that’s impressive, you should hear Houston’s voice. Fans were practically bursting with excitement while waiting for her to take the stage, and they weren’t disappointed.

Houston was first heard singing offstage, and as soon as the cheering hit a fever pitch, she appeared. Dressed in a sparkling white jumpsuit and a jacket that competed in brilliance with her smile, she opened the show with a vibrant cover of Michael Jackson’s “Wanna Be Startin’ Somethin’.”

“I’m sure that each and every one of you has come here tonight to have a good time,” Houston told her fans.

Houston performed the four big hits from her self-titled debut album, Whitney Houston—“You Give Good Love,” “How Will I Know,” “Saving All My Love for You,” and “The Greatest Love of All”—and earned a deservedly strong response from the crowd for each.

Her voice is so supple, so powerful and subtle, that it practically defies accurate description. She is without equal: Patti LaBelle, with all her histrionics, can’t compare, and neither can the powerful Jennifer Holliday. What’s really so amazing about Houston is that she makes it all seem so easy. She has such control, such an incredible range, and she’s so young. One can only marvel at her potential.

The only complaint heard all night had nothing to do with Houston’s singing. A male contingent in the stands seemed disappointed that the lean, leggy singer didn’t wear a slinky dress.

Aside from songs from her own album, Houston performed “Eternal Love,” a tune she recorded at age 16 that appears on Paul Jabara and Friends. She also sang a few duets originally recorded with Teddy Pendergrass and Jermaine Jackson, including “Hold Me,” “Take Good Care of My Heart,” and “Nobody Loves Me Like You Do.” Joining Houston on these love songs was backup singer Gary Garland, who just happens to be her brother.

Houston also included two cover songs in her set: “I Am Changing” from Dreamgirls, originally recorded by Jennifer Holliday, and Kenny Loggins’ “Heart to Heart.”

She used the latter to introduce her impressive band and closed the show with two new songs that will appear on her next album, which, she said, “hopefully will be released in January 1987.” The first, “Didn’t We Almost Have It All,” was a dramatic ballad that took full advantage of her wide vocal range. The second, “I Wanna Dance with Somebody (Who Loves Me),” was an up-tempo tune with “hit” written all over it.

Houston closed the show after just over an hour and a half with a marvelously expressive version of “The Greatest Love of All.” She did not return for an encore.

Sylvia Seymoure opened the evening with a 20-minute set.

(The Indianapolis Star)

1. The Greatest Love of All (Intro)

2. Wanna Be Startin' Somethin'

3. Eternal Love

4. You Give Good Love

5. Hold Me (With Gary Garland)

6. How Will I Know

7. Take Good Care of My Heart (With Gary Garland)

8. Nobody Loves Me Like You Do (With Gary Garland)

9. Saving All My Love for You

10. Someone for Me

11. I Am Changing

12. Heart to Heart

13. Didn't We Almost Have It All

14. I Wanna Dance With Somebody (Who Loves Me)

15. He / I Believe

16. The Greatest Love of All