1. The Greatest Love of All

2. So Emotional

3. Saving All My Love for You

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

5. How Will I Know

6. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go / Say You Love Me

7. I Have Nothing

8. I Say a Little Prayer / Walk on By / A House Is Not a Home / Alfie

9. Happy Birthday to You

10. You Are So Beautiful

11. His Eye is on the Sparrow (Performed by Cissy Houston)

12. For the Love of You

13. Amazing Grace

14. I Will Always Love You

(Setlist incomplete)

1. The Greatest Love of All

2. So Emotional

3. Saving All My Love for You

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

5. How Will I Know

6. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go / Say You Love Me

7. All the Man That I Need

8. Run to You

9. Queen of the Night

10. I Say a Little Prayer / Walk on By / A House Is Not a Home / Alfie

11. Jesus Loves Me

12. His Eye is on the Sparrow (Performed by Cissy Houston)

13. For the Love of You

14. Amazing Grace

15. I Will Always Love You

16. I'm Every Woman

(Setlist incomplete and may be incorrect)

1. The Greatest Love of All (Intro)

2. So Emotional

3. Saving All My Love for You

4. How Will I Know

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

6. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go / Say You Love Me

7. All the Man That I Need

8. I Have Nothing

9. Queen of the Night

10. I'm Your Baby Tonight

11. I Say a Little Prayer / Walk on By / A House Is Not a Home / Alfie

12. Wonderful Counselor (Contains elements of "Freeway of Love")

13. I Will Always Love You

14. I'm Every Woman

(Setlist may be incorrect and incomplete)

In a show that began spectacularly and ended up strange, the singer was joined onstage by her husband, Bobby Brown, the couple’s toddler, and a dancer who is Houston’s sister-in-law. The willowy star also turned a spotlight on her mother, Cissy Houston. Whitney Houston’s Radio City Music Hall shows continue through Sept. 27. Later, backed by an orchestra, Houston sang a tribute to her cousin, Dionne Warwick.

Near the end of the concert, following band introductions and a mighty, house-shaking gospel song in praise of the Heavenly Father, Houston announced that her “daddy” had just entered the hospital and dedicated “I Will Always Love You” to him. That was when things got weird. Otherwise in superb form, Houston’s voice had tired slightly as the show progressed, and she hit a few dead spots, notes that failed to come out when she reached for them. As the orchestra began the song, she took a long, emotional pause before opening her mouth. The third word broke and vanished, and a look of stricken surprise crossed her face.

She recovered to gamely finish the song, but did so tentatively, avoiding stress on her unexpectedly treacherous instrument. Visibly overwrought, she blew kisses to the crowd and then rushed offstage into the arms of Brown, who was waiting anxiously in the wings. In the fairy-tale land of pop superstardom, this dramatic exit was a bracing reality check. With the house lights down and the curtain up, the orchestra and audience waited for five suspenseful minutes. Under the circumstances, there was no reason to expect more than a curtain call.

After all, she had already delivered a complete, top-drawer, 105-minute performance of her biggest hits. She had made two spectacular entrances: crooning a taste of “Greatest Love of All” from the back of the house, and returning after intermission, with a full orchestra supplementing her seven-piece band and vocal trio, to wring every ounce of passion from a show-stopping “I Have Nothing.” If her exit was not entirely smooth, it was neither premature nor abrupt.

Up to that point, Houston had been the model of relaxed confidence. Her remarks, other than an attack on the gossip papers, were good-natured and ingratiating. She was equally unflappable in the face of “go on, girl” shouts from the balcony and her knee-high daughter, who received a swinging rendition of “Old MacDonald Had a Farm” from her momentarily upstaged mother.

Small flaws notwithstanding, Houston’s singing was magnificent. Her breathtaking ability to leap octaves and accurately hit distant notes during flights of ecstasy was largely intact. She put herself into each song with expressive invention, making up for the creative effort that was absent from last year’s Radio City show. At worst, the arrangements of a few ballads, most notably a plodding “All the Man That I Need,” were not up to par.

The first half got its best mileage from peppy, upbeat tunes like “I Wanna Dance With Somebody (Who Loves Me),” “How Will I Know,” “I’m Your Baby Tonight,” “Queen of the Night,” and a spot of Aretha Franklin’s “Freeway of Love.” After the powerful one-two punch of “I Have Nothing” and a rendition of “Run to You” so compelling it would not have been shocking to see Kevin Costner jog onstage, the second half never quite matched that energy level.

Houston peaked in the Warwick segment with marvelous adaptations of “I Say a Little Prayer” and “Alfie,” an unlikely choice that she nailed. The wait following Houston’s hasty exit was bathed in an afterglow of satisfaction and sympathy, which evaporated when she emerged in a different gown to sing a wobbly encore of “Greatest Love of All.” She may have been motivated by a sense of show-must-go-on duty, but having already shared a moment that absolved her of further obligation, it was a miscalculation to proceed as if nothing had happened. Intentional or not, it felt as though emotions had been tugged simply to justify an encore.

(Newsday)

1. The Greatest Love of All (Intro)

2. So Emotional

3. Saving All My Love for You

4. How Will I Know

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

6. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

7. All the Man That I Need

8. I Have Nothing

9. Queen of the Night

10. I Will Always Love You

11. I'm Every Woman

(Setlist is incomplete)

1. The Greatest Love of All (Intro)

2. So Emotional

3. Saving All My Love for You

4. How Will I Know

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

6. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

7. All the Man That I Need

8. I Have Nothing

9. Queen of the Night

10. I Will Always Love You

11. I'm Every Woman

(Setlist is incomplete)

1. The Greatest Love of All (Intro)

2. So Emotional

3. Saving All My Love for You

4. How Will I Know

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

6. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

7. All the Man That I Need

8. I Have Nothing

9. Queen of the Night

10. (You Make Me Feel Like A) Natural Woman / Do Right Woman, Do Right Man / Ain't No Way

11. Wonderful Counselor

12. I Will Always Love You

13. I'm Every Woman

14. Something in Common (With Bobby Brown)

At the halfway point, with the singer standing in a stark spotlight and looking for all the world like that bucket of water from Flashdance was about to splash over her, Houston seemed to have been going through the motions until then—hitting all the high points and high notes (and they were all high)—but this was a moment full of life. It yielded an excellent performance of “I Have Nothing,” followed by a brief intermission during which she changed from a creamy, skin-tight, military Michael-Jackson-inspired outfit into a dazzling white, skin-tight, sexy-Whitney-Houston-looking ensemble.

And then she did something incredible: she paid tribute to her mother and sang a series of Aretha Franklin songs that really kicked the concert into gear.

“(You Make Me Feel Like) A Natural Woman,” “Do Right Woman, Do Right Man,” and “Ain’t No Way” showcased Houston’s voice—perhaps the best in the business—as equally expressive as Franklin’s on material so closely identified with the legend. Houston’s mother, Cissy Houston, had been a member of Franklin’s backup group, the Sweet Inspirations, and it was she—proud daughter Whitney told the crowd—who had done the backing vocal arrangements on those classic tunes. “She got paid for it. She got the money, but she never got the credit,” Houston said. “Today, I am giving her her props.” And then, as proof her mother still knew exactly what she was doing, she added, “My mama came in and showed us how to do it right.”

And they did. A little later in the set, Houston tossed off another bit of Franklin material in a bright but brief “Freeway of Love.”

All the hits were there somewhere in the evening’s concert, from “The Greatest Love of All,” which opened the show, to “I Will Always Love You,” which closed it—before the singer returned at husband Bobby Brown’s insistence for “I’m Every Woman.” In between came “I Wanna Dance with Somebody,” “How Will I Know,” “So Emotional,” and several more. The crowd of roughly 10,000 seemed well pleased with the performance. They wanted Whitney, and they got plenty of her. She worked the stage, engaging the audience, perhaps a little too much so. Shouts of “Whitney!” and “We love you!” were answered from the stage, encouraging the crowd even more.

The excitement nearly ended when a woman at the front of the stage tried to hold Houston’s baby, who had been brought out. “I don’t think so,” the singer said, and had Brown take the child away.

Houston also spoke directly to the audience about herself and her family. Referring to tabloid newspapers, she said, “I am here to tell you that they are lying to you. It matters to me what you think of me and my family. Bobby and I and the kids are doing just fine, thank you very much. Ain’t that right, baby?” she added as Brown came out and kissed her.

Brown acted as emcee throughout the evening, introducing Houston, acting as cheerleader, working with the crowd, and interacting with the trio of dancers. He also introduced the opening act, Smoothe Sylk, a vocal duo and the first act signed to his new record label. They were adequate, but lacked spark, performing to canned music so slick that one had to wonder how much their voices really stood out.

(The Sacramento Bee)

Hundreds of the roughly 10,000 people present waved green and purple luminescent tubes, and a few resorted to the lower-tech expedient of holding aloft flaring butane lighters. Everyone cheered and clapped at Houston’s every move and note. Onstage, four dancers high-kicked, spun, and aerobicized their way through a dozen songs and nearly as many costume changes. Houston’s large band provided perfect backup, from the simmering atmospherics of a long “Love Medley” to the industrial dance groove of “Queen of the Night.” Backup singers supplied dense vocal interplay behind Houston, allowing her to scat through choruses and syncopate her voice against theirs—and she didn’t need them to shine.

Houston’s voice is such a marvel, such a filling presence, that she could have stood alone on the stage. It is the sort of voice bestowed on perhaps one in a million people, and Houston has worked hard in the 31 years since she was born to harness it. Growing up with a gospel-singing mother and years of hard work in recording studios have resulted in a soprano that can do anything. It can swell from an earthy whisper into soaring fortissimo and from there flow seamlessly into flawless falsetto. As robust as that voice sounded Tuesday, it was also the reason Houston postponed the last half of her summer tour, from mid-July to August.

On Tuesday night, Houston asked for the air conditioning to be shut down in deference to her voice. The growing heat didn’t bother the crowd, which was notable in a couple of ways: it was easily one of the most diverse audiences in ethnicity and age to be seen at a coliseum concert, and it loved absolutely everything Houston did—even the excruciatingly schlocky moments, such as when she brought her husband and baby daughter onstage and later her stepdaughter.

Fourteen-year-old Jennifer M. Verrastro of Tualatin typified the intensity of the true fan. She stood before the sound-mixing board, clutching a rolled-up piece of gift wrap on which she and her sister, Kim, 12, had painstakingly printed “WE LOVE WHITNEY!” She hoped to hang the sign near the mixing console. “It’s a once-in-a-lifetime experience,” Verrastro said. In her case, that’s not a cliché.

“We were supposed to go see Whitney Houston the last time, when Kim was 4. But my sister broke her arm, and all the money had to go to doctor’s bills. She cried all day when she heard that we couldn’t go. Then we got tickets for this concert, and she canceled and rescheduled for when we were supposed to go on vacation. Then Kim hurt the same arm again. My mom just said, ‘Whatever it takes. We’re going to that concert this time.’”

The nagging question is how that unconditional love is repaid. As far as could be seen, Jennifer’s sign never did get hung. Spontaneity doesn’t flourish in the corporate juggernaut that Houston—who has sold 65 million records in her career—has become. Lovingly hand-painted sentiments look out of place amid the $60 Whitney Houston polo shirts, the $50 tickets, and the slick but ultimately superficial stage show. Whitney Houston is a tremendous entertainer, and for her fans, that is enough.

(The Oregonian)

For all of her accomplishments and achievements within the pop culture pantheon, the biggest-selling female artist of all time hasn't developed a stage act.

It's been on-the-job training for Whitney Houston.

Past concerts have been magnets for criticism—she lacks seasoning, she can't dance a lick, she has no idea how to talk to an audience. It takes time to learn stagecraft, and it's time that the diva still hasn't spent.

Houston's U.S. concert tour continued at McNichols Sports Arena on Monday night, and she was cool and at ease belting out the hits, throwing off the studio shackles applied by her mentors.

Backed by a seven-member band, three singers and four dancers, she stuck notes in the corners of a "Love Medley" and "I Wanna Dance With Somebody (Who Loves Me)." She gave rousing performances of "I Have Nothing" and a playful "Queen of the Night."

And, of course, her monster single "I Will Always Love You" built into a hair-raising crescendo replete with pyrotechnics.

Yet in many ways, the show felt canned, more like a television special.

That soprano is an oh-so-rare instrument—she hit the notes perfectly, with spiritual warmth or subtle expressiveness—but Houston was just going through the motions with her vocal acrobatics. She wasn't a part of her band—the musicians played around her.

And she remained unable to project her personality to the back rows. The exception: A medley of Aretha Franklin songs circa 1968 gave her real R&B legitimacy. Houston's husband, Bobby Brown, was in attendance, and on stage she hotly denied the tabloid gossip about their personal life.

On the recording front, Houston plans to release a greatest hits album, which will include four new songs, before year's end. And she can be heard in the current TV ads for AT&T's True Voice system, singing the theme song.

(Denver Post)

Of course, it’s hard to inject personality into fluff, at least when you’re making safe, slick, please-the-masses records. But put Houston, 30, onstage singing those songs, and you can witness the wonders of Whitney. Her musical personality shone through Friday night at the Target Center as she took 12,406 fans to Houston’s Gospel Church of Las Vegas. The diva rearranged several of her hits, taking “Didn’t We Almost Have It All” and “All the Man That I Need” into church.

Even more intriguing were the unexpected detours: a medley of vintage Aretha Franklin songs, a stirring gospel excursion into “Wonderful Counselor” and a version of Franklin’s “Freeway of Love.” “Freeway of Love” is fun fluff, in the tradition of Houston’s own up-tempo hits.

But the other material was, for Houston, an uncommon triumph of substance over style. She seemed natural rather than studied when singing “(You Make Me Feel Like) A Natural Woman,” and “Do Right Woman, Do Right Man” was a right-on, soulful country-blues number, with a traditional call-and-response between Houston and her backup singers. Then she sang what she called her favorite Aretha song, “Ain’t No Way,” and she did it her way—a swelling Las Vegas arrangement with a stentorian vocal workout. Her approach bordered on overkill, but somehow it worked because the rendition reflected her personality, something her own records seldom do.

Houston asserted her trademark vocal bombast on “I Will Always Love You,” her biggest hit from The Bodyguard movie, which stayed on top of the Billboard pop chart for a record 14 consecutive weeks in early 1993. She stretched the short, simple Dolly Parton tune to a full eight minutes, complete with a Gerald Albright saxophone solo and a waterfall of fireworks that perfectly accompanied her final vocal blast of “I—I—I will always love you.” How could Houston follow that? With a startlingly loud bang—perhaps the assassin’s gun from her Bodyguard movie—that kicked off “I’m Every Woman,” her other smash from The Bodyguard. She ended the energetic number by bringing out her husband, the sometimes controversial singer Bobby Brown.

There were other surprises during her two-hour concert. She brought her young niece and nephew and three stepchildren onstage just as the clock was about to strike 11. (She said her own toddler daughter, Bobbi Kristina, was asleep.) She also skipped several of her hits, including “I’m Your Baby Tonight." Other hits were crammed into medleys: “The Greatest Love of All” was reduced to a single chorus that opened the concert. Some songs were transported to church, giving them more texture and grit, though it seemed done for show rather than soul.

Opening the concert was Smoothe Sylk, a male-female duo signed to Brown’s record label. The pair showed vocal potential, but their performance, accompanied by taped music, seemed chintzy when concert tickets were $55 and $40.

(Star Tribune)

Whitney Houston captured the Palace with her heartfelt delivery, and the crowd barely had time to warm up before — like a tidal wave — she flooded the hall with an emotion-wracked “I Have Nothing.” After a short break, Houston returned as the self-proclaimed “Queen of the Night,” reigning over a second half drawn largely from the multi-platinum Bodyguard soundtrack, including “I Will Always Love You” and her encore, “I’m Every Woman.”

Houston is a joy to see in concert, partly because of her voice and partly because she works a crowd like nobody’s business. Still, on Monday night at the Palace in Auburn Hills — one of the year’s more dramatic concert openings — it became clear early on that Houston was not in full voice. Right in the middle of her powerhouse anthem “The Greatest Love of All,” some of her top notes were scratchy, her midrange a little breathy.

Houston had a cold. But even under the weather, she possesses a rare and fine instrument, and she put it to the test. In a skintight purple sheath that shrink-wrapped her pencil-thin form, Houston morphed the opener into an upbeat “So Emotional.” She doesn’t dance much anymore — thankfully — leaving that to four professional dancers who join her on numbers that require movement. But in their bustiers and minis, they created a strange juxtaposition of classy and trashy, better suited to her husband Bobby Brown’s road shows.

And speaking of family: Brown and their daughter, Bobbi, were seated just offstage behind a curtain throughout the performance. This may be taking family values a bit far, but Houston is serious about hers. At one point she reminded the audience that the media doesn’t always report the truth and that she “cares what you think about me and my family.”

This was a kinder, gentler Houston than on her last tour, when she hushed crowds and demanded attention during quiet moments. With a cup of warm tea in hand, the diva strolled to both sides of the stage during a medley of love songs — “All at Once,” “Didn’t We Almost Have It All,” and “All the Man That I Need” — to give everyone a better view.

Then it seemed as if her voice truly returned. During the final notes of “I Have Nothing,” she walked away from the mic, took a swig of tea, then another, sang a note, then another — and brought the house down. She did this throughout the show: rearranging songs so they sounded fresh from the versions on CD, filling them with pregnant pauses and stretching notes long past their expected ending.

It’s kitschy and overwrought — but it’s Whitney. And in the end, both her prayers and ours were answered.

(Detroit Free Press)

Only an incredible performance can make a fan out of a frowning cynic like myself, who for years has said, “She has a voice, no question, but she has horrible material.” Last night, Houston proved that if handed a cereal box, she could turn the label into a lullaby. Of the few hundred performers I see each year, few can make my scalp stubble bristle the way Whitney Houston did. Her version of “The Greatest Love of All,” which she used to open her show, is a wonderful introduction to her rare blend of power and subtlety.

She can caress a song, as on “Saving All My Love for You.” More often, her voice coils around a lyric like a boa constrictor, not letting go until it has drained it dry of emotion. “Didn’t We Almost Have It All” was such a song. She ran through her early hits early in the 110-minute set, clicking past “So Emotional,” “Saving All My Love for You,” and “I Wanna Dance with Somebody” with barely a ripple in her slinky sheath dress.

Those pop bonbons have none of the substance of her more recent work on the soundtrack for The Bodyguard. Her dance-pop diva days galvanized her popularity, although it would be tough to find a fan who loves her for the interplay of strength and fragility in her songs. Her considerable support is based on a more fundamental level: the lady can sing.

The best way to prove that is to handle a standard or take a song by someone else and leave an indelible stamp. Houston has done both, first with the goosebump-raising “The Star-Spangled Banner” several years ago. Most recently, it’s been her wrenching “I Will Always Love You,” the Dolly Parton–penned song from The Bodyguard. Her version last night elicited screams as much for the cascade of fireworks as for her vocal pyrotechnics. And, as if to further her case, she tore into a medley of Aretha Franklin songs, taking the audience to church and signifying her love for both God and her husband, Bobby Brown. I saw her sing, and now I’m a believer.

It’s always an encouraging sign when the opening act is good. It’s usually an accurate barometer of the talent to come. Smoothe Sylk was a credible crowd-warming act, a male-female duo with buttery harmonies and potent solo turns. They’re the first performers on Bobby Brown’s BBB Records and may prove to be a savvy signing.

(The Boston Globe)

1. The Greatest Love of All (Intro)

2. So Emotional

3. Saving All My Love for You

4. How Will I Know

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

6. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

7. All the Man That I Need

8. I Have Nothing

9. Queen of the Night

10. (You Make Me Feel Like A) Natural Woman / Do Right Woman, Do Right Man / Ain't No Way

11. Wonderful Counselor

12. I Will Always Love You

13. I'm Every Woman

14. Something in Common (With Bobby Brown)

Whitney Houston may have put on a classy show at Knickerbocker Arena Wednesday night, but whether it was worth the wait is questionable at best.

Houston dug a hole for herself even before she hit the stage by making a house packed full of sweaty, tired-looking fans sit waiting for an hour before she decided to grace the crowd with her presence.

Her absence did not go unnoticed. 

After about 45 minutes, the catcalls started, followed by a chorus of boos that echoed the auditorium about five minutes later. The crowd booed Houston loudly three more times, peppering its distaste with shouts of "Go home" and "I want my money back."

A singer of Houston's caliber being roundly booed was an unusual sight to be sure, but more than warranted given the heat and humidity in the arena. The singer, who offered nary an apology after hitting the stage, should have been more concerned with her fans, who paid $50 each for a chance to see her perform.

Houston finally took the stage at 9:20 p.m. and the crowd greeted her with a mix of boos and cheers. The boos quickly disappeared the minute she opened her mouth to sing though, the fans both happy to see Houston as well as glad the outrageous wait had finally ended.

Wiping the sweat from her brow and chest with a white hankie between songs, the singer may not have won any humanitarian awards Wednesday night, but she showed she could certainly crawl into a song and make it breathe.

She started out slowly at first, almost as if she was warming up her incredible voice on early hits like "How Will I Know" and "I Wanna Dance With Somebody (Who Loves Me)"—two bouncy songs that seem- ed ill-fitted to such a poised singer in a long black velvet gown.

But things picked up quickly. Her versions of "Saving All My Love For You" and a seven-song medley featuring Houston classics like "All At Once," "Nobody Loves Me Like You Do" and "Didn't We Almost Have It All" were simply electrifying.

From that point on Houston owned the stage, her capable 10-piece band and four dancers a part of the scenery as she leaned back and belted out songs like "I Have Nothing" and "Queen of the Night" (from "The Bodyguard" soundtrack) with real attitude. Hand on hip, she sold the swagger and the crowd ate it right up.

Houston seemed much more at home singing her newer songs, tunes that seemed to mesh with her elegant-but-spoiled-brat demeanor and her sizzling vocal attack.

(Daily Gazette)

1. Love Will Save the Day

2. Saving All My Love for You

3. How Will I Know

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

5. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

6. All the Man That I Need

7. I'm Your Baby Tonight

8. I Have Nothing

9. Queen of the Night

10. Revelation (Contains elements of "The Love You Save")

11. I Will Always Love You

12. I'm Every Woman

1. Love Will Save the Day

2. Saving All My Love for You

3. How Will I Know

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

5. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

6. All the Man That I Need

7. I Have Nothing

8. Queen of the Night

9. Revelation

10. Jesus Loves Me (Contains elements of "He's Alright")

11. I Will Always Love You

12. I'm Every Woman

13. Something in Common (With Bobby Brown)

14. (You Make Me Feel Like) A Natural Woman

Whitney Houston forgot she was in a stadium and gave an intimate show last Friday. The audience applauded even the singer's breathing, who wore a shimmering purple suit with rhinestones. The reflection of the lights on the outfit suggested a Las Vegas casino neon sign. The singer is giving an extra show today at the Olympia.

Whitney's sound was the most perfect of the festival. Even performing with the extravagant number of two drummers and three keyboardists, the band sounded like programmed equipment. Few noticed that a slip-up at the start of a song managed to elicit a dismissive look from the loving Whitney.

The singer loved the audience. She didn't tire of repeating "I love you" between songs. The romantic melancholy of the songs, most with the word "love" in the title, didn't faze the audience who, minutes before, had been dancing to Benjor's carnival music. Whitney seduced Morumbi in true cabaret style, flirting with the front row crowd, who even received sweaty handkerchiefs.

Despite being overwhelmed, the singer didn't lose her composure even when her microphone malfunctioned in the middle of a medley of romantic ballads.

Unconcerned with her reputation for being over-the-top, Whitney prepared the show's apotheosis with a moment from the movie The Bodyguard. During "I Will Always Love You," the singer's bodyguards flew over a fan who invaded the stage, seconds before cascades of fireworks illuminated the scene. The festival's Hollywood-esque name was justified.

The encore, "I'm Every Woman," a dance hit recorded by Chaka Khan, was watched by a slightly larger audience than at the Olympia.

1. The Greatest Love of All (Intro)

2. Love Will Save the Day

3. Saving All My Love for You

4. You Give Good Love

5. How Will I Know

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

7. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

8. All the Man That I Need

9. Tears in Heaven (Performed by Gary Garland)

10. I Have Nothing

11. Queen of the Night

12. I'm Your Baby Tonight

13. Revelation

14. Blessed Assurance

15. I Will Always Love You

16. I'm Every Woman

1. The Greatest Love of All (Intro)

2. Love Will Save the Day

3. Saving All My Love for You

4. You Give Good Love

5. How Will I Know

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

7. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

8. All the Man That I Need

9. Tears in Heaven (Performed by Gary Garland)

10. I Have Nothing

11. Queen of the Night

12. I'm Your Baby Tonight

13. Jesus Loves Me

14. I Will Always Love You

15. I'm Every Woman

(Setlist may be incorrect)

1. The Greatest Love of All (Intro)

2. Love Will Save the Day

3. Saving All My Love for You

4. You Give Good Love

5. How Will I Know

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

7. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

8. All the Man That I Need

9. Tears in Heaven (Performed by Gary Garland)

10. I Have Nothing

11. Queen of the Night

12. I'm Your Baby Tonight

13. Jesus Loves Me

14. I Will Always Love You

15. I'm Every Woman

(Setlist may be incomplete)

None currently available :(

1. The Greatest Love of All (Intro)

2. Love Will Save the Day

3. Saving All My Love for You

4. You Give Good Love

5. How Will I Know

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

7. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

8. All the Man That I Need

9. Tears in Heaven (Performed by Gary Garland)

10. I Have Nothing

11. Queen of the Night

12. I'm Your Baby Tonight

13. Revelation

14. Jesus Loves Me

15. I Will Always Love You

16. I'm Every Woman

(Setlist may be incorrect)

1. The Greatest Love of All (Intro)

2. Love Will Save the Day

3. Saving All My Love for You

4. You Give Good Love

5. How Will I Know

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

7. All at Once / Nobody Loves Me Like You Do / Didn't We Almost Have It All / Where Do Broken Hearts Go

8. All the Man That I Need

9. Tears in Heaven (Performed by Gary Garland)

10. I Have Nothing

11. Queen of the Night

12. I'm Your Baby Tonight

13. Revelation

14. Jesus Loves Me

15. I Will Always Love You

16. I'm Every Woman

(Setlist may be incorrect)