REVIEW: Janet Jackson delivers decades of hits at Shoreline
Janet Jackson performs at Shoreline Amphitheatre in Mountain View, Calif., on June 16, 2023. Photos: Nick Buckmaster.
MOUNTAIN VIEW, Calif. — Pop icon, megastar and legend Janet Jackson made her long-awaited return to the Bay Area at Shoreline Amphitheatre on Friday night. Supported with an entertaining opening by rapper Ludacris, Jackson brought the best of her catalog on her Together Again tour, celebrating her 50 years in music.
Following a retrospective slideshow of Jackson through the years, she appeared singing “Damita Jo,” shrouded from head to toe in a purple hooded cloak that fell to the floor. She stood still as her dancers, clad in purple coveralls, appeared on a two-tiered platform behind her.
She walked through them and with the next song, the DJ Premier mix of “Together Again,” returned sans the cloak, revealing a shiny copper sequined jumpsuit. She sang a few verses before abruptly cutting off the song and killing the lights. In fact, most of the show, consisting of several acts, consisted of medley-like sections of songs.
The short pause led to dance track “Feedback,” from 2008’s Discipline. Here she used her high ponytail as a prop, pulling and flipping it to correspond to accents in the song. She showed off her dance moves in a tightly choreographed number, supported by her dancers. The song was the start of a dance-medley. Each segment included moves from the music video.
“If” was switched up a few times during the performance, to a house groove mix and ending with a hip-hop spin. Jackson slowed the pace with the mid-tempo “No Sleep,” dancing with a pop-lock style. She continued through “Got ‘Til Its Gone” before speaking the first verse of “That’s The Way Love Goes.” Jackson relied on backing vocal tracks for much of the night because of the intensive dancing, but appeared to sing “Enjoy” and a few others without them. Her strong and steady voice seemed to bear no wear from age.
Following a costume change, the next act began with the first few notes of a pared-down version of “What Have You Done For Me Lately.” The dancers wore white coveralls, their heads covered in black and white masks. Janet Jackson donned a black wide-brimmed hat and and matching blouse. As she ended the chorus, the song took on a funkier vibe.
She continued on with “Nasty Boy,” having removed a voluminous skirt to reveal sleek, black slacks. A strobe-like light flashed, signaling a move into “The Pleasure Principle.”
“Because of Love” and “When I Think of You” continued with the up-tempo grooves and upbeat choreography.
“When We Oooo” began a slower segment where classic ballads dominated. Janet Jackson sat at the edge of the stage and sang without backing tracks while slowly swaying to the music for “Come Back To Me,” “Let’s Wait A While,” “Funny How Time Flies” and “Again,” where she addressed the crowd for the first time: “I love you so much. Thank You.” She then breezed through “Anytime, Anyplace” and “I Get So Lonely.” The dancers rejoined her during the bridge, which preceded another set change.
They returned in colorful red outfits paired with a green gingham pattern. “Doesn’t Really Matter” kicked off another high-spirited dance segment, which included “All For You” and “Come On,” the latter in a powerful voice and without vocal support.
Next came “Free Xone” and “Throb,” as well Blackstreet, Eve and Ja Rule collab “Girlfriend/Boyfriend.” But she stopped the latter song mid-track, chastising the crowd for not grooving enough.
“Let me try it again,” she announced before continuing on, suggestively dancing with her crew.
“I’m going to sing a song that you guys have been trying to get me to sing for a while, and the only way I’m gonna sing it is if you sing it with me,” she said, introducing “Slo Love,” from 2004’s Damita Jo. She followed that with “Do It 2 Me” and “So Excited.” The crowd appeared equally excited, dancing along.
The next act began with Jackson’s backing band pushed onto the stage for “New Agenda”/”The Knowledge.” The two-tiered platform from the start of the show reappeared with the dancers on both levels, clad in black.
Jackson joined them, in a bedazzled, cropped “Rhythm Nation” T-shirt and black trench coat. Her late ’80s style was in full effect, and she didn’t miss a detail, down to the silver key and safety pin earring dangling from her ear.
Some of the most famous choreography of music video history was re-enacted live on stage with stunning precision. Jackson confidently stalked the stage, using gestures and hand movements to accentuate her words as she sang the lyrics to “Miss You Much.” She continued with “Love Will Never Do Without You,” Cab-Calloway-inspired “Alright” and “Escapade.”
People responded with applause and cheers when the late Michael Jackson was shown on the screens performing the initial part of “Scream,” and Janet finished the song with swagger before being joined by her guitarist for “Black Cat.” Toward the end of the song, the band played a moody interlude and transitioned to the bridge of “Rhythm Nation” for another energetic dance segment, which concluded the main set. After several minutes of screams, the video screen revealed Jackson in her dressing room, from which she emerged for an encore of “Together Again.”
ATLien rapper Ludacris rolled through snippets of his massive hits like “Yeah (3X)” and “Lovers and Friends” during his opening set. Hitting the stage with a massive afro, blazing diamonds in his ears and a letter Braves-inspired jacket, he dominated with charisma.
The rapper and actor (“Fast and The Furious”) was joined onstage by DTP label-mate and high school bud, Lil’ Fate, who took on the role as hype man, starting with “Throw Them Bows.”
Next, he asked the audience what area codes were in the building, remarking, “Guess what I got in the 650, 510, 408?” before following up with “Area Codes.”
Ludacris continued continued on with “Pimpin’ All Over The World,” “Glamorous Life,” “My Chick Bad” and “What’s Your Fantasy.”
He showed his comedic side, briefly walking off stage in returning in oversized sneakers for “Stand Up” and oversized arms and blinged-out watch for “Get Back.” His lyrical skills were equally sharp, rapping a capella with precise, rapid-fire delivery to “Move Bitch” and “Lovers and Friends.”
Follow Mel Bowman at Twitter.com/melmichel and Instagram.com/coco_michel_coco.