Even though the song is based on a Foster Sylvers sample, a livelier, retrograded funk album from Usher would, at least critically, be a shrewd artistic shift.įull Screen is not supported on this browser version. The loose, rhythmic Good Kisser, on the other hand, was considerably more upbeat without the hint of triteness. (Neither were in attendance, naturally.) With the unmistakable percussive traits and yelps of a third-generation Pharrell party cut, it has all the makings of a surefire hit, even though neither would claim it as a career highlight. It was only after the 45-minute mark that Usher delved into UR the album with the Pharrell Williams and Nicki Minaj-backed She Came to Give It to You. In the middle of the stage, platforms moved up and down – usually carrying him or his backup dancers – and visually it resembled a level from Q-Bert. Usher stood at the front tip of the isometric stage, with a horn section, drummer, turntablist, guitarist, two keyboardists and three backing singers behind him. It was a career spanning onslaught that got the nearly packed house on its feet. He did precisely that after emerging from the parting rear screen to a disjointed intro which included dubstep (perhaps his collaboration with Skrillex?) and him rapping to the beat for 0 to 100. That’s not to say Usher singing and dancing his way through OMG, Love in This Club, You Make Me Wanna…, Lil Freak, Nice & Slow and U Remind Me to open the soiree wasn’t a thrilling display from the talented and sometimes eccentric hitmaker. This advertisement has not loaded yet, but your article continues below.
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