Diana Ross Cardiff Castle 10/6/22

[Ollie9]

It's good to hear/read that you have tentative plans to see her! I hope that you will keep your tickets, as considering her age, this may be your last opportunity to hear her sing "I Will Survive" in person, on UK soil. Have a great time!

As regards “I Will Survive”, i pray that your right. Ta for your good wishes.

[thanxal]

Lol yes indeed...this is as dictated per the commands set out in our Brotherhood of Ross cult. Any song without the Andantes on it is automatically deemed as being inferior

Oh my how could I forget!!! Please forgive me lest you subject me to Shantel Baker on a continuous loop. I beg forgiveness.

[carlo]

Oh my how could I forget!!! Please forgive me lest you subject me to Shantel Baker on a continuous loop. I beg forgiveness.

You have already been warned once...your complete disregard for our commandments has resulted in "Chain Reaction" of undesirable conduct. Despite your pleas, your "Love Is On The Line". Now you must "Surrender", as your case shall now be escalated for review, by the Supreme high priestess herself, and it is unlikely she will be a "Fool For Your Love", since she is in the midst of her UK tour and does not wish to be disturbed! Beware of "The Happening"!

[lakeside]

Oh my how could I forget!!! Please forgive me lest you subject me to Shantel Baker on a continuous loop. I beg forgiveness.

Motowners - SHAWNTEL BAKER SINGING "MY GUY" | Facebook

Speaking of our illustrious Shantel....here she is, still 'at it', wearing one of her old
Supremes gowns that still fits....ah.....sort of. Enjoy this former Supreme's performance. Wasn't she Jean Terrell's replacement [[according to her)? God forbid this on a continuous loop. Yikes!

[Spreadinglove21]

Actually one of her better performances!

[copley]

SHAWNTEL BAKER! Who is she?

[thanxal]

Motowners - SHAWNTEL BAKER SINGING "MY GUY" | Facebook

Speaking of our illustrious Shantel....here she is, still 'at it', wearing one of her old
Supremes gowns that still fits....ah.....sort of. Enjoy this former Supreme's performance. Wasn't she Jean Terrell's replacement [[according to her)? God forbid this on a continuous loop. Yikes!

You know, I sometimes forget this is real and she is real and she does this. She’s at the level of absurdity of a Trump election conspiracy except she’s real.

[carlo]

You need a subscription to read the whole thing, but based on first two paragraphs and 4 out of 5 star rating the London Times reviewer seems to have approved of the show in Cardiff.

https://www.thetimes.co.uk/article/d...form-s7t59ftz5

Here is the full review...

6.11.2022 TIMES REVIEW: DIANA ROSS REVIEW - AGELESS GLAMAZON ON MAGISTERIAL FORM
★★★★☆
At what point should immortal pop queens concede that their powers are fading, retire gracefully and pass on the throne to younger contenders?

Her ominously wobbly appearance at last week’s Platinum Jubilee celebrations did not bode well, but Diana Ross was back on magisterial form at the opening night of her first European tour in three years. Despite a few minor technical gremlins, this outdoor jamboree was a soul-pop masterclass from the eerily ageless 78-year-old glamazon empress — sparkly and vintage, like musical champagne.

After racing through a glittery jewel case of Supremes classics including Where Did Our Love Go, Baby Love and You Can’t Hurry Love in the first half an hour, Ross cherry-picked the rest of this sprawling set from her half-century solo career.

She may have a daunting reputation as a haughty diva but she mostly came across as warm and human in Cardiff, with flashes of self-effacing humour between songs. She wore a dazzling parade of sparkly gowns throughout the evening, each more architecturally outlandish than the last but made a running joke out of having nowhere to hook her portable microphone gizmos.

Ross was flanked by a big band, including a lively chorus of backing singers, a horn section and a virtuosic bass guitarist who made sure classic disco-era songs like the Chic-produced I’m Coming Out and Upside Down retained their compellingly funky, crunchy edge.
A pop-house remix version of If The World Just Danced, taken from her 2021 album Thank You, proved surprisingly kinetic and slippery too. Ross rolled with the rhythm, sashaying around the stage in slinky-hipped, liquid motion — a timeless icon of Studio 54 elegance. “I’m feeling that,” she beamed at the dancing crowd.

A few more syrupy arrangements veered into anodyne cruise-ship cabaret, while an extended version of I Will Survive dragged on way too long. You can hurry, love. Hardcore fans might also take issue with a handful of baffling omissions, notably the early solo hits Reach Out and Touch [[Somebody’s Hand) and Touch Me in the Morning.

Ross was canny enough to include several UK chart-toppers that proved more popular in Britain than the US, notably a rollicking Chain Reaction, slightly marred by sound problems which she handled with good grace, and the silky-voiced 1970 ballad I’m Still Waiting, still luminously lovely half a century later.

After all the sparkle and swoosh, Ross finished this show in slightly anticlimactic mode, dressed down in practical top and boots, softly purring The Best Years of My Life from a seated perch. “Anybody got a chair for this elderly lady?” she quipped. “You know I’m 78 years old, right?” Maybe so, but you don’t look a day over fabulous, your majesty.

[Ollie9]

Here is the full review...

6.11.2022 TIMES REVIEW: DIANA ROSS REVIEW - AGELESS GLAMAZON ON MAGISTERIAL FORM
★★★★☆
A few more syrupy arrangements veered into anodyne cruise-ship cabaret, while an extended version of I Will Survive dragged on way too long. You can hurry, love. Hardcore fans might also take issue with a handful of baffling omissions, notably the early solo hits Reach Out and Touch [[Somebody’s Hand) and Touch Me in the Morning.

A heartwarming review, but the curse of “I Will Survive” strikes again!!. It really should be replaced with an extended version of a Supremes classic. The crowd would love it.

[TomatoTom123]

Here is the full review...

6.11.2022 TIMES REVIEW: DIANA ROSS REVIEW - AGELESS GLAMAZON ON MAGISTERIAL FORM
★★★★☆
At what point should immortal pop queens concede that their powers are fading, retire gracefully and pass on the throne to younger contenders?

Her ominously wobbly appearance at last week’s Platinum Jubilee celebrations did not bode well, but Diana Ross was back on magisterial form at the opening night of her first European tour in three years. Despite a few minor technical gremlins, this outdoor jamboree was a soul-pop masterclass from the eerily ageless 78-year-old glamazon empress — sparkly and vintage, like musical champagne.

After racing through a glittery jewel case of Supremes classics including Where Did Our Love Go, Baby Love and You Can’t Hurry Love in the first half an hour, Ross cherry-picked the rest of this sprawling set from her half-century solo career.

She may have a daunting reputation as a haughty diva but she mostly came across as warm and human in Cardiff, with flashes of self-effacing humour between songs. She wore a dazzling parade of sparkly gowns throughout the evening, each more architecturally outlandish than the last but made a running joke out of having nowhere to hook her portable microphone gizmos.

Ross was flanked by a big band, including a lively chorus of backing singers, a horn section and a virtuosic bass guitarist who made sure classic disco-era songs like the Chic-produced I’m Coming Out and Upside Down retained their compellingly funky, crunchy edge.
A pop-house remix version of If The World Just Danced, taken from her 2021 album Thank You, proved surprisingly kinetic and slippery too. Ross rolled with the rhythm, sashaying around the stage in slinky-hipped, liquid motion — a timeless icon of Studio 54 elegance. “I’m feeling that,” she beamed at the dancing crowd.

A few more syrupy arrangements veered into anodyne cruise-ship cabaret, while an extended version of I Will Survive dragged on way too long. You can hurry, love. Hardcore fans might also take issue with a handful of baffling omissions, notably the early solo hits Reach Out and Touch [[Somebody’s Hand) and Touch Me in the Morning.

Ross was canny enough to include several UK chart-toppers that proved more popular in Britain than the US, notably a rollicking Chain Reaction, slightly marred by sound problems which she handled with good grace, and the silky-voiced 1970 ballad I’m Still Waiting, still luminously lovely half a century later.

After all the sparkle and swoosh, Ross finished this show in slightly anticlimactic mode, dressed down in practical top and boots, softly purring The Best Years of My Life from a seated perch. “Anybody got a chair for this elderly lady?” she quipped. “You know I’m 78 years old, right?” Maybe so, but you don’t look a day over fabulous, your majesty.

I love it!

[PeaceNHarmony]

Here is the full review...

6.11.2022 TIMES REVIEW: DIANA ROSS REVIEW - AGELESS GLAMAZON ON MAGISTERIAL FORM
★★★★☆
At what point should immortal pop queens concede that their powers are fading, retire gracefully and pass on the throne to younger contenders?

Her ominously wobbly appearance at last week’s Platinum Jubilee celebrations did not bode well, but Diana Ross was back on magisterial form at the opening night of her first European tour in three years. Despite a few minor technical gremlins, this outdoor jamboree was a soul-pop masterclass from the eerily ageless 78-year-old glamazon empress — sparkly and vintage, like musical champagne.

After racing through a glittery jewel case of Supremes classics including Where Did Our Love Go, Baby Love and You Can’t Hurry Love in the first half an hour, Ross cherry-picked the rest of this sprawling set from her half-century solo career.

She may have a daunting reputation as a haughty diva but she mostly came across as warm and human in Cardiff, with flashes of self-effacing humour between songs. She wore a dazzling parade of sparkly gowns throughout the evening, each more architecturally outlandish than the last but made a running joke out of having nowhere to hook her portable microphone gizmos.

Ross was flanked by a big band, including a lively chorus of backing singers, a horn section and a virtuosic bass guitarist who made sure classic disco-era songs like the Chic-produced I’m Coming Out and Upside Down retained their compellingly funky, crunchy edge.
A pop-house remix version of If The World Just Danced, taken from her 2021 album Thank You, proved surprisingly kinetic and slippery too. Ross rolled with the rhythm, sashaying around the stage in slinky-hipped, liquid motion — a timeless icon of Studio 54 elegance. “I’m feeling that,” she beamed at the dancing crowd.

A few more syrupy arrangements veered into anodyne cruise-ship cabaret, while an extended version of I Will Survive dragged on way too long. You can hurry, love. Hardcore fans might also take issue with a handful of baffling omissions, notably the early solo hits Reach Out and Touch [[Somebody’s Hand) and Touch Me in the Morning.

Ross was canny enough to include several UK chart-toppers that proved more popular in Britain than the US, notably a rollicking Chain Reaction, slightly marred by sound problems which she handled with good grace, and the silky-voiced 1970 ballad I’m Still Waiting, still luminously lovely half a century later.

After all the sparkle and swoosh, Ross finished this show in slightly anticlimactic mode, dressed down in practical top and boots, softly purring The Best Years of My Life from a seated perch. “Anybody got a chair for this elderly lady?” she quipped. “You know I’m 78 years old, right?” Maybe so, but you don’t look a day over fabulous, your majesty.

That's wonderful. Thanks, Carlo -