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Setlist Encore: When the house lights dim at five minutes past nine at the Wembley Arena, it gives you an indication of what frame of mind Whitney is this evening. She's ready to go. She does just that. I'm weary of 'this-is-the-best-Whitney's-ever-been' type reviews. Perhaps that is just a reflection of us not expecting the best? Whitney Houston was ON tonight and, in the words of a friend, she made Manchester last year seem like the opening act. That Damn Good. The three large metallic spiders webs, the multitude of lights on the stage backdrop and the staircase that form part of the stage with the four female dancers tell another story about what this show will be like - this was meant to be an intense musical experience, enhanced by very subtle visual elements which must never distract to take away from the voice. That one thing we all take away with us from Whitney's shows. Under the watchful eye of her husband Bobby Brown and her ever present security, Whitney's presence brings home the knowledge that she is essentially a product; a commodity, and so much more to the London audience before her, and of course, to Bobby himself. Tonight's show begged the question as to what point Whitney Houston and the British audience lost touch. Clearly, Whitney had to work to re-build that relationship tonight. After the initial excitement of the great Whitney Houston making an appearance, the London crowd decided they wanted to be entertained, to be dazzled, before they gave that love back to Whitney. Whitney was, as ever, sharp vocally for the first three warm up songs all culled from the "My Love Is Your Love" album. Executed perfectly, choreographed with class, "Get It Back" opens the evening and runs straight into "Heartbreak Hotel". In closing "If I Told You That", Whitney's mic was launched with some force from her hand, off the stage and hit the barrier just two seats along from our seats. That was one of the many moments Whitney laughed at herself and it was great to see she hasn't joined other wanna-be divas that take themselves way too seriously. After the usual introduction to her show and that it was "indeed a pleasure to be back at Wembley" (she has said this line at every single one of her 20-plus Wembley shows), Saving All My Love For You begins - and ends too quickly. The song is a staple in Whitney's classics catalogue and to relegate it to the status of being the intro to "Until You Come Back" is a shame. The latter song more than makes up for this. Whitney performed this track with great range and the notes flowed with considerable ease, the song was not fragmented and without a doubt out performs the recorded version. I Learned From The Best was another example of just how confident Whitney was feeling with her voice tonight - it was all there and London warmed well to this song which is now being advertised on flyers as "the forthcoming single". The biggest crowd pleasers were next, Step By Step (a massive radio success and one of the best selling singles of all time in the UK that never cracked the top ten - whatta distinction!), followed by "I'm Every Woman", "I Wanna Dance With Somebody" (very stripped down and very remixed - all signs of the original version are gone) and the song which finally had the whole of the Arena convinced, "How Will I Know". For me, "I Love The Lord" is the defining Whitney Houston song and performance. She excels in this song because her faith is paramount to her. That means we get the very best vocal performance and her range was in full effect on this song. Her incredible ability to harmonise the words she speaks about her faith have a profound effect and thus the re-confirmation that she is the ultimate female vocalist of our generation. You can see the raw emotion in Whitney's expression, the way she glides across the stage. Tonight, this was it for me. I think "My Love Is Your Love" would actually make for an excellent encore song in light of the songs remarkable run of success in Europe. Whitney had everyone up on their feet for this song and closed it perfectly with a smooth reggae jig with her dancers. The movie melody was perfect. Whitney sits from here on. "I Believe In You And Me" was performed closer to the movie version of the song rather that the slightly over-produced David Foster version. This ran smoothly into "Why Does It Hurt So Bad" (another crowd pleaser - remarkable for a song that wasn't even released in Europe as a single) and finally into Aretha Franklin's classic "Hurts Like Hell". I can't help but question the omission of "Exhale (Shoop Shoop)" from the European shows. Certainly in the UK. the song was a No.11 hit, sold quite well regardless and was a top 10 airplay hit. People know this song - Whitney would do well to add this back into the tour - but then I'd also have "I Have Nothing" back on the set list. Continuing to stay seated Whitney launches into "I Will Always Love You", if you're not paying attention, you'd even miss the fact that she'd started it. The notes were held long and furiously, perfectly clear. The moments before the big climax to the song, Whitney takes a couple of minutes to focus herself and spins her mic several times before that climax to that song. Perfect. Not broken, choppy - you'd think it was 1992 again. Whitney's final stance is amazing - it's the first time I have seen it since the album was released with her in that pose for the album cover. She leaves the stage briefly only to return for a rapturous reception to "It's Not Right But It's Okay". 1 hour 45 minutes on and Whitney is in very good vocal form (getting better as the evening went on) and no signs of strain as she joins the dancers in their moves for this song. It's very difficult to say which of Whitney's shows I have been to has been the best - I've given up trying (or at least I think I have). All I can say is Whitney was in perfect condition and an artist who has become younger visually and musically and clearly she is someone who is having fun with her music. Her voice has matured but only for the better. Whitney did take London tonight. She's still at the very top of her field.
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