Princess RiRi performed in front of over 10,000 people in Auburn Hills, in the Detroit metropolitan area, last night.
Rihanna packed hits, sex and sizzle into her concert at the Palace of Auburn Hills Tuesday night, her second Metro Detroit show in less than a year.
The 23-year-old pop sensation — she’s amassed 10 No. 1s since 2005 — carried off an impressive arena production, full of huge video screens, moving parts, conveyor belts, hydraulic lifts and more. And the brightly colored costumes and lighting made the stage look like a pack of Starburst come to life.
The show and staging was as elaborate as any big time pop extravaganza, taking its cues from modern arena spectacles from Madonna to Lady Gaga. And Rihanna pushed the boundaries of sexuality in her show, especially in an early four-song suite that began with her in a tuxedo doing a gender-flipped version of Prince’s “Darling Nikki” and only got nastier from there. Let’s just say the female fan who was brought on stage and straddled by Rihanna won’t be forgetting her concertgoing experience anytime soon.
But the overtly sexual portion of the show was over early, and Rihanna showed off the various facets of her persona quite well throughout the rest of the show. She went into baladeering diva mode during “Hate That I Love You” and “California King Bed,” belting out the songs from center stage while wearing a flowing dress that was as yellow as the sun. She was the streetwise girl from the block during “What’s My Name” and “Rude Boy,” prancing around stage and owning her sexuality while putting the boys in their place. She was cute yet tough during “Hard,” riding in on a pink tank and strutting proudly in an army green cape. She even got a little bit of her Shelia E. on, rocking out a drum solo on a satellite stage mid-arena.
There were no themes to tie the show together, other than hits. The 24-song set was almost all hits, songs that have blasted from radios for years and continue to show a surprising resilience. She closed with “Love the Way You Lie (Part II)” and “Umbrella,” the latter ending with a shower of confetti on the mostly female, dolled-up crowd.