For one night’s opener, Usher wore a white three-piece suit: slacks and a tailored shirt with a vest. He held a drink of dark liquor — the main stage took on the ambience of a cabaret. Like Frank Sinatra, that other Vegas icon, Usher sang the hits. A fuchsia-clad dancer bent over at the waist. Usher placed his drink on top of her behind. The gesture was flirtatious and naughty without seeming rakish. The crowd erupted. His moves were graceful and fiery, infused with the influence of Sammy Davis Jr., Gene Kelly, Michael Jackson, Janet Jackson, Ben Vereen, Bob Fosse and James Brown — a kind of liquid movement that rivals the notes he sings.
R.&B. is nothing if not a marriage of opposing energies. A dance between hard and soft. Real life versus fantasy; vulnerability and force; Holy Ghost and heaving flesh. A thin line between love and hate. Traditional R.&B. men were complicated, and they weren’t always truthful about it. Yet the music’s expansiveness and range — topics like climate change, war and political disappointment were all fair game — gave us a pathway toward understanding the conditions of the day. Some contemporary R.&B. men ceded ground to hip-hop in storytelling about the world and in relaying broad truths. Similarly, Usher exists at the threshold of contradictory ideas. His persona gleams with sheen and shine, but he is often tightly coiled, a bundle of nerves underneath glistening skin.
Keep your eye on Danielle Amir Jackson.