That's as true of her life as of her art, especially when it comes to her troubling relationship with the performer Chris Brown, who pleaded guilty to assaulting her in 2009. But with a tour currently scheduled to run through October, some early-stage tweaking is par for the course.ĭepending on whom you ask, Rihanna is either an endlessly versatile performer or a vacant vessel, a chameleon or a cipher. Moving up the comparatively spartan section built around the reggae of Rihanna's native Barbados, and saving the jet-fueled pop of "Jump" might have given her a slight breather.
The set list for Thursday's show duplicated the one from the tour opener in Buffalo, although with the second and third sections transposed. Such deviations from the script were rare. The stage, frequently reconfigured to keep pace with her half-dozen costume changes, was littered with clusters of water bottles, and near the end of her hour-and-45-minute set, she asked for more over a live microphone mid-song - a rarity in the highly managed world of arena pop productions. Rihanna's voice wasn't 100 percent Thursday, although as she was often augmented by prerecorded double- and triple-tracked vocals, as well as a pair of backing singers, the trouble with her throat was more evident when she spoke between songs. But it was throat trouble that made Thursday's show at the Wells Fargo Center the second of her Diamonds World Tour rather than the fourth, after she canceled gigs in Boston and Baltimore. Given all of Robyn Rihanna Fenty's well-documented troubles, laryngitis would seem to rank fairly low.
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