By CraigT. Kojima, Star-Bulletin
Gloria Estefan was lowered to the Aloha Stadium stage
from a shiny metallic sphere. She gave fans a show worth waiting for.
Estefan show a sizzler,
By John Berger
even with slight rain
Special to the Star-BulletinA late start and intermittent rain didn't dampen the enthusiasm as Gloria Estefan ended her world tour with a high-energy marathon performance at the Aloha Stadium. Appearing Saturday, first in a cloth-and-metal sphere above the stage, Estefan was lowered into a frenetic fiesta of energy already generated by her hard-hitting band, Miami Sound Machine, and a troupe of Afro-Cuban dancers. She took it from there and presided with charm, style and entrancing voice for almost two-and-a-half hours.
It was a major event by any criterion. The set was relatively simple, yet morphed smoothly into a several configurations. Sound, lights and camera work for two giant screens were first-rate. Estefan and the band did a remarkable job of including just about everything fans could reasonably expect to hear.
Several tunes that didn't make it as full-length numbers were sandwiched into a "mega mix" that opened the encore.
The star was a bundle of energy from start to finish. At first elegantly gowned, later performing barely covered in black micro-mini and abbreviated top, Estefan danced seductively, jumped exuberantly and romped around the multi-level set. She seemed in top form vocally. The Miami Sound Machine was solid throughout.
Estefan opened with an uptempo one-two-three punch: "Conga," "Live for Loving You" and "Get on Your Feet." Had dance space been available she would have packed it with those numbers -- rain or not. She slowed things with a pair of ballads, bounced back to speed with "Rhythm is Gonna Get You" and then served up "Oye Mi Canto (Hear My Voice). It was the first of several songs from her Spanish repertoire to spice the evening.
Estefan welcomed Spanish speakers in their language, and later thanked everyone else for supporting her Spanish-language albums. An assortment of songs from the first, "Mi Tierra" was an early highlight.
By CraigT. Kojima, Star-Bulletin
Estefan showed herself as a loving Cuban-American wife
and mother, as well as the "hot tamale" public persona.
A "Coming Out of the Dark" was an expansive and triumphant celebration of success in overcoming personal tragedies."Along Came You (A Song for Emily)," written for her 2-year-old daughter, was embellished with photos and video clips of the family (including several of the Estefan dogs). "Con Los Años Que Me Quedan," co-written with husband Emilio, likewise offered a glimpse of Estefan as a loving Cuban-American wife and mother, rather than playing up her public persona as a glamorous international star.
"Reach" -- theme of the '96 Olympics, and final song of the encore -- was a showcase for son Nayib as one of three ceremonial drummers.
"Turn the Beat Around" -- Estefan's by-the-numbers copy of Vicki Sue Robinson's disco anthem is one of her less substantial recordings but one of her biggest recent hits. What a crowd rouser it was!
The show stalled only when Estefan departed for her first costume change and the MSS vocalists worked through an interminably long hodgepodge of Top 40 oldies; few had even tenuous links with anything else in the show. The singers were good but the songs didn't fit. Even if Estefan had needed 12 minutes to change (her other changes took much less time) more appropriate material could have been used.
In contrast, the troupe of folkloric dancers added to the show with each appearance -- even when Estefan was off stage. They did a magnificent job of incorporating another facet of Estefan's musical roots into the concert and embodying her pride in her Cuban heritage.
It's been nine years since Estefan's last show here. She closed with a promise that she won't wait that long next time.
