Number Ones, Up Close and Personal was Janet Jackson's sixth concert tour. The tour lasted from February 4 to December 5, 2011.
The tour was in support of Janet's compliation album "Number Ones."
Several years prior, Janet embarked on her first tour in nearly seven years, the Rock Witchu Tour.
It faced adversities due to an illness revealed as severe vertigo which had also affected several promotional appearances during the release of her eighth studio album "Discipline."
She planned to tour Asia during that time, however, the dates were postponed due to the 2009 economic crisis.
Janet intended to tour in support of her Number Ones album, but she was halted by numerous circumstances, including filming "Why Did I Get Married Too?" and "For Colored Girls."
At the same time, she penned her first book, "True You" and suffered the death of her brother, Michael Jackson.
In 2010, Janet returned to performing at the Essence Music Festival in New Orleans, Louisiana. Her performance was praised by both media and spectators, also breaking Beyoncé's attendance record at the Louisiana Superdome.
Upon performing a private concert at New York's Radio City Music Hall, Janet became inspired to tour with an intimate show.
In November, she posted a video on her official website announcing details of her upcoming tour. Janet deemed it the "largest world tour I've ever done" while revealing its concept of an intimate gathering with fans.
She exclusively performed her catalog of number ones hits from charts such as Billboard's Hot 100, Top 40 Mainstream, R&B Songs, and Hot Dance Club Songs, as well as Japan's Oricon, Canadian Singles, and various international charts in Europe and Australia. Jackson performed in 35 cities, each show offering something different in terms of her performance.
Fans were to vote on cities via her official website. She honored 20 people who performed service in their community with the "20 Under 20" contest and dedicated one hit to each city during every show. In December, Jackson announced the first date in Wan Chai, Hong Kong.
In April, Janet extended the tour's North American and European legs into the fall due to massive sellouts. She also extended the tour into Australia, Africa and South America. The tour was sponsored by Universal Music and fashion label Blackglama.
Janet desired to perform an organic show without the use of theatrics and pyrotechnics, selecting venues allowing her to be intimate with fans. It focused on her artistry through singing and choreography, using an "unplugged" concept.
She explained, "I was in New York performing [a private show] at Radio City Music Hall. It was so much fun to look into the audience and see the eyes, smiles and energy of each person. I was singing and dancing and all I could think was, 'This is how I will perform my next tour'. Up close and personal. Giving my fans something we hadn't shared before."
The show is divided into multiple segments, each focusing on a specific theme within the song's lyrical content to express an individual storyline.
Janet stated, "I am always looking to grow as an artist. When creating this tour, I wanted to tell a specific story in each section of the show. I am having fun looking at these songs and seeing what I can do with them and let them inspire me."
Various costume and set list changes were made frequently throughout the tour, with Janet saying, "I am a very creative person, so I love to experiment. [...] I have changed some of the costumes, added songs and videos to the line up. I love to create so it has been a lot of fun."
Janet did many meet and greets with fans and allowed them to give specific input into the show. Regarding their contributions, she said, "I am so fortunate that my fans, no matter where they are, are so loyal. They give me so much love and I am excited to return mine to them."
The tour took an intimate and organic approach, focusing on Janet's musicality and showmanship in dedication to her fans. Each segment focuses on a different theme based on the song's lyrical content.
The show began with a video introduction of Jackson explaining its concept. After this, a music video of the individual song dedicated to the current city is shown.
Janet enters from the back of the audience flaunting a "scythe-edged" haircut in a grey catsuit to perform opening number "The Pleasure Principle," moving throughout the venue's centerpiece while interacting with the crowd.
Upon reaching the stage, she performed "Control," "What Have You Done for Me Lately," and "Feedback" before transitioning to "You Want This" and "Alright," replicating each song's signature dance moves.
A film reel of highlights from Janet's acting career was played during a brief interlude, including scenes from "Good Times", "Poetic Justice", "The Nutty Professor II: The Klumps" and "Why Did I Get Married Too?"
She reappeared in a diamond-encrusted lavender gown and sat on a stool in center stage to perform several unplugged ballads.
The set began with "Nothing" and "Come Back to Me" before closing with "Let's Wait Awhile" and "Again," briefly pausing to allow the audience to sing several verses in their entirety.
"Janet's Image," a second video montage consisting of Janet's most iconic photographs is shown before she returned in a sleeveless black vest.
The third set focused on upbeat love songs, beginning with "Doesn't Really Matter" and leading into "Love Will Never Do (Without You)," "When I Think of You," and "All for You." After a slight pause, she sang "That's the Way Love Goes."
The band played an instrumental version of "What About" during a costume break. Upon emerging, she segued through a rock-influenced portion in a black jacket, performing "Black Cat" and "If," emulating its music video's iconic choreography.
The set closed with "Scream" and "Rhythm Nation."
Following a final intermission, Janet and her dancers reappeared in matching white outfits for the show's encore. Her then-most recent number one hit "Make Me" lead the set. followed by the show's finale, "Together Again." Throughout the song, childhood images of her with Michael Jackson appeared on screens in tribute to his death.
The show ended with Janet speaking to the crowd and waving goodbye as she exits the stage. "All Nite (Don't Stop)," "Runaway," "Call on Me," "I Get Lonely," "Diamonds," "The Best Things in Life Are Free," "Throb," and "When We Oooo" were performed on selected dates.
- "Video Introduction" (contains elements from "When I Think of You")
Control Medley: "The Pleasure Principle" / "Control" / "What Have You Done for Me Lately"
- "You Want This" / "Alright"
- "Miss You Much"
- "Come Back to Me" / "Let's Wait Awhile"
- "Escapade" / "Love Will Never Do (Without You)" / "When I Think of You"
- "All For You"
- "That's the Way Love Goes"
- "I Get Lonely"
- "Black Cat"
- "Scream" / "Rhythm Nation"
- "The Best Things in Life Are Free"
- "Make Me"
- "Together Again"
|February 4, 2011||Manila||Philippines||PICC Plenary Hall||rowspan="5" Template:N/a||rowspan="5" Template:N/a|
|February 7, 2011||Singapore||Singapore||Singapore Indoor Stadium|
|February 9, 2011||Jakarta||Indonesia||BSJCC Plenary Hall|
|February 14, 2011||Hong Kong||Hong Kong||HKCEC Hall 5BC|
|February 18, 2011||Taipei||Taiwan||TWTC Nangang Exhibition Hall|
|March 3, 2011||Hidalgo||United States||State Farm Arena||rowspan="2" Template:N/a||rowspan="2" Template:N/a|
|March 4, 2011||Houston||Reliant Stadium|
|March 7, 2011||Chicago||Chicago Theatre||10,403 / 10,403||$1,350,916|
|March 8, 2011|
|March 9, 2011|
|March 12, 2011||Toronto||Canada||Sony Centre for the Performing Arts||rowspan="2" Template:N/a||rowspan="2" Template:N/a|
|March 13, 2011|
|March 15, 2011||Boston||United States||Wang Theatre||3,477 / 3,477||$362,240|
|March 16, 2011||Uncasville||Mohegan Sun Arena||5,043 / 5,106||$330,270|
|March 18, 2011||New York City||Radio City Music Hall||17,662 / 17,662||$1,976,484|
|March 19, 2011|
|March 21, 2011|
|March 22, 2011||Washington, D.C.||DAR Constitution Hall||rowspan="4" Template:N/a||rowspan="4" Template:N/a|
|March 24, 2011|
|March 25, 2011||Atlantic City||Borgata Event Center|
|March 26, 2011|
|March 29, 2011||Atlanta||Fox Theatre||4,395 / 4,395||$489,430|
|March 31, 2011||St. Louis||Fabulous Fox Theatre||Template:N/a||Template:N/a|
|April 2, 2011||Grand Prairie||Verizon Theatre at Grand Prairie||6,087 / 6,087||$445,278|
|April 3, 2011||Austin||Moody Theater||rowspan="4" Template:N/a||rowspan="4" Template:N/a|
|April 5, 2011||Omaha||Qwest Center Arena|
|April 6, 2011||Denver||Wells Fargo Theatre|
|April 8, 2011||Phoenix||Comerica Theatre|
|April 9, 2011||Santa Barbara||Santa Barbara Bowl||9,158 / 9,352||$741,144|
|April 10, 2011|
|April 14, 2011||Los Angeles||Gibson Amphitheatre||rowspan="3" Template:N/a||rowspan="3" Template:N/a|
|April 15, 2011|
|April 16, 2011|
|April 19, 2011||San Francisco||Bill Graham Civic Auditorium||10,453 / 10,453||$926,756|
|April 20, 2011|
|April 22, 2011||Las Vegas||The Colosseum at Caesars Palace||12,361 / 12,361||$1,589,230|
|April 23, 2011|
|April 24, 2011|
|June 17, 2011||Oslo||Norway||Folketeatret||rowspan="12" Template:N/a||rowspan="12" Template:N/a|
|June 19, 2011||Copenhagen||Denmark||Falkoner Theatre|
|June 24, 2011||Berlin||Germany||Tempodrom|
|June 26, 2011||Paris||France||L'Olympia|
|June 27, 2011|
|June 30, 2011||London||England||Royal Albert Hall|
|July 2, 2011|
|July 3, 2011|
|July 5, 2011||Dublin||Ireland||Grand Canal Theatre|
|July 8, 2011||Monte Carlo||Monaco||Salle des Etoiles|
|July 9, 2011|
|July 12, 2011||Barcelona||Spain||Plaça Major|
|August 1, 2011||Montreal||Canada||Bell Centre||3,366 / 3,434||$330,025|
|August 3, 2011||Hamilton||Hamilton Place Theatre||rowspan="7" Template:N/a||rowspan="7" Template:N/a|
|August 4, 2011||Bethel||United States||Bethel Woods Center for the Arts|
|August 6, 2011||Holmdel Township||PNC Bank Arts Center|
|August 8, 2011||Upper Darby Township||Tower Theater|
|August 9, 2011||Portsmouth||NTelos Wireless Pavilion|
|August 11, 2011||Cincinnati||PNC Pavilion|
|August 12, 2011||Cleveland||Jacobs Pavilion at Nautica|
|August 14, 2011||Milwaukee||Milwaukee Theatre||1,969 / 2,259||$241,037|
|August 16, 2011||Detroit||Fox Theatre||Template:N/a||Template:N/a|
|August 19, 2011||Minneapolis||Orpheum Theatre||2,579 / 2,579||$256,556|
|August 21, 2011||Des Moines||Iowa State Fair Grandstand||rowspan="5" Template:N/a||rowspan="5" Template:N/a|
|August 22, 2011||Kansas City||Starlight Theatre|
|August 26, 2011||Vancouver||Canada||Queen Elizabeth Theatre|
|August 29, 2011||Seattle||United States||McCaw Hall|
|August 30, 2011||Portland||Keller Auditorium|
|September 1, 2011||Los Angeles||Greek Theatre||5,808 / 5,808||$541,832|
|October 13, 2011||Abu Dhabi||United Arab Emirates||Yas Arena||Template:N/a||Template:N/a|
|October 18, 2011||Perth||Australia||Burswood Theatre||rowspan="2" Template:N/a||rowspan="2" Template:N/a|
|October 22, 2011||Adelaide||Festival Theatre|
|November 2, 2011||Gold Coast||GCCEC Arena||3,878 / 3,878||$465,930|
|November 3, 2011||Melbourne||Rod Laver Arena||4,130 / 5,405||$759,990|
|November 5, 2011||Sydney||Sydney Opera House||4,285 / 4,285||$916,594|
|November 8, 2011|
|November 11, 2011||Johannesburg||South Africa||The Teatro at Montecasino||rowspan="3" Template:N/a||rowspan="3" Template:N/a|
|November 12, 2011|
|November 15, 2011||Cape Town||Grand Arena at Grand West Casino|
|November 26, 2011||Las Vegas||United States||The Colosseum at Caesars Palace||rowspan="2" Template:N/a||rowspan="2" Template:N/a|
|December 1, 2011||Palm Springs||McCallum Theatre|
|December 4, 2011||Tampa||Morsani Hall||2,548 / 2,548||$330,717|
|December 5, 2011||Miami Beach||The Fillmore Miami Beach||Template:N/a||Template:N/a|
|Total||107,602 / 109,492||$12,054,429|
|August 17, 2011||Indianapolis||United States||Hoosier Lottery Grandstand||Stage collapse|
|November 6, 2011||Sydney||Australia||Sydney Opera House||Vocal rest||December 9, 2011||São Paulo||Brazil||Credicard Hall||Scheduling conflict|
- Show Director: Janet Jackson & Gil Duldulao
- Creative Director and Choreographer: Gil Duldulao
- Musical Director: Adam Blackstone
- Lighting/Video Designer: Vincent Foster
- Lighting Director: Tyler Elich
- Front of House Engineer: Kyle Hamilton
- Monitor Engineer: Michael "Woody" Dunwoody
- Personal Trainer: Anthony Martinez
- Costume Designer: Robert Henri Behar
- Musical Director, Bass: Adam Blackstone
- Keyboards: Daniel Jones, Rex Salas
- Drums: Brian Frasier Moore
- Guitar: Clay Sears, Rick Barry
- Bass: Jae Deal
- Vocalists: Erin Stevenson, Jill Zadeh, Onitsha Shaw, Tiffany Palmer, Nicole Hurst
- Gil Duldulao, Jr.
- Jillian Meyers
- Laurel Thomson
- Whyley Yoshimura
- James Collins
- Ramon Baynes
- John-Paul "JP" San Pedro
The tour's entire box office earnings were not publicly reported, including sales from Europe, Australia, Asia, and its second North American leg.
Selected reported dates of the tour's first North American leg from March to April 2011 had ranked forty-fifth in Pollstar's Top 50 Worldwide Tours, earning $16 million.
Billboard ranked it fourth among the year's "Hottest Tours."
Accolades and RecordsEdit
Janet was announced to be the fastest-selling single artist concert of the year.
The majority of the tour had completely sold out, including three dates in New York, Chicago, and London, multiple shows in Los Angeles, Toronto, Sydney, Washington D.C. and Atlantic City, as well as single dates in Berlin, Atlanta, Seattle, Santa Barbara, and various others.
Janet also played three sold out shows at London's Royal Albert Hall. Two shows in Sydney, Australia sold out within fifteen minutes and Los Angeles had sold in under ten minutes.
Upon the tour's announcement, Janet became the second most-searched item on the internet on multiple search engines. Ninety-six percent of the tour's pre-sale tickets were sold within the first day.
The tour achieved several attendance records, including breaking the gross for a single performance at a venue in Tampa, Florida, surpassing a record previously held by Mariah Carey.
The tour's show at the Reliant Stadium in Houston, Texas was the twentieth most attended concert in the venue's history, being two thousand away from the venue's highest attendance record at the time. Janet's show at the Santa Barbara Bowl was among the venue's fastest sell-outs, prompting sponsors to add additional cities to the tour.
Janet notably performed for a massive crowd in Abu Dhabi; The Khaleej Times reporting "thousands of pop fans flocked to the Yas Arena on Thursday night to see the legendary Janet Jackson perform."
Janet was the year's sixth most successful touring act in the Philippines, ahead of artists such as Miley Cyrus, Maroon 5, Bruno Mars, and the Black Eyed Peas.
Private shows were held in Singapore, Shanghai, and London.
The Deutsche Bank reportedly compensated Janet millions to provide a forty-five-minute show for their clients at The Grove in Hertfordshire, England. An exclusive concert was also held at The Louvre during the Liaisons Au Louvre IICharity Gala event in Paris, France, making her the first female pop singer to perform at the I. M. Pei glass pyramid.
The funds from the benefit raised contributions for the restoration of iconic artwork. Director Henri Loyrette stated, "Janet Jackson is one of the world’s greatest artistic treasures. Accordingly, we are profoundly honored, and believe it most fitting, that her performance in the Louvre Museum will be yet another masterpiece captured under our glorious glass pyramid."
The prior year, Janet had sold out the Louisiana Superdome while headlining the 2010 Essence Music Festival, breaking Beyoncé's attendance record at the venue. She also caused the Festival's first waiting list, with additional seats sold and erected behind the stage.
Entertainers such as Taylor Swift, Rachel Stevens, Siti Nurhaliza, Joe Jonas, Park Jung-Min, Alesha Dixon, Jordin Sparks, Cesar Purisima and British boy band JLS were reported to attend the tour.
The tour was met with positive reviews. The Jakarta Post wrote Janet put together "a well-crafted performance, peppered with cool and familiar choreographies combined with an impressive multimedia backdrop."
Serene Goh of The Straits Times wrote, "She was theatrical before Lady Gaga, racy before Rihanna and bootylicious before Beyoncé ... Jackson, now 44, brought to the stage a different sensibility, a pared-down set, fewer back-up dancers and less distraction."
Amy Verner of The Globe and Mail stated Jackson "proved that she no longer needs elaborate stage sets or pyrotechnics to captivate her fans."
Verner concluded, "Seeing Jackson in concert is less about her vocal range than her command of countless choreographed moves to catchy songs that you find you know the words to. She's in her element performing live, transitioning smoothly from fierce and aggressive to sweet and giggly."
Saeed Saeed of The National praised it as "a masterclass in how to deliver a pop performance," delivering a mixture of "fan favourites and new material." The "fast moving and slickly produced" show was thought to demonstrate her longevity, "reflecting her eclectic muse from pop, R&B to rock and dance."
Joe Lawler of the DesMoines Register called the show "a Janet Jackson sampler," adding "Ms. Jackson clearly knows how to work a crowd, and they showered her with affection." Lawler emphasized, "A number of artists have been tagged with the honorific “Queen of Pop” title over the years, but Jackson’s longevity and body of work make it clear that she is worthy of it."
Vaughn Schoonmaker of MTV News stated "Often imitated, never duplicated, Janet Jackson's outbursts of meticulous choreography, sassy exclamations and smoldering gazes into the audience kept them on their feet for the entire two-hour set... we can expect to see this singing and dancing pop legend shine far into the future."
Brad Wete of Entertainment Weekly praised Jackson's "crisp choreography" and vocals as "strong all evening," ranging from "both feathery and gruff."
Wete added, "Statistically, the fact that she’s one of the most successful artists of the last 25 years is unquestionable. She’s in a class with Madonna, though not mentioned as much."
Thomas Conner of Chicago Sun Times observed the tour's set list suggested "a total that once again equals international megastar."
Liz Tracy of Miami New Times called Jackson "as strong and feminine as ever," contrasting with her "soft-spoken, seemingly genteel" persona offstage, becoming "a sassy little powerhouse who is every straight (and gay) man's wet dream."
Tracy concluded, "Jackson needn't prove herself. She is a 35-hit wonder who has stayed sexy yet powerful, smart yet vulnerable. Baby-faced, industry-perfect pop stars will grow old whether or not they grow up. Jackson is the example of how to do it with grace even when things go horribly wrong."
Jane Stevenson of Winnipeg Sun called the show "a scaled-down, fast-paced, crowd-pleasing, wall-to-wall hits package," heralding its medleys, "sexy, glamorous costumes," and choreographed dance moves.
Annabel Ross of Australia's The Age called the tour "a walloping reminder of just how many hits she's produced, jamming 30-odd chart-topping singles into two hours." Ross added, "Jackson's trailblazing talent - she still dances circles around Beyoncé and Britney - deserves to be celebrated in its own right."
In a review for Sydney's Everguide, Ross praised the show as "one of the best pop performances I’ve ever seen," commending its "substance and stripped-back style." Jackson was noted to abandon her sex-driven image, performing with "agy-defying ease and energy."
Janet's voice was heralded as "nothing to sniff at – that pristine, unmistakable Jackson coo never faltered as she tore through hit after hit."
In comparison to her recent contemporaries, Ross stated, "There was no hatching out of eggs, no fandangled props and light shows – just good old-fashioned song and dance from one of the best movers in the business. Rihanna, Beyoncé, Britney - they ain’t got nothin’ on Damita Jo."
The excerpt concluded, "Thank you, Janet, for being one of the best pop entertainers of the last century. Beyoncé et al. have some massive shoes to fill if they want to rock a show like you did last night – at any age."
James Reed of The Boston Globe commented, "[a]t 44, Jackson looks terrific ... She stayed in step with her dancers, and she was in strong voice and as seductive as ever." However, Reed called the show "a strange animal", questioning several hits being "shoehorned into brisk medleys."
Ben Ratliff of The New York Times felt the show's best moments occurred during its third segment, with Jackson "relaxed and athletic," as well as "tension free."
Chris Richards of The Washington Post praised the "laserlight precision" of Jackson's "delicate" voice, adding "if you paid to hear Jackson sing, you certainly got that. Not a single word appeared to be lip-synced."
Richard also complimented her physically strenuous performance, stating "in a 21st-century popscape where concerts are driven by spectacle, we need to know that beneath all of the sci-fi costumes, strobe lights and Auto-Tune, we’re still witnessing a performance by the living, breathing, profusely sweating human being whose name is stamped on the tickets we just emptied our wallets for."
Greg Kot of Chicago Tribune praised the "tightly-choreographed greatest hits show" as "the best Janet Jackson performance I’ve covered in 20-plus years." Jackson was thought to portray "the work of a still-vital artist determined to showcase her subtle strengths," considered its most crucial achievement.
The show's standout renditions were thought to be "Alright," as Jackson "flung limbs in impossible directions," in addition to "I Get Lonely" and "Black Cat," which showcased Jackson "head-banging with rare violence."
Kot commended Jackson's vocals, saying "her delicate touch conveyed an innocence and sweetness not often heard on the pop charts anymore. That’s a unique legacy in pop; whereas the charts are often dominated by stridency, Jackson brought sensuality and understatement."
Phil Villeneuve of FAB Magazine likened Jackson's appeal to Lady Gaga's, saying "If Gaga is Mother Monster, then Janet Jackson is Mother Lion. The woman defines fierce and she pounced on the stage."
In particular, Villeneuve praised "the set list, the woman herself and the venue," noting "pitch-perfect sing-alongs" during the show's ballad segment. Her appearance was considered "what might be her sexiest," saying "she has booty to make your eyes pop and curves to get lost in, but everything was tight, in check and oozing confidence."
Villeneuve added her outfits "gave off a dance-sergeant vibe that really worked." The show's frequent dance numbers were thought to display Jackson "at her best," clarifying "these numbers served as reminders that dancing is sometimes as important as the songs themselves."
Pocholo Concepcion of Philippine Daily Inquirer said Jackson "ruled the stage"; her wardrobe giving the impression of a "sci-fi thriller movie." Concepcion also praised her "vocal sensitivity" and "unexpected" entrance through the middle of the audience.
Victoria Barker of AsiaOne said Jackson "commanded attention," praising her rendition of "The Pleasure Principle" as "riveting ... hip-thrusting and gyrating included, drew enthusiastic cheers." Jackson's vocals were also commended; her performance of "Again" called "goosebump-inducing" which "ached gorgeously with just the right amount of emotion."
An additional critique called it "an amazingly riveting stage performance" backed by "impeccable" choreography, showcasing tactics thought to "silence even the most fervent of her haters."
Gerrick D. Kennedy of the Los Angeles Times commended Jackson's showmanship, stating "While today's pop landscape of over-the-top divas like Beyoncé, Rihanna, Lady Gaga, Katy Perry and Britney Spears have become known for glitzy productions ... She placed the focus of her set squarely on showcasing her voice—it should be noted that she sang live for the nearly two-hour show, a rarity in today's pop music—and the legendary complex footwork that marked her.. as pop royalty."
Aidin Vaziri of the San Francisco Chronicle declared the show affirmed "her legacy as pop royalty," saying, "Jackson threw her body full force into the songs."
In reviewing her performance in London, Neil McCormick of The Daily Telegraph praised Janet's "retained vocal tone and physical fitness" as "impressive," also saying "her voice still high, soft and girlish, her body curvy but firm and up to the demands of aerobic workout style dance routines."
Joanna Chaundy of The Independent wrote, "Watching Janet Jackson play such a prestigious venue, one that conveys a sense of intimacy despite its size, is a pleasure in itself."
Alexis Petridis of The Guardian said, "Jackson can still sing and dance up a storm," concluding "if she wanted to remind people how commanding a presence she can be, she's done her job."