After reading all the reviews for this tour, I want to share it, because since the "Im not dead tour" in Europe and Pacific, Pink tooks perform into the next level. The "Funhouse Tour" is doing almost 200 million dollars worldwide including the 20 million of her 12 sold out american dates, finally Pink come back to America in a big way. I found this article of MTV.COM that talks about how inderrated she is in teh USA, but we know this doesnt happens overseas, the mistake was the american flop of her "Try This" album, but ironically in Australia and Europe was a huge hit, she is the most succesful solo artist in Australia music history in tours, album sales and digital sales, in Europe and Asia she sold outs the same arenas as Madonna .
Finally, she is not dead.
MTV.COM ARTICLE:
Pink: The World's Most Underrated Superstar Singer's ultra-personal songs and high-flying stage show set her apart from traditional pop stars, in Bigger Than the Sound. By James Montgomery
Views7,986 29 Comments 100% Rating Rate ArticleThumbs Up Thumbs Down Share Favorite A few weeks ago, as I sat in Radio City Music Hall watching Pink dangle upside down from a trapeze bar some 60 feet above my head, risking life and limb (and avoiding a wardrobe malfunction) while positively nailing the chorus of "Sober" — the smart, stunning song she co-wrote with "American Idol" judge Kara DioGuardi — I sort of realized something:
Pink is totally underrated.
Think about it. She is a fabulously fearless pop artist, as comfortable taking on George W. Bush as she is hanging like a bat from the rafters of Radio City. She is clever and funny and unflinching, willing to take her (oft volatile) personal life and turn it into grist for hit singles. She is a deceptively good singer, something she is rarely given credit for (check "Just Like a Pill" or "God Is a DJ" or the chorus of "Sober" for proof). She recorded a Beck song and wrote tunes with Rancid's Tim Armstrong. She has tons of tattoos and used to wear her hair like Wendy O. Williams from the Plasmatics. She has sold more than 30 million albums worldwide, landed countless Billboard hits, and her Funhouse tour is currently the ninth highest-grossing jaunt of the year.
And yet, if you were to make a list of the biggest pop stars, Pink probably wouldn't even crack the top five. This doesn't seem right to me, though I think I understand why it tends to happen. Unlike Britney or Gaga or Christina or Miley or Taylor, Pink is not a pure pop star. She's multifaceted, an amalgamation of many things and many eras, not easily categorized or digested.
To wit, Pink is kind of a rock star (remember when she was going to play Janis Joplin in a biopic?). She is kind of a party girl. She is kind of an R&B diva too (or, at least, she used to be). And she's created a particular niche in the pop universe that somehow manages to combine all those things. Her songs — particularly those on the Funhouse album (which, it should be noted, she originally wanted to call Heartbreak Is a Mother----er) — are angry, funny, ****y and rife with honesty. It isn't a perfect album, and it isn't supposed to be: It's a human one, about imperfect love and imperfect situations. At times, it's even downright depressing ("Please Don't Leave Me," "Crystal Ball"), which, considering it's supposed to be a pop album, is pretty ballsy. Not to mention impressive.
And given that Funhouse landed Pink her first-ever Billboard Hot 100 #1 ("So What") and has sold approximately 4.5 million copies worldwide, it means she's basically pulled off what many equally gifted pop singers (Kelly Clarkson, Lily Allen, etc.) have attempted but few have actually achieved: releasing a deeply personal, out-of-left-field album, without fear and with total conviction, and making it stick. So, please: Can someone give her the respect she's due?
To put it bluntly, Pink can out-sing almost anyone out there. She can out-crazy Gaga or Lily. She's the total pop-star package, everything you'd want in a singer/entertainer/icon. And still, she remains oddly off the radar. Such is the price of busting borders, I suppose.
And part of me thinks she'll forever remain that way — a cult superstar (or, you know, as "cult" as anyone who sells so many million albums can be), appreciated by those in the know, ignored by the mindless masses. But the other part of me — the optimistic part buried deep within — believes Pink is set up for the long haul. She's a career artist, unafraid to take risks and deal with the repercussions, and as such, she'll still be here long after her contemporaries have disappeared.
Then again, if she keeps dangling upside down, she might not make it that long. And, really, she shouldn't have to go to such lengths (or heights) to be loved. Though, now that I think of it, she wouldn't be Pink if she didn't.
This message has been edited. Last edited by: musicboy,
Pink offered something for all her fans Monday night (Oct. 5) at the New York stop of her Funhouse tour. The Las Vegas-worthy show was presented in Madison Square Garden as an adult playground, complete with a rowdy dance troupe, daring acrobatics, appearing and disappearing body parts, and fierce stage presence.
And yet, Pink is still one of the few female pop stars who doesn't need spectacle to serve as filler for an arena show. The focal point, from beginning to end, was her voice. She sang live for the entire two-hour set and even while hanging upside-down, impressing the crowd as much as she did during her recent performance of "Sober" while swinging from a trapeze at the MTV VMAs.
The audience's pre-show energy was boosted by English rock duo The Ting Tings, who appeared on this final night of Pink's North American tour to perform favorites like "That's Not My Name," "Great DJ" and "Shut Up and Let Me Go." Soon enough, the stage lights went purple as Pink arose from the floor, lofted on a wire and belting out a cover of AC/DC's "Highway To Hell."
From the start, Pink's confidence was apparent; she looked sharp in a flattering ringmaster costume and her physique was near-perfect, having clearly undergone a serious training regimen for the tour's Cirque du Soleil-esque routines.
Pink kicked off her own catalog with "Bad Influence," which was staged like an updated version of the "Moulin Rouge"-inspired "Lady Marmalade," then did a quick-change into a leopard-print tunic and skin-tight, metallic red leggings. A strong transition to her 2001 Linda Perry collaboration "Just Like a Pill" found the singer sliding down a ramp and crawling towards the front row of rabid fans, each of whose flailing hands she made sure to touch as she sang.
A string of hits followed with several memorable moments. From the opening guitar strums of "Who Knew," the entire audience sang along with Pink's gorgeous vocal, colored by Jessie Green on violin and Stacy Campbell and Jenny Douglas-McRae on background vocals. On "Don't Let Me Get Me," Pink internalized the lyrics and stroked her torso as she sang, "Every day I fight a war against the mirror/I can't take the person staring back at me." Now clad in black lingerie, the singer writhed on a red sofa and launched into a hyper-erotic rendition of The Divinyls' "I Touch Myself." Multiple arms emerged to grope the singer from head to toe, and the crowd went wild.
Pink also played up her sense of humor, known for being equal parts sarcastic and good-natured. During the especially enjoyable "Please Don't Leave Me," she rumpled guitarist Justin Derrico's hair and roughed him up a little as she sang, "You're my perfect little punching bag." On "U + Ur Hand," she threw in a crotch grab to punctuate the line, "Lookin' tight, feelin' nice, it's a ****fight," just before the entire crowd erupted to sing the chorus: "I'm not here for your entertainment/You don't really wanna mess with me tonight!"
An electrifying vocal ensued on "Family Portrait," another hit from her "M!ssundazstood" album, as Pink was accompanied by only violin and piano. "Sober" found the star dressed in a black sorcerer's cape as she watched a man and woman perform the trapeze routine she did at the VMAs. It's one of Pink's best songs yet, boasting gripping harmonies, riveting lyrics co-written by her and Kara DioGuardi, and her voice at its finest. Towards the end of the set, Pink took on another daunting vocal in Queen's "Bohemian Rhapsody," for which she sported a yellow military jacket and hat.
It wasn't just the big hits that stood out on the Funhouse tour, though. During an acoustic mini-set, Pink sat barefoot on a stool and was held in the same regard as she had been when she was inverted and singing into a headset. Though it didn't quite fit within the context of the rest of her set, Pink's statement song, "Dear Mr. President," was especially well-received with its politically charged images of war, poverty and, of course, former U.S. president George W. Bush.
The toned down theatrics didn't last very long. "Glitter in the Air," an easily-overlooked song from the "Funhouse" album, served as the night's stunning finale. Actual glitter poured onto Pink as she rose from the stage in a suspended swathe of fabric, joining a trio of synchronized acrobats in a star formation as she hung below. As she was dropped into water below the stage and then lifted again, the gentle lullaby-like song rolled on and Pink launched into a series of mid-air spins that would rival those of an Olympic figure skater.
When Pink finally touched down, she continued singing with bombast, as though the entire spectacle had been no sweat. If the rest of the show hadn't already made the case that Pink has one of the best pop-rock voices -- and the most brazen moves -- of her generation of stars, this final moment certainly did.
New Yor Times Review:
Music Review | Pink Step Right Up
Published: October 6, 2009 The job description for a pop star keeps expanding: songwriter, singer, bandleader, dancer, video actress, fashion plate. Pink, whose world tour played Madison Square Garden on Monday night, has added another task: athlete. Early in the show she casually did a gymnastic flip onto a couch between songs. And near the end Pink belted “Get the Party Started” from overhead at the arena, hanging upside-down from a trapeze by one knee. Even in an era of escalating pop spectacle, Pink’s “Funhouse” tour is going to be hard to top.
It’s wrapped around Pink’s songs, which veer between longing and anger, between kiss-offs and hopes for reconciliation, with occasional thoughts about pills, booze and celebrity. She’s a rocker at heart, with a gutsy voice that needs no processing. It takes on a soul singer’s ache for ballads, and it can pack Janis Joplin dynamics into terse, direct pop choruses for songs like “Please Don’t Leave Me” and “I Don’t Believe You.” Among the songs on her five albums since 2000, Pink, whose real name is Alecia Moore, has exposed childhood traumas in “Family Portrait,” and sneered, “So what — I am a rock star.” She’s not subtle as she lets loose both brash confidence and self-doubt, but she sidesteps clichés by revealing her conflicts: “Go away, come back — Why can’t I just have it both ways?” she sang in the punk-poppy “Leave Me Alone (I’m Lonely).”
Onstage, she was a down-to-earth superwoman. The tour is a two-hour, circus-theme extravaganza, with dancers, aerialists, funhouse mirrors and giant, inflatable clowns. Pink flaunts outsize costumes that fall away to reveal every toned contour of her body in scantier garb, including what looks like athletic-grade lingerie. And she was equally natural joining the steps of her troupe’s choreography or swaggering like a rock frontman.
She was sultry for a moment, cooing the Divinyls’ “I Touch Myself” while writhing on a couch with hands coming up through it, caressing her. More often she was simply frisky. For one song she encouraged bad dance moves from the audience, then gleefully imitated them; she’s a quick study. And midconcert, she set the circus trappings aside to appear barefoot in bluejeans and a tight T-shirt, singing “Family Portrait” as an unguarded confession. (Another quiet song was one of the show’s few missteps; as righteously as Pink performed it, “Dear Mr. President,” her outraged letter to George W. Bush, is now outdated.)
The circus format is no novelty. Janet Jackson and Madonna have both used it; Britney Spears has her own “Circus” tour this year. But Pink outperforms her fellow music-video pros. She doesn’t lip-sync, even when she’s skipping down a long runway in treacherous high heels. And where troupers like Madonna come across as disciplined and determined — the work shows onstage — Pink smiled through it all, looking genuinely playful.
For her finale, the ballad “Glitter in the Air,” she wore a barely-there costume and rose up once again, suspended below a team of aerialists who struck slow-motion, geometric Cirque du Soleil poses. The apparatus dipped her into a tank of water and she emerged with it pouring off her, glittering in the spotlights, as she sang about taking chances and finding joy — not boasting about her strength, but sharing it.
