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Concert review: Sold-out crowd gets a bracing shot of Amy Winehouse The Brit pop star gave an intoxicating but brief performance of fresh-faced retro R B in her Minneapolis debut.
Last update: May 03, 2007 ndash; 1:14 PM
British pop star Amy Winehouse leads the lush life.

Not the kind depicted in the classic Billy Strayhorn song -- booze has a big presence in her songs ("Rehab" is the title of her No. 1 Brit hit) as well as in her life. Some nights she reportedly has been too hung over to perform.

So when Winehouse took the stage Wednesday at the Varsity Theater in Minneapolis, the sold-out crowd was wondering if booze would be part of her act -- as with Dean Martin, Janis Joplin or Ryan Adams, the acclaimed rocker who has been notoriously bombed onstage. All eyes were riveted on the award-winning 23-year-old singer, whether to witness an impending train wreck, a prodigious talent or a luscious-looking lass. What they did see was a brief, curiously addicting performance of fresh-faced retro R B.

First, there was her look, which suggested a raven-haired Christina Aguilera given a John Waters makeover for a glam-punk "Hairspray." Her fabulous foot-high beehive didn't disguise the fact that Winehouse is a lithe 5 feet 2. And with her wifebeater shirt, her sailor-like tattoos of nude women were on display.

Second, she was well-behaved despite her reputation for mouthing off in public and vomiting onstage. She dropped a couple of f-bombs; started, stopped and restarted "Rehab," and guzzled a cup full of some libation near the end. Finally, and most important, there was the music -- in a word, intoxicating.

With her lazy, often lingering phrasing and deep, sometimes dark lyrics, Winehouse married Southern soul with country music. (Should we call it Southern Comfort soul?) And she delivered her detailed songs with the keep-it-real attitude of hip-hop.

"Me and Mr. Jones," one of the impassioned highlights, suggested Patsy Cline living the rap-city life. "Rehab" illustrated her complicated personality: Winehouse seemed tormentedly morose on the choruses, staring at the floor, left hand in jeans pocket; then she lit up on the verses like a dynamic soul siren.

Never mind that her loosey-goosey dancing was sometimes out of sync with the smooth Motown-like steps of her male backup singers. Part of Winehouse's appeal is that she seems smart and stupid at the same time. One of her smartest moves was to enlist the Dap Kings, a vintage-inspired R B ensemble from New York, as backup band.

The horn-driven group skillfully walked the line between loungey and funky without letting the singer go astray. As rewarding as Winehouse's performance was, it was too short -- 45 minutes -- as she played all but one of the numbers from her hit CD, "Back to Black," along with two tunes from her 2003 debut, "Frank," and one cover for an encore. As her band vamped on "Valerie," a Zutons tune, she unexpectedly flapped both of her hands, like a little girl waving bye-bye, and prematurely waltzed away to the lush life in her dressing room.

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