diana ross tour reviews

At Wolf Trap, Diana Ross gives a ‘move it or lose it’ lesson on life

The 79-year-old motown legend energetically covers decades of hits, while sending her audience off with a lot of positive vibes.

On Saturday night at the Filene Center at Wolf Trap, Diana Ross seemed most concerned about the movement of the capacity crowd: “I want to see you moving,” she said. “I can’t see you moving. Are you moving?”

Moving is the least the audience could do, considering Ross kept things going for nearly two hours.

“You know I’m 79, right?” she said to cheers. “Move it or lose it.”

“Move it or lose it” is a fitting mantra for the singer, who has spent more than six decades in the spotlight, seemingly in constant motion as she dominated pop music — first as the breakout star of the Supremes, then as a solo artist — before taking a foray into acting and continuing to rack up awards, milestones, honors and superlatives.

As her Music Legacy Tour made its penultimate U.S. stop in Fairfax County, Ross and company played two dozen songs, many of which have served as the soundtrack of our lives, with the singer — who was once crowned the female entertainer of the century — proving that she can still do what she was born to do.

With a nine-piece band and four background singers dressed all in black, Ross provided the color and star power expected of the icon, her changing outfits a mood ring of sequins and frills that morphed from tangerine to silver to regal purple and black to fairylike pink and champagne. And while she knows how to pick her spots and lean on her background players, she still has impressive control over her gentle soprano.

But beyond her voice, look and Hitsville USA parade, the most striking part of the performance might have been a jubilance and joie de vivre that has not been dulled after countless concerts over the years.

The Music Legacy Tour lived up to its billing, with Supremes hits such as “You Can’t Hurry Love” and “Come See About Me,” the sultriest disco groove of all time in “Love Hangover” and the Chic-powered classics “Upside Down” and “I’m Coming Out.” There were nods to her film career, with “Ease on Down The Road” from “The Wiz,” the sweeping “Theme from Mahogany” and a handful of Billie Holiday numbers from Ross’s “Lady Sings the Blues” period.

Those songs — which the crowd knows, to borrow a lyric, upside down and inside out — recall the period when Ross and Motown were at their apex and established the high-water mark for pop music. But the lyrics that resonate most are the ones that shine through the nostalgic glow to look not just backward, but also forward. “I love you more today than yesterday,” she sang on a cover of a 1969 song by Spiral Starecase, “but not as much as tomorrow.”

For those onstage and in the crowd who have more yesterdays than tomorrows, there’s an obvious appeal to performing and hearing the songs that were playing during first dances and first dates. But Ross understands, perhaps more than most, how making music can serve a higher purpose. She recalled how, when the coronavirus pandemic canceled live shows, she decided to return to the studio and record an album of her first original music in more than two decades. The result was 2021’s “Thank You,” an experience that allowed Ross to refocus on the important things in life, such as music and family.

“I ended up knowing that it didn’t take a lot to make me happy,” she told the crowd.

Ross performed songs from the album that have the same belief in the power of love as her old favorites, even if they understandably lack the same resonance. Going from those new tracks to her versions of “Why Do Fools Fall in Love,” “Ain’t No Mountain High Enough” and “I Will Survive” — the latter of which she supplemented with an interpolation of DJ Khaled’s hip-hop anthem “All I Do Is Win” — caused emotional whiplash.

Before Ross sang her encore (the title track from “Thank You”), she asked the crowd to repeat after her: “I’m so grateful for all the blessings in my life, for there are many. We are abundantly supported, and all is well.”

As the concertgoers danced their way to the parking lots with chairs, coolers and cushions in tow, the affirmation kept them moving forward, as Ross has helped them do for all these years.

Review: Diana Ross, still reigning supreme at 79, got her groove on at her San Diego concert Sunday

The Motown music legend and her 10-piece band performed to a near-capacity audience at The Rady Shell at Jacobs Park. It was the third date on her 2023 ‘The Music Legacy Tour,’ which opened Friday at Temecula’s Pechanga Resort Casino

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Diana Ross had at least one surprise up her sequined sleeve at her Sunday night concert at The Rady Shell at Jacobs Park — and it was as welcome as it was unexpected.

No, it wasn’t the fact this seemingly ageless star — still getting her groove on at 79 — only left the stage twice to change from one eye-popping ensemble into another.

“You guys don’t get to get the last costume change!” Ross told the audience, after claiming not to know The Shell has a 10 p.m. curfew (a fact clearly stipulated in her performance contract).

It also wasn’t surprising that her 10-piece band was featured at length on several songs, the better to let Ross catch her breath offstage as she exchanged one brightly colored gown for another.

But what was surprising — and inspiring — is that a highlight during her hits-packed “The Music Legacy Tour 2023” concert here came with a relatively new selection few in the audience had heard before.

That song, the brassy, dance-happy “Tomorrow,” is a standout from 2021’s commercially moribund “Thank You,” Ross’ first new album since 2006’s “I Love You.”

She delivered “Tomorrow” — which came 70 minutes into her 90-minute performance — with infectious verve and energy. Ross sounded thoroughly engaged with the song, whose release came seven decades after she made her recording debut with “I Want a Guy.” (Released in 1961, “Guy” was her first single with the pioneering Motown vocal group The Supremes.)

Audience cheered heartily

Sunday’s near-capacity audience of 4,400 had a muted response when the legendary diva announced she was about to do a number from her latest album. But they cheered heartily when it concluded.

The enthusiastic reaction was a testament to the propulsive “Tomorrow’s” melodic appeal, its upbeat lyrics and to how thoroughly the nearly 80-year-old Ross threw herself into the forward-looking song.

“Some of you old-timers may not know that I have a new album,” she lamented. “You can’t hear the songs on the radio; you gotta go to Spotify or Apple. It’s different these days.”

“Tomorrow” was, alas, the only piece she included from “Thank You,” which is the 25th studio album of her career as a solo artist. Her concert at the Shell — as denoted by its “Music Legacy Tour” moniker — was crafted to celebrate the breadth and depth of her improbably long career.

That Ross only partially succeeded reflected just how formidable her repertoire remains. Or, as she succinctly noted: “I have too many songs, that’s for sure.”

Her surfeit of memorable material necessitated some trade-offs. So, while “Ain’t No Mountain High Enough,” “It’s My House” and The Bee Gees-penned “Chain Reaction” were included in her set list Sunday, “You Keep Me Hanging On,” “Reflections” and her 1977 funk gem “Baby It’s Me” — by the great San Diego singer-songwriter Don Dunn — were among the songs that didn’t make the cut.

Ross took to the stage following a six-minute film that traced her rise from a Detroit housing project to international stardom.

The multi-generational audience cheered nearly as loudly for some bits in the film as for the concert that followed. And if Ross repeated on stage at least one line from the film — “I’m still here! I’m not going anywhere!” — well, it was a line worth repeating.

In the unlikely event, any concertgoers were daydreaming or somehow forgot whose legacy was being saluted, the large video screen at the rear of the stage offered nonstop reminders throughout the performance. Vintage photos and film clips showed Ross with The Supremes, throughout much of her subsequent solo career and with various collaborators, including Marvin Gaye and Michael Jackson.

She opened the show with her celebratory 1980 hit, “I’m Coming Out,” which was written by Nile Rodgers and Bernard Edwards of Chic. Her rendition clocked in at two minutes, less than half the length of her original album version.

Ross also zipped through five crowd-pleasing classics by The Supremes, starting with “Baby Love” and “Stop! In the Name of Love,” that averaged 2-1/2 minutes each. The fifth, “Love Child,” was extended to 5 minutes, but she was offstage for three of them for her first costume change.

Returning in a red gown and red ruffled cape, Ross delivered winning, back-to-back versions of two of her disco hits: 1979’s “The Boss” and 1980’s “Upside Down.” Both benefited from the sleek, note-perfect performances of her well-drilled band.

Ross played the audience as if it was a musical instrument at her fingertips, leading them in mass sing-alongs and arm waves. She won cheers when she chided security guards at the front of the stage who were trying to clear the aisles of dancing fans. It was a thankless and, ultimately, impossible task.

Girlish lilt

Ross’ voice has always been thin and wispy. It has grown more so with age, so she wisely had her four backing singers do much of the heavy lifting.

But her voice has retained much of its girlish lilt, while her personality and charisma enabled her to largely hold her own whether she was breathlessly crooning through the unabashedly sentimental ballad “Missing You” or romping through “Love Hangover.” And hearing her voice crack during her concert-concluding version of Gloria Gaynor’s pulsating 1978 ode to resiliency, “I Will Survive,” provided added pathos to the lyrics.

Ross didn’t dance up a storm from start to finish — she is a septuagenarian, after all.

But she was on her feet for the duration of her nearly two-dozen selections, offtage costume changes notwithstanding. And she knew exactly when to strut or add a well-timed shimmy-and-shake for maximum impact. For good measure, at one point during “Upside Down” she playfully patted her derriere.

“Now look,” Ross told the audience. “If I can move my body like this when I’m 47 — you know, I’m kidding, I’m 79 this year — (you can) move that body!”

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Diana Ross Makes 79 Look Supremely Easy at Dazzling Radio City Concert

The Music Legacy Tour finds the legend performing several songs she doesn't "normally do" for faithful fans.

By Joe Lynch

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Diana Ross , a true musical and cultural icon who has been gracing the Billboard charts for 60 years, lit up Radio City Music Hall with her ineffable presence on Thursday (July 29).

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A glorious, soaring rendition of her Billboard Hot 100-topping cover of “Ain’t No Mountain High Enough” was about as heavenly it gets, and Stans of The Supremes were well-served by the four classics (“Come See About Me,” “Reflections,” “You Can’t Hurry Love” and “Love Child”) she doled out at the top of the show. Those whose entry point for her rich catalog was The Wiz were treated to “Home” and a bubbly “Ease on Down the Road,” and there were more than a few surprises to keep things interesting for longtime supporters.

Ross also offered the crowd some reflections on her life during the pandemic, and how it led to her latest album, 2021’s Thank You. “I thought, ‘If I can’t get on the road – if you’re gonna stop me from going on the road and saying hello to you and visiting – then maybe I can go in the studio and record some new songs,’” she shared. “We made this new album and the album is really dedicated to each and every one of you. It is about gratitude. The title of the album is Thank You. For me, I got a chance to really look at what is important in my life, and I noticed I needed very little to be happy: I just needed to be with you, I needed to make sure I was in good health. We all were in the same place thinking about our futures.”

Ross’ future finds her performing two more shows in the States before hopping over to Europe, with her website promising “more dates to be added.” As she gracefully enters the next chapter of her remarkable life, Ross shows no signs of slowing down, and the quality of this tour is a testament to her timeless talent.

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Diana Ross Radio City Music Hall review: After 60 years, a legend still believes

• Updated: Jul. 05, 2023, 1:53 p.m. |
• Published: Jun. 30, 2023, 11:00 a.m.

Diana Ross performed Thursday night at Radio City Music Hall in New York. Ross is shown here onstage at the Academy Museum of Motion Pictures 2nd Annual Gala on Oct, 15, 2022 in Los Angeles.(Photo by Kevin Mazur/Getty Images for Academy Museum of Motion Pictures) Getty Images for Academy Museum of Motion Pictures

• Bobby Olivier | NJ Advance Media for NJ.com

“It took me a lifetime to get here, I’m not going anywhere.”

Diana Ross said this almost exactly 40 years ago, standing defiantly in Central Park as the rain poured down, soaking the icon and her gargantuan concert crowd. Her free, televised show performed on July 20, 1983 drew upward of 500,000 fans , before the untimely storm forced Ross to stop the production and resume the gig the following day. Her most famous New York moment was also her most infamous, viewed as a financial catastrophe at the time, losing the city more than $2 million between the two events.

As some of the concert’s merchandise sales were to be donated to build a playground in the park, Ross donated $250,000 of her own money to ensure the playground was erected.

Four decades later, the Diana Ross Playground still stands at 81st Street, two miles from where the legendary singer stood Thursday night, before a sold-out crowd at Radio City Music Hall.

While Ross, 79, didn’t mention the coming anniversary on stage, a video montage of career highlights played before she emerged from the wings. Can you guess what the very first clip was? Ross, in Central Park, dancing in the rain.

Ross’s new “Music Legacy Tour,” which kicked off earlier this month and visited Atlantic City last week, serves several purposes for the R&B, pop and dance luminary: Of course, it’s a victory lap of her greatest hits, and reminder of her influence on the mainstream songbook of the last 50 years. From the Supremes to her solo career, Ms. Ross beamed so Madonna, Janet Jackson and Beyonce could erupt, not to mention the long list of stars who’ve sampled her songs: From Notorious B.I.G. and Will Smith to Lady Gaga and Ariana Grande.

View this post on Instagram A post shared by Bobby Olivier (@bobbyolivier)

But across nearly two hours on the vaunted Midtown stage, Ross and her sprawling 19-piece band dug deeper into her catalog, swapping some classics for less ubiquitous cuts, and took time to visit several tracks off her 2021 album “Thank You” — a record that again reaches Ross’s standard of excellence.

“I wanted to do a lot of the songs I don’t ordinarily do,” Ross said, draped in a lime-green, highly sequined outfit. She changed costumes three times, one more glamorous than the last, from silver to green to red to billowing white.

No. 1 singles “Stop! In the Name of Love,” “You Keep Me Hangin’ On,” and “Baby Love” as well as fan favorite “Missing You” were all left off the setlist, replaced by the 1981 rock-steady cut “Mirror, Mirror,” “I’m Still Waiting” off 1970′s “Everything is Everything” (Ross was sure to note it went No. 1 in Japan), and the ‘79 disco jam “The Boss.”

There was a good deal of improvisation to this show as well, with Ross calling new songs on the fly — she subbed in the resolute newbie “I Still Believe” and the band went with it. Earlier, as the band cued up for “Love Hangover,” she stopped them, saying her setlist had “Endless Love” as the next song and they would indeed play “Endless Love.” Once a diva…

Ross, whose bright eyes and wide smile have illuminated the entertainment industry since the early ‘60s, was kind and effervescent throughout the performance, appearing to float during Billie Holiday’s “God Bless The Child” (Ross famously portrayed Holiday in 1972′s “Lady Sings the Blues,” for which she earned an Oscar nomination).

A song earlier, on the jazzy “Fine and Mellow,” she relinquished the spotlight to her terrific band, allowing the brass, sax and guitar trade solos.

Speaking about her latest album, recorded during the pandemic, Ross noted: “The album is dedicated to each and every one of you, it’s about gratitude … I realized (during the pandemic), I needed very little to be happy; I needed to be with you, and to be in good health.”

To the latter point, Ross seemed to relish in the “age is just a number” idiom — her vocal quality remains stellar; crisp, ranging and impassioned. Though it’s understandable she can’t quite shimmy and trot around the stage as she did a half-century ago, she was sure to urge the crowd to dance during “Upside Down,” declaring “move it or lose it … if I can move my body like this at 47 … you know I’m 79, right?”

The sing-alongs reigned, of course, for “More Today Than Yesterday,” “Ain’t No Mountain High Enough” and her bombastic opener “I’m Coming Out.”

But for all her achievements as one of the most significant American entertainers of the 20th Century — she’s right up there with Elvis and Sinatra, only touting more chart-toppers — Ross could’ve sat on stage and knitted and fans would’ve been more than pleased to be in the same room.

Yet Ross shows no signs of slowing — if she’s still touring in 2033, I genuinely wouldn’t be surprised, still smoldering: “Come See About Me.”

Diana Ross’ setlist

June 29, 2023 — Radio City Music Hall, New York

• “ I’m Coming Out ”
• “ More Today Than Yesterday ”
• “ Come See About Me ”
• “ Reflections ”
• “ You Can’t Hurry Love ”
• “ Love Child ”
• “ The Boss ”
• “ Touch Me in the Morning ”
• “ Mirror, Mirror ”
• “ Upside Down ”
• “ Chain Reaction ”
• “ He Lives in You ”
• “ I’m Still Waiting ”
• “Endless Love”
• “ Love Hangover ”
• “ Take Me Higher ”
• “ Ease on Down the Road ”
• “Don’t Explain”
• “ God Bless the Child ”
• “ Tomorrow ”
• “I Still Believe”
• “ If the World Just Danced
• “ Why Do Fools Fall In Love ”
• “ Theme From Mahogany (Do You Know Where You’re Going To) ”
• “ Ain’t No Mountain High Enough ”
• “ I Will Survive ” (with elements of “All I Do Is Win” by DJ Khaled)

Bobby Olivier may be reached at [email protected] . Follow him on Twitter @BobbyOlivier and Facebook .

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Review | Diana Ross Still Reigns Supreme 

A Once and Forever Superstar Struts and Stunts Her Way Through a Memorable Santa Barbara Bowl Performance

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“As much as I love recording in the studio, there’s nothing more magical than the energy on stage,” boomed the voice of Diana Ross, over an extended video introduction that took us through her growing up in Detroit as one of of Ernestine and Fred Ross’s six children (including some funny interviews with her siblings), to her early success as the lead singer of the Supremes — who remain the best-charting female group in history, even though they dismantled in 1970 — and then through her impressive solo career as a singer, her film career, as well as a nod to her five children and eight grandchildren. 

And with that big, extended introduction, the Divine Ms. Diana was off and running, starting with “I’m Coming Out,” the 1980 hit that showed off the aforementioned “magical on stage energy” and the indescribable but undeniable star quality that has served her so very well since she made her debut with the Supremes in 1959. 

The fact that she’s 79, and was able to gracefully sing and dance her way through such hits as “I Love You More Today Than Yesterday,” “Baby Love,” “Stop in the Name of Love,” “You Can’t Hurry Love,” and so many more was impressive enough. But she was also a glamorous vision in an assortment of stunning and mostly very sparkly ensembles (I counted five costume changes plus two capes that when cast aside made each outfit into a completely different look).

One of my favorite moments in a show that was filled with lots of them was when she pulled her grandchildren out of the audience and up on the stage to sing and dance adorably to “Upside Down.” “I do it all for these kids,” said Ross, adding, “Besides loving you [the audience], this is the love of my life.” 

She also had a nod (and another video) to some of the other loves of her life, dedicating a poignant version of “Missing You” (originally written by Lionel Richie as a tribute to Marvin Gaye) to “all of those that we’re missing right now” — including clips of herself performing with the Supremes, Gaye, and Michael Jackson, a dear friend and frequent collaborator. 

Diana Ross’s stage presence has always been as much of a calling card as her voice, and she uses both smartly now, playing to her strengths and using her charisma and well-timed shimmies, shakes, and struts to perfection, while letting her extremely capable backup singers do some of the more difficult vocal heavy lifting through songs like “I Will Survive,” “Ease On Down the Road” (from The Wiz, co-starring Michael Jackson), and “Do You Know Where You’re Going To” (from the film Mahogany, which she starred in 1975, and seems ripe for a remake with oh say, I’ll just put it out in the universe and cross my fingers,  Rihanna). That being said, her poignant version of “Don’t Explain”  — a 1946 Billie Holiday song that Ross sang in her portrayal of Holiday in Lady Sings the Blues — was perfectly in her vocal range, and one of the most beautiful songs of the night — and she sang it seated. 

But impressively Diana Ross remained on her feet through all of the rest of the approximately 20 song set, as did most of the clearly entertained crowd — honest to goodness (and there was a LOT of that), she still has the spirit and the moves of a Diva. 

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Diana Ross at the London O2 review – A still-gleaming star

After she all but mimed her way through her brief headline appearance at the Platinum Party at the Palace concert this month, all eyes were on Diana Ross ’s lips as she sashayed from the wings of the O2 for the London show of her long-delayed Thank You tour. Good thing, too. As her brass fanfare reached crescendo and broke into I’m Coming Out, she flung off her voluminous shawl of curly tangerine frills with such a flourish that her microphone had to be rescued from the front row. One way or another, this Motown legend’s vocals would be a knockout.

Like so many of the great Sixties singers, at 78 Ross’s voice is a bent and battered instrument today, often bellowing through the big numbers and clutching hopelessly for the high notes. But she’s lost not an ounce of pizazz in 60 years and, backed by supportive but not overwhelming troupe of backing singers and a good-time party band, she could still turn North Greenwich into an outpost of boogie wonderland. From the opening run of Supremes hits, including Baby Love, Stop! In The Name of Love and You Can’t Hurry Love, you’d have believed she had her setlist upside down and was playing her encore first. But she was merely brushing aside her vivacious Sixties pop era to make way for a raging disco inferno.

With the first of three gown changes – various sequinned spectacles and one lime green Scarlett O’Hara – she launched into Chain Reaction, Upside Down and Take Me Higher, freshening her throat with a spray she dubbed “Entertainer’s Secret” and encouraging camp dance-offs in the aisles. Though some of the livelier tunes smacked a little of karaoke, Ross’s voice felt reborn on piano-led ballads such as If We Hold on Together and Theme From Mahogany (Do You Know Where You’re Going To), and positively powerful by the time of her showstopping take on Marvin Gaye and Tammi Terrell’s Ain’t No Mountain High Enough, backed with visuals of Ross in her glory days. Whenever she struggled, as on I’m Still Waiting, the crowd carried the melodies, swept along on a communal will to share such classic songs, and the moment, with this still-gleaming star.

Unlike surlier divas, Ross thrived on the audience connection, even pulling up a chair, introducing the arena to her family in the front row and inviting questions ahead of a heartfelt finale of Thank You, the title track from last year’s album which revived her Motown spirit with touches of contemporary carnival pop. Six decades in, she continues to relish her music, and remains ravishing in performance . Glastonbury , where she plays the legend’s slot this weekend, should break out its dancing galoshes.

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Diana Ross live at Glastonbury 2022: 66 years in and still enthralling crowds

The whole of Worthy Farm popped out to show love to the Motown queen as she played the feted Legends slot

When you’ve been entertaining crowds for 66 years, the only thing you can be called is a legend. Producing hit after hit, through multiple eras and decades, Diana Ross is the blueprint for being an iconic singing powerhouse. And, after her “gap year or vacation”, as she calls the pandemic on stage, she made her latest offering, ‘Thank You’, from her home studio to show her gratitude to her fans. The front, back, left and right of the grassy standing pit for the Pyramid stag is filled with dancing feet as we want to say “Thank you” back. Packed in, we try to kick and get jiggy as much as possible because we love this queen.

Before the 78-year-old coveted diva comes out, the screens fade into a celebratory montage of ’70s photo shoots and album covers from her extensive catalogue of greatest hits. As Ross ruffles her feathers on the side stage, anticipating what will be a legendary set regardless, her backing singers get us hyped by singing, “Are you ready, ready for the Ross? / She’s ready for you” . It’s suitably grandiose as the original R&B diva comes out draped in milky feathers and a matching headdress, her eyes taking her crowd and a smile springing to her face; Diana Ross is back.

She comes out at full force with her seminal hits from her time in the best-charting girl group of all time, The Supremes . Ross may have come out to ‘I’m Coming Out’ but it when she sings ‘Baby Love’ and drops her feather drape to reveal a dazzling white and gold ball gown that the crowd goes into overdrive. Some even sing intensely with tears brimming their eyelids. For the funky ‘Upside Down’, security guards twirled for the motown queen. There’s so much love in the air.

And Diana loves love, she says: “You know I have so many songs about love because everything we do is about love”. And when she gets us going with a covers medley at the latter part of her set, we boogie down with the disco diva to covers of Gloria Gaynor ’s ‘I Will Survive’ and Marvin Gaye ’s ‘Ain’t No Mountain High Enough’, despite “her body not moving like it used to”. She ends with the former, getting her band of many decades to show off one last time before the end of the ethereal set.

There might have been some mic issues, but from the start until the end of her set, she has the crowd in her hands. In their own fluffed-up curly wigs, you can see audience members relinquish themselves to the musical powerhouse and even cry as they recite  back Ross’ lyrics. Being in a crowd with so much love in the air feels euphoric; confirmation that Diana Ross is the ultimate queen.

Diana Ross played:

‘More Today Than Yesterday’ (Spiral Starecase cover) ‘My World Is Empty Without You’ (The Supremes song) ‘Baby Love’ (The Supreme song) ‘Stop In The Name Of Love’ (The Supreme song) ‘You Can’t Hurry Love’ (The Supreme song) ‘Chain Reaction’ ‘Thank You’ ‘Tomorrow’ ‘If The World Just Danced’ I’m Still Waiting’ ‘Upside Down’ ‘Love Hangover/ Take Me Higher / Ease On Down The Road’ ‘Why Do Fools Fall In Love’ ‘Theme From Mahogany (Do You Know Where You’re Going To)’ ‘Ain’t No Mountain High Enough’ (Marvin Gaye review) ‘I Will Survive’ (Gloria Gaynor cover)

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Live Review: Diana Ross at AO Arena

By Jay Darcy

Article Summary

Diana Ross is back in the UK for the first (and final) time in 15 years. Before beginning the UK leg of the Thank You Tour , she closed the Jubilee celebrations. She opened the tour with performances at Cardiff Castle and the Cambridge Club Festival, before playing a few arenas, beginning with the AO Arena in Manchester.

Diana Ross’ opening act was the adorable British-Moroccan Zak Abel – who I had heard of, but I was unfamiliar with his music. Abel only found out he was opening for Ross the day before. He told us that he is a huge fan so it was an honour to be there. He has a stunning voice, and I particularly enjoyed his charismatic performance of the catchy ‘Be Kind’, which involved a little audience participation. It might have been wise to perform his only UK top 20 hit, ‘Unmissable’ ( Gorgon City featuring Zak Abel), but Abel instead chose to promote his new music (and his merchandise). It was a sweet showcase of his music, and it was great to see a habib i representing!

Ross was on shortly after Abel. She might be the Original Diva, but she did not keep the audience waiting.

As is tradition, she came out to I’m Coming Out – but not before a video montage celebrating Ross’ career (images of her albums, etc.) played on the screens. Ross began singing the iconic opening of the song, before the curtain dropped dramatically to reveal her backing singers and band. Ross then strutted her way onstage and sang the rest of the song.

She wore a gorgeous, glittery, orange dress, complete with a huge piece of material that formed a cape behind her skirt. At first, she held it in her arms, before letting it drop to the ground. As she moved, it flowed graciously. She looked like a mermaid.

It was a little strange to go from one of her signature hits to the little-known ‘More Today Than Yesterday’ – though the song is a staple of her concerts.

Ross then announced that she would be singing some hits by The Supremes – of which she was the lead singer during their more commercially successful period (indeed, the band was renamed Diana Ross and the Supremes ).

Whilst the previous two dates had started with ‘Where Did Our Love Go’ – the band’s first number one single (following a string of unsuccessful singles that lead to the group being named the “No-Hit Supremes”) – it has sadly been cut from the setlist. Instead, she weirdly started this section with ‘My World is Empty Without You’ – one of the few songs written and produced for the Supremes by Motown’s main production team of Hollan-Dozier-Holland to not reach number one on the US charts. The Supremes had 5 consecutive number ones and 12 overall – more than any other group and joint 6th place (with Madonna) amongst artists with the most numbers ones – so why sing one of their lesser hits?

She then sang ‘Baby Love’ – the band’s second US and first UK number one – which was a real riot with the audience, as was ‘Stop! In the Name of Love’ (complete with the routine). It was in between these two numbers that she detached the puffy skirt/cape thing, allowing her to move around more freely and do those iconic dance moves.

The Supremes section ended with ‘You Can’t Hurry Love’ and ‘Love Child’. Sadly, ‘Come See About Me’ – which was placed in between these two songs on the first date – has also been cut from the set. I had been so excited to sing, “Smiles have all turned to tears, but tears won’t wash away the fears” at the top of my lungs, but alas…

Ross then went away for her first costume change, only to return in a luscious yellow gown and a massive shawl, complete with sleeves. The rest of the concert was made up of songs from her solo career, beginning with electrifying performance of ‘Chain Reaction’ – her second UK number one (though, surprisingly, not a hit in the US). My dad often played this old banger in his “old banger” of a car; it was my introduction to the legend that is Ms Ross. Steps memorably covered this song, and they performed it at this very arena last year. I always turned my nose up at their covers of ‘Chain Reaction’ and Kylie Minogue ‘s ‘Better the Devil You Know’, though they were both fantastic performances. However, nothing quite compares to seeing the original artist of the song perform it live.

This was followed by ‘I’m Still Waiting’ – the song that defined the three years of waiting for this concert (which was postponed twice, each time by a year). This mellow moment was ended abruptly with the unbeatable ‘Upside Down’ – which was actually Ross’ biggest UK chart hit (#2) since the #1 ‘I’m Still Waiting’ (ironically) 9 years prior.

Ross then lost the vivacious but restrictive shawl – for she needed the freedom for the medley that followed. The medley was made up of dance hits ‘Love Hangover’, ‘Take Me Higher’ and ‘Ease on Down the Road’ – the latter being her duet with Michael Jackson from the film adaptation of The Wiz . It was a great idea putting these songs in a medley, what with ‘Love Hangover’ brilliantly transitioning from ballad to disco – and following this with two dance tracks.

In the next set, Ross calmed down a little. She sang ‘Why Do Fools Fall in Love’ and ‘If We Hold on Together’ – the latter of which really spoke to our mindset during the pandemic. Her dress was simpler too. I mean, it was still fabulous, but not quite as extravagant as her first two.  It was a polka-dot, light green ball gown with sleeves that hung below her shoulders.

Following this, she performed a remix of her relatively new single, ‘If the World Just Danced’ – t0 the delight of fans who are familiar with her new music. It’s a great song, but I would have preferred it if she sang the titular song of the album, ‘Thank You’ – after all, it is the Thank You Tour . She sang ‘Thank You’ last at the gig in Leeds the following night, as part of a two-song encore with ‘It’s My Turn’ (an audience request).

The penultimate song of this act was the beautiful ‘Theme From Mahogany (Do You Know Where You’re Going To)’, which transitioned into ‘Ain’t No Mountain High Enough’ – her second single and first US #1. A radical revision of the original song, one of many tremendous duets by Marvin Gaye and Tammi Terrell , Ross’ version is known for its splendid spoken word passages and gorgeous gospel influence.

The last act of the main set consisted of Ross’ fabulous cover of Gloria Gayno r’s ‘I Will Survive’. Her cover, with the music video featuring RuPaul and other drag queens, made Gaynor’s original look butch in comparison – and this live performance brought the fabulosity. For this song, she wore a glittery black dress with tiny sleeves and detachable feathered sleeves – which glittered too! She completely embodied the disco diva! She sang a tiny reprise of ‘I Will Survive’ in the closing moments of the show, after a two-song encore.

The encore was very casual. Ross walked onstage in a sparkly, relaxed, black blazer and pants. She calmly sat on a chair placed in the centre of the stage. She told us that she would be taking a couple of requests. The first request was ‘The Boss.’ When I tell you I exclaimed “Yes!”, I mean it. I do not shout at concerts, ever, but I was gutted that she had cut my favourite songs of hers from the setlist after the first day. “I didn’t know you wanted it,” she said, bewildered that we would want to see the woman we call The Boss sing the song behind that honorific title.

It would have been great if we she sang ‘It’s My House’ – another single from that album ( The Boss ), which she sings at some dates – but I was just thrilled she sang ‘The Boss’!

The next request was ‘Home’ – a waste of a request, if you ask me. A lovely, little-known song from The Wiz , which she did not even release as a single ( Stephanie Mills , who played the role of Dorothy in the stage musical, released it as a single years after the movie was released). It was a little anticlimactic to end the night on a song that most people do not even know, let alone associate with Ross.

The woman has countless hits – you could have asked for ‘Endless Love’ (her most-streamed song on Spotify), ‘My Old Piano’, ‘Muscles’, ‘Touch Me in the Morning’, ‘When You Tell Me That You Love Me’, ‘You Are Everything’, or the song that she often ends her concerts with, ‘Reach Out And Touch (Somebody’s Hand)’ – but no. Ironically poetic, I guess, for we all headed home after this song…

It might have been a good idea for Ross to put it to the entire audience – take a few requests from the people at the front, shout them out, and see which one gets the loudest applause. There is not a chance in hell that ‘Home’ would have been chosen.

In spite of that, this is, without a doubt, one of the best concerts I have ever been to. It might not have been a mighty production, à la Cher and Queen + Adam Lambert , but Ross puts on a helluva show. The concert is a complete package – with Ross supported by stunning backing singers and a beautiful band – worthy of the woman that defined a generation of music and who is the blueprint of so many female artists who followed.

Diana Ross’ Thank You Tour has now left the UK, but Ross is playing two festivals in continental Europe – Starlight Festival (Spain) and North Sea Jazz Festival (the Netherlands) – and then returning to her home country of the United States for the last few dates of the tour.

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We’ve got the windy city covered., “ain’t no mountain high enough” for diana ross throughout supreme hard rock live lovefest.

Posted by Andy Argyrakis

Words like “icon” and “legend” get thrown around so much nowadays, they’ve lost much of their meaning, but there’s still one Supreme superstar in the form of peerless performer Diana Ross.

Not only has the double Rock and Roll Hall of Fame inductee blazed the trail for each subsequent generation of divas, but she hasn’t slowed down a shred since the 1960s, even at 79-years-old, recording the new album, “Thank You,” during the pandemic and presenting it alongside a multitude of classics throughout “The Music Legacy” Tour, backed by six musicians, two background singers and a giant video wall.

The headliner’s tenure in The Supremes was a significant part of the front half thanks to “Baby Love,” “Stop! In The Name Of Love,” “You Can’t Hurry Love” and “Love Child,” all signaling this was going to be nothing but a lovefest.

The audience heaped their affections right back at the vocally and visually beautiful artist for both the ballad “Touch Me In The Morning” and the bounce of “Upside Down,” in spite of a gracefully handled wardrobe malfunction involving sequins and wires.

Ross further rewarded faithful via “Ease On Down The Road” from “The Wiz,” plus the immortal likes of “Theme From Mahogany (Do You Know Where You’re Going To)” and “Ain’t No Mountain High Enough,” accompanied by triumphant footage of her record-breaking and history-making Central Park concert.

Though the house lights rose to indicate the end, the cheers were so loud and unceasing that a casually dressed Ross and the band came back for impromptu editions of “Tomorrow” and “Thank You,” either of which could’ve capped off an unprecedented career had she not had so much life and love left to give.

For additional information on Diana Ross, visit DianaRoss.com .

Upcoming concert highlights at Hard Rock Live Northern Indiana include The Killers (May 11); Wayne Newton and Tony Orlando (May 13); Billy Currington (May 19); Andrew Schulz (May 20); Incognito (Jun. 3); Kevin Hart (Jun. 10); Kevin James (Jun. 18); Halsey (Jun. 30); Cypress Hill (Jul. 2); Dream Theater (Jul. 7); Jimmie Allen (Jul. 8); Weezer (Jul. 9); Shinedown (Jul. 21); Deon Cole (Jul. 29); Volbeat (Jul. 30); Extreme (Aug. 17); W.A.S.P. (Aug. 20); Daryl Hall (Aug. 22); Gipsy Kings (Sept. 29); Styx (Oct. 13); Tom Segura (Oct. 14); Aaron Lewis (Oct. 27-28) and Grand Funk Railroad (Nov. 2). For additional details, visit HardRockCasinoNorthernIndiana.com .

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Diana Ross Opens U.S. Leg Of ‘Thank You’ Tour With Diva Dedication At Hollywood Bowl [Review/Videos]

Beyoncé may be the diva of the day, but the playbook that brought Bey to queendom was written largely, if not entirely, by Diana Ross .

Rising to stardom as the lead in a girl group? Check. Striking out on her own to become a solo sensation? Check. That journey guided by a generational voice, with plenty of costume changes along the way? Check and check.

No matter your definition of “diva,” Ross fits the bill as well as anyone has, does, or ever will. Since the age of 16, the Detroit native has dazzled audiences the world over with her vivacious spirit, her vibrant costumes and, of course, her brilliant vocals.

All of that is as true as ever at age 78. Diana Ross put her ageless talent (and tenacity) on full display at the Hollywood Bowl , where she kicked off the American portion of her world tour in support of her new album, Thank You , with a performance that showcased her ever-impressive range as a defining diva.

Following an engaging opening set from Tony Award nominee Joshua Henry , the longtime Queen of Motown resumed her reign with a run of what can only be described as absolute bangers. From coming out to, well, “Coming Out” and bouncing around to her cover of Spiral Staircase ’s “More Today Than Yesterday” to spinning out chart-topping hits from the Supremes —including “Come See About Me,” “Baby Love,” “Stop! In the Name of Love,” “You Can’t Hurry Love” and “Love Child”—Ross had a packed house of 17,000-plus patrons out of their seats and on their feet. And that was all before the first wardrobe break, each of which took place inside a curtained box on the left side of the stage.

From there, Diana dove deep into her catalog to unearth ageless classics and new favorites alike. There were disco standards like “It’s My House” and “Upside Down”, which had the house lit in the now-common colloquial sense—as well as ballads like “Reach Out and Touch (Somebody’s Hand)”, which had the crowd waving their phone lights to form cellular constellations. There were nods to her crossover into acting, including “Ease on Down the Road” from The Wiz , the theme from Mahogany , and “Don’t Explain”, from Diana’s role as Billie Holiday , one of the original divas, in Lady Sings the Blues.

Related: Gipsy Kings Show Spectacular Display Of Rumba Flamenco At Two-Night Hollywood Bowl Run [Photos/Videos]

With the second costume change came a shift toward material from her 2021 release, Thank You , which was borne of gratitude for her fans and, to some degree, boredom without the ability to tour during the height of the COVID-19 pandemic. Those tracks, especially “Tomorrow” and “If the World Just Danced”, are imbued with a degree of broader consciousness, something for which she may not always be known but of which she is certainly capable.

Not that Diana Ross has ever been shy. She interacted a bit with the audience—particularly her youngest son, Evan, to whom she sang “Beautiful Love” on his birthday—and much more with the production crew, critiquing the overuse of lights and inability to hear her own band at times.

In spite (or maybe because?) of those challenges, Diana persevered to shine bright on every song she sang and in every outfit she wore. After busting out her iconic rendition of “Ain’t No Mountain High Enough,” she fittingly closed out the show with a cover of Gloria Gaynor ’s “I Will Survive” that wove in a piece of DJ Khaled ’s “All I Do Is Win”.

Indeed, Diana Ross has been winning for a long, long, long time. After 62 years in the business, she stands as one of the most successful musicians ever, regardless of demographic. And if her latest bout with the technical elements at the Hollywood Bowl was any indication, she still has plenty of skill and spunk to keep going as a world-class performer, even as she approaches the age of 80.

Click below to check out a selection of fan-shot videos from the performance. For a complete list of upcoming Diana Ross tour dates, head here . For a complete list of upcoming shows at Hollywood Bowl, head here.

Diana Ross – “Come See About Me” – 8/26/22

[Video: Brian James ]

Diana Ross – “Do You Know Where You’re Going To” (Theme From  Mahogany ) – 8/26/22

Diana Ross – “Beautiful Love” – 8/26/22

Diana Ross – “The Boss” – 8/26/22

[Video: SoCalLiveitLive ]

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Music and Concerts | At 78, Diana Ross lights up the Minnesota State…

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Music and concerts, subscriber only, music and concerts | at 78, diana ross lights up the minnesota state fair grandstand like a true, ageless superstar.

When the world went into lockdown at the top of the pandemic, Diana Ross decided to make a new record.

Yes, plenty of musicians did the very same thing. But the 78-year-old icon pulled out all the stops. She hired a small army of producers and musicians — including Jack Antonoff, the go-to guy for the Taylor Swifts, Lana Del Reys and Lordes of the music world — as well as not one, but two symphony orchestras to make what became “Thank You.”

It’s her first album of original material since 1999, so she went ahead and hit the road for a world tour to promote it. After spending the summer touring Europe, including stops at Glastonbury and the Montreux Jazz Festival, Ross has returned to the States. She headlined the Minnesota State Fair Grandstand Saturday night after selling out two nights at the Hollywood Bowl.

Vocal group Naturally 7 opened, followed by a set from Ross’ daughter Rhonda. I’m sure she’s a nice lady and all, but she sang the worst version of the “West Side Story” classic “Somewhere” I’ve ever heard and followed it up by murdering Adele’s “Rolling in the Deep.”

Before the main attraction finally took the stage, an extended advertisement for the new record played on the big screens. Then the diva herself appeared, cooing her hit “I’m Coming Out.” And from there, she was off, starting with truncated takes on a series of Supremes classics including “Stop! In the Name of Love,” “You Can’t Hurry Love” and “Love Child.”

During the latter, Ross left the stage for the first of four costume changes, each complete with a matching folding fan to keep her cool. The crowd of 8,180 loved every minute of it.

Ross has always been more of a superstar than, say, a real vocal powerhouse. But given her age, Ross proved to be wildly entertaining with her sometimes chirpy voice and cheery attitude. She handled the upbeat songs better than the ballads and, somewhat adorably, mildly (but forcefully) admonished the sound guy during “Don’t Explain” from “Lady Sings the Blues.”

While it would have been great to hear her sing her terrific new single “Turn Up the Sunshine” — a collaboration with Australian psychedelic pop band Tame Impala (!) — she instead did “If the World Just Danced,” a neo-disco track from the new album. She wrapped with a rousing cover of Gloria Gaynor’s “I Will Survive” and then did some more hawking of the new record and closed with the title track.

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StarTribune

Review: diana ross was fabulous and fun after a 56-year absence from minnesota state fair.

Her outfits were fab-u-lous. Did you expect anything less? Her hair was fabulous, too. But the most absolutely fabulous thing about Diana Ross on Saturday was that it was 56 years — a record, no doubt — between her appearances at the Minnesota State Fair grandstand.

Wow! What a wait. What an enduring career. Sure, the Beach Boys were back at the grandstand this year with the Temptations, both celebrating 60 years with ever-changing lineups. In 1966, Ross was at the fair with the Supremes in their heyday. She's been solo since 1970, and Saturday's show reminded 8,180 fans what a fabulous career she's had — and that she's not done.

The Motown goddess, 78, brought her Thank You Tour to Minnesota to say thanks and to announce her first album of new material in 15 years, called "Thank You." She offered two new numbers — the neo-disco "If the World Just Danced" (she promised that dancing would make everyone happy) and the title track, a peppy, platitudinous pop ditty that closed the 90-minute show.

Ross seemed genuinely grateful for all the blessings in her life, as she recited a few sentences of gratitude and asked the fans to repeat each one after her. Then she sang "Thank You." Grateful, indeed. But, more importantly, Ross seemed genuinely happy on Saturday. Happy to be back in the States after a European tour, happy to engage with fans, happy to perform with a top-notch band and singers. She was vivacious — she is Diana Ross, after all — and playful, which isn't always the case.

Saturday's effort was certainly superior to her 2017 concert at Northrop and more satisfying than her too-short 2013 performance at the Orpheum Theatre. It was a fun time at the fair that was worth the wait.

Ms. Ross, as she is wont to be called, is not the first veteran diva to grace the grandstand stage. In 2014, Aretha Franklin was hit-and-miss and, the following year, Patti LaBelle totally ruled as the queen of grandstand soul.

Saturday did not feel like a diva turn even though Ross certainly had the requisite outfits (five, most with capes of tulle and feathers before a silver sequined pantsuit) and affectations (she frequently used hand fans and incessantly rearranged her Mufasa-like hair).

She made eye contact with concertgoers near the stage, imitated individual fans' dance moves and even danced a bit on her own. Maybe her only diva-ish move was having her eldest daughter, Rhonda Ross, do a brief opening set. The 51-year-old is not ready for primetime.

The Motown legend kicked things off with a message — a snippet of "I'm Coming Out" followed by the Spiral Starecase oldie "More Today Than Yesterday." Then she slipped into yesteryear with five Supremes songs, including "Stop! In the Name of Love," that had the fans singing along with giddy gusto.

After changing gowns, Ross focused on her solo career, with dance numbers like 1980's exhilarating "Upside Down" sandwiched around 1970's sentimental "Reach Out and Touch Somebody's Hand."

The third section — after another outfit change — served notice that Ross is not merely a chirpy, cheery singer. Her heartfelt girlish purr on Billie Holiday's jazzy "Don't Explain" could have convinced a lover that she'll overlook his cheating.

Emotions soared on a medley of "The Theme from Mahogany" and "Ain't No Mountain High Enough," for which Ross let her backup singers take the stratospheric power notes. Then she made Gloria Gaynor's 1978 disco classic "I Will Survive" her own expansive anthem, dancing the night away with a mixture of triumph and determination after six decades in the spotlight.

Also opening the concert was Naturally 7, a New York a cappella vocal septet that did nifty impressions of musical instruments, especially on the Beatles' "While My Guitar Gently Weeps."

Jon Bream has been a music critic at the Star Tribune since 1975, making him the longest tenured pop critic at a U.S. daily newspaper. He has attended more than 8,000 concerts and written four books (on Prince, Led Zeppelin, Neil Diamond and Bob Dylan). Thus far, he has ignored readers’ suggestions that he take a music-appreciation class.

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Diana Ross tour review, setlist, photos and more

Motown legend Diana Ross made a dedication to the fan who she saw had been dancing all night

• 14:42, 16 JUN 2022

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There was lots of glitz and sparkle shining in the summer sun as many flamboyantly dressed Diana Ross fans made their way into the First Direct Arena.

They waited patiently at the security checks with that being a mere footnote in the delay of Diana Ross’ UK tour which was halted because of the coronavirus pandemic . Inside, those who ardently love the Motown icon got the chance to show off their glittery outfits in all their splendour at the big Leeds funk and soul disco.

Ahead of her taking to the arena’s stage, support act Zak Abel, spoke of his admiration for Ross and covered a dancefloor fave Good Times by Chic. Rather fittingly, later in the evening when Ross joined her band making a grand entrance, to rapturous applause, she opened with I’m Coming Out - a collaboration with Chic’s Nile Rodgers.

Read more: Kaiser Chiefs and George Ezra to headline Temple Newsam music festival

This then led to a joyous tour of The Supremes’ best hits, of course fronted by Ross, with showstopper after showstopper coming in the opening period of the concert. Baby Love into Stop! In the Name of Love (where all in attendance raised their hands as sassily as possible) and You Can't Hurry Love were just wonderful.

Ross, one of music’s true divas, was accompanied by a 14-piece ensemble band but in fact there were actually over 10,000 backing singers in the audience all playing their part - the crowd were ridiculously loud at times. This is something which seemed to humble Ms Ross who on at least one occasion looked to wipe away a tear. Throughout the show, part of her Thank You tour, the world famous singer spoke of how much she loved her fans and being in Leeds on tour.

Sometimes when performers make these admissions it can feel a little hollow and transparent but, in this instance, there was a sense of gratitude and clear sentiment from the Detroit star - who has sold over 100m albums. And, her voice was incredibly impressive, although maybe this is to be expected as she’s still only 47 after all...

A loose fact she joked with her audience about. She’s actually 78 and has been performing since the age of 14. Later in the evening, we got a mix of Ross' biggest solo hits and collaborations as well as a couple covers. I’m Still Waiting, Upside Down and I Will Survive being just some of the night's highlights.

The musical great’s band were also brilliant and effortlessly filled for time as Ross exited the stage for her four costume changes. If you are in any doubt, the frocks were undoubtedly fabulous. The occasion was just full of fun and you couldn't want for more at Leeds First Direct Arena on Wednesday.

Ross probably wouldn’t describe the show, or the night’s preceding one in Manchester, as such but the performance was something of a warm-up for her massive legends slot, in front of hundreds of thousands, at Glastonbury later this month. Once again, based on Ross’ Leeds performance and greatest hits set, the Eavis family might well have pulled off another masterstroke with their legends booking. It had been hard to see anything eclipsing Lionel Richie and Dolly Parton’s previous sets, both stuff of Pilton folklore, but on this form it is likely Ross will be one of the highlights of Glasto 2022.

Not least because of that purposeful attention the star has clearly given to her audience during this run of UK shows. While screens showed montages of Ross throughout the years there was also a camera floating around the crowd all night with the masses displayed on screen - it was always a sea of smiles (this reviewer’s ugly mug did feature twice which, admittedly, was difficult for all concerned).

As the show went on, we had audience members screaming out declarations of marriage and love for the disco queen. While, in the encore, there was quite a tender couple of minutes where Ross asked for a chair to be brought out and the house lights raised.

Something she regularly does during her Las Vegas concerts she spoke, seated centre stage, to the audience and answered some of their questions. It concluded in a rather touching moment where she spoke to a fan on the front row, who’d she noticed had been dancing with everything he’d got, all night, who asked if Ross and her band would do a rendition of It’s My Turn.

You can watch Diana Ross' interaction with a Leeds fan below

After a little conversation with those behind her, Ross, duly obliged and it was so apparent that moment made that fan’s night - if not his year. It is mighty impressive too performing an unplanned song off the cuff too.

Hopefully there will be a tender moment like this, complimented by an ridiculously infectious supply of disco classics, that will go viral after Ross’ Glasto appearance - which will be televised to millions.

In short, if you are off to Worthy Farm in a few weeks, then don’t miss the musical great that is Diana Ross.

• I'm Coming Out
• More Today Than Yesterday
• My World Is Empty Without You
• Stop! In the Name of Love
• You Can't Hurry Love
• Chain Reaction
• I'm Still Waiting
• Upside Down
• Love Hangover / Take Me Higher / Ease on Down the Road
• Why Do Fools Fall in Love
• If We Hold on Together
• If the World Just Danced
• Theme From Mahogany
• Ain't No Mountain High Enough
• I Will Survive
• It's My Turn

To find out the latest big gig and event news in our city you can visit our Best in Leeds homepage . There you will also find a guide to great things to do in Leeds .

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Diana Ross: Thank You review – an anaemic comeback that should have been great

With disco enjoying one of its periodic moments in the sun, a supremely classy 21st-century reboot was possible. But this isn’t it

I n 1982, Diana Ross was interviewed by Smash Hits magazine. Her presence in among the breathless coverage of Duran Duran and Haircut 100 was testament to her continued commercial success two decades on from the Supremes’ first hit. She talked a little about that band’s 60s heyday, but, as befitting an artist who had just enjoyed two platinum albums stuffed with Top 10 singles, insisted that the 80s were the real “golden age. There’s so much opportunity.”

But not, as it turned out, for Diana Ross , whose recording career stalled shortly afterwards. She had her last US Top 10 hit, a tribute to the recently murdered Marvin Gaye called Missing You, 37 years ago. Britain remained under her sway a little longer – Chain Reaction, a flop in the US, rightly reached No 1 in 1986 – but even so, it was all over bar the shouting by the early 90s.

The ensuing years have been marked by the sense that Diana Ross doesn’t really know what to do to rectify the situation, or perhaps isn’t that bothered either way. A disastrous attempt to reunite the Supremes in 2000 aside, her tours still rake it in. In the studio, a nadir was reached with 2006’s I Love You, a covers album Ross audibly approached with all the enthusiasm of a hostage reading out their kidnapper’s demands. You could see why. The album appeared to have been masterminded by someone with a longstanding grudge against her: how else to explain the cruise-ship cabaret takes on The Look of Love and Take My Breath Away that lay within, not to mention the big band take on Queen’s Crazy Little Thing Called Love, complete with widdly-woo guitar solo by Brian May?

The weird thing is that what to do with Diana Ross in 2021 doesn’t seem to be the most taxing of problems. Disco is enjoying one of its periodic moments in the sun, and Ross made a succession of fantastic albums during the disco era – not just 1980’s justly celebrated Diana, but the previous year’s superb The Boss (helmed by Ashford and Simpson) and 1978’s Ross – and there are dozens of producers and remixers who could be called upon to provide a supremely classy 21st-century reboot of their styles, ballads and all. Instead, Jack Antonoff is in charge, perhaps as a result of the recent US law that no female pop artist is allowed in the studio unless the former guitarist of Fun has already been safely installed behind the mixing desk. He is assisted in his endeavours by a team of big-name songwriters including Sam Smith collaborator Jimmy Napes and Amy Wadge, best-known for her work with Suffolk’s premiere dancefloor boogieman, Ed Sheeran.

You can’t argue with the hitmaking pedigree on display, and initially it seems as if they might get away with it: the opening title track marries a piano line designed to provoke Motown memories – specifically of Marvin Gaye and Tammi Terrell’s You’re All I Need to Get By – with a killer chorus. But the uneasy feeling that they’re not really sure what to do sets in immediately with the arrival of If the World Just Danced, a frightful bit of anaemic pop-house that’s frankly so beneath Diana Ross, you suspect she had to wear a diving helmet while recording it. You listen to it first gripped by horror – not least because it’s hard to avoid the feeling it was put together specifically with Ross’s gay fans in mind, thus elevating it from the level of rubbish to that of insulting rubbish – and then panic. If this is their notion of a good idea, what else awaits? It didn’t look like Brian May’s name was in the special guest credits, but perhaps it’s best to double check.

He isn’t, and in fairness, Thank You never quite plumbs those depths again, although there are a few moments that run close: the point, three minutes into In Your Heart, when Diana Ross’s voice gets the one thing it’s always cried out for, a burst of enemies-of-the-Daleks-must-be-exterminated Auto-Tune; a breakneck-paced, weirdly unfunky bit of horn-heavy house called Tomorrow; the closing Come Together, which sounds like the syrupy finale from a musical. For the most part, it deals in the Diana Ross of Endless Love rather than that of Love Hangover. That it majors in ballads isn’t necessarily a problem, although the fact that the ballads arrive in varying degrees of runniness is. Put it this way, there are moments where you don’t need to check the songwriters’ CVs to know they’ve worked with Westlife. The best of them is probably Beautiful Love: melodically strong, tastefully orchestrated, but nothing fit to steal Touch Me in the Morning’s place in her setlists.

Infuriatingly, you get a couple of fleeting glimpses of a different Diana Ross album: tougher, funkier, less schmaltzy. I Still Believe offers Latin-flavoured disco: not amazing, but a marked improvement on most of what’s on offer here. Let’s Do It, however, is Thank You’s one unequivocal triumph: flurries of strings; a rhythm track that sounds as if it’s influenced by UK garage, of all things; an anticipatory, twilight atmosphere. It feels like proof that Diana Ross could still make a great album if she wanted to, if she was steered more carefully, or partnered more sympathetically. But she hasn’t been, and this is the result: Thank You, but no thank you.

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Concert review: Ross delivers the hits, but where were the fans?

Nobody does the diva moves onstage quite like Diana Ross. You know, the one with arms outstretched, where she throws in a little flip of the wrists and a slow turn. Or the one with her arms raised where she wiggles her shoulders. How about that move where she casually brushes her hair back with just two fingers? And, of course, the “Stop! In the Name of Love” hand gestures. You’ve probably seen them all done a hundred times by a hundred singers, but every one of them copped those moves from Ross.

Ross’s whole repertoire of diva moves was on display when she played Wednesday night at Daily’s Place to a disappointingly sparse crowd. Given that it was 80 degrees at showtime and nearly half the seats were empty, the show probably would have been a better fit in a smaller indoor venue.

Still, Ross gave it her all. Her voice sounded great on some songs, a little thin on others, but it was definitely her voice. There was a trio of backup singers onstage, including one woman, but she wasn’t doubling Ross’s vocals — that was Diana, for better or worse.

Generally speaking, there was a lot more better than worse. Backed by a six-piece band, she ran through a catalog of hits few can match. She played at least a dozen No. 1 hits. Her voice was strong early on during a series of Supremes hits — “My World is Empty Without You,” “Baby Love,” “Stop! In the Name of Love,” “Come See About Me,” “You Can’t Hurry Love” and “Love Child.” Of course, she’s been singing those songs for 50 years and you’d sort of expect her to be good at them, but it was still an impressive run.

She wasn’t as strong on some of her solo hits — “Do You Know Where You’re Going To,” for instance — but she came back on next number, “Ain’t No Mountain High Enough,” as powerful as ever.

The show was really quick — it started on the dot at 8 p.m. with a 15-minute set by Rhonda Ross, the headliner’s daughter (and a name the Jacksonville Jazz Festival ought to keep in mind for next year). The crew cleared her equipment off the stage, ran a broom across it a couple of times and, within five minutes, Diana was busting into “I’m Coming Out.” 75 minutes or so later, with no encore, the lights came up. By 9:45, cars were streaming out of the parking lot.

Tom Szaroleta: (904) 359-4548

Diana Ross Announces ‘The Music Legacy Tour’

Diana Ross. (Photo Credit: Ross Naess)

Living legend Diana Ross is embarking on a new headlining tour that starts in June.

Her Music Legacy Tour kicks off June 9  in Temecula, California, at Pechanga Resort & Casino – Pechanga Summit. Ross play shows in various U.S. cities, including San Diego, Reno, Nevada, Atlantic City, New Jersey and more.

The tour, at this time, wraps at Chautauqua Amphitheater on July 2 in Chautauqua, New York.

“I’m delighted to announce The Music Legacy Tour 2023: a celebration of my greatest #1 hits! I’m coming home to the US to sing hit after hit from my solo career & my time with The Supremes. It’s going to be a love fest,” Ross shared in a social media post.

On the Billboard Hot 100 chart, Ross has six solo No. 1 hits to her credit. Here’s the rundown: 

• “Endless Love” with Lionel Richie — nine weeks at No. 1, beginning Aug. 15, 1981
• “Upside Down” — four weeks at No. 1, beginning Sept. 6, 1980
• “Love Hangover” — two weeks at No. 1, beginning May 29, 1976
• “Theme From Mahogany (Do You Know Where You’re Going To)” — one week at No. 1, Jan. 24, 1976
• “Touch Me In The Morning” — one week at No. 1, Aug. 18, 1973
• “Ain’t No Mountain High Enough” — three weeks at No. 1, beginning Sept. 19, 1970

As part of The Supremes, Ross tallied 12 No. 1 Hot 100 hits, the second most for a group behind The Beatles, who has 20.

According to Billboard, the group’s biggest hit was “Love Child,” from their 1968 album of the same name. It topped the Hot 100 for two weeks, beginning Nov. 30, 1968.

Ross’ upcoming tour will mark her first since performing U.S. and UK/European dates last year as part of her Thank U Tour . Those series of show dates supported her 25th studio album Thank You . 

Released in November 2021, Thank You was Ross’ first album in 15 years, following 2006’s I Love You . The featureless LP contained 13 songs, all of which she co-wrote, including the singles “ All Is Well ” and “ If The World Just Danced .” 

“This collection of songs is my gift to you with appreciation and love. I am eternally grateful that I had the opportunity to record this glorious music at this time,” Ross said.

Thank You garnered rave reviews, earning Ross a Best Traditional Pop Vocal Album nod at the 65th Grammy Awards. It became her first nomination in 40 years. The award ultimately went to Higher by Michael Bublé.

Diana Ross’ The Music Legacy Tour 2023 Dates

Jun 9 — Temecula, CA @ Pechanga Resort & Casino – Pechanga Summit Jun 10 — Rancho Mirage, CA @ Agua Caliente Casino Jun 11 — San Diego, CA @ The Rady Shell at Jacobs Park Jun 13 — Santa Barbara, CA @ Santa Barbara Bowl Jun 16 — Reno, NV @ Grand Sierra Resort – Grand Theatre Jun 17 — Wheatland, CA @ Hard Rock Hotel and Casino Sacramento – Hard Rock Live Jun 19 — Jacksonville, OR @ Britt Pavilion Jun 20 — Troutdale, OR @ McMenamins Edgefield Jun 24 — Atlantic City, NJ @ Mark G. Etess Arena Jun 27 — Hershey, PA @ The Hershey Theatre Jul 1 — Vienna, VA @ Wolf Trap Jul 2 — Chautauqua, NY @ Chautauqua Amphitheater

Get more information on tickets at dianaross.com .

Antwane Folk

Antwane joined Rated R&B in January 2013 after graduating from the University of South Carolina. He is the assistant editor. His niche is seasoned R&B acts, along with radio stats on urban and R&B formats.

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On ‘Thank You,’ Diana Ross Wants to Pump. You. Up.

By David Browne

David Browne

Diana Ross ’ return to the pop landscape — her first record of newly written material, not covers, in over 20 years — sounds familiar, and there’s little doubt it was intended that way. In the years after she left the Supremes, Ross reached transcendent levels with billowy pop meant to uplift and inspire, whether on the dance floor (“I’m Coming Out,” “Ain’t No Mountain High Enough”) or in more solitary moments (“Reach Out and Touch [Somebody’s Hand],” “Theme from Mahogany [Do You Know Where You’re Going To]”) .  Throughout the self-help-era Seventies era, she proudly served as head counselor.

She and the army of songwriters and producers who helped make Thank You seem well aware that those tracks — along with other moments, like the buoyantly discombobulated “Upside Down” or largely forgotten minor hits like “Remember Me” — remain Ross’ most enduring work on her own. On Thank You , Team Ross assertively aims to recapture that vibe for the Soul Cycle era. Be they ballads or dance-floor throwdowns, the songs glisten with disco strings, sky’s-the-limit choruses, and super-crisp beats. Over them, Ross again returns to her role as pop therapist:  “Jump off the edge/And find out where you land/Go take the lead/And teach the world to dance,” she sings, in one typical example, or, elsewhere,  “Lookin’ all around us/There’s so much potential/A little hope could inspire/If we ignite the passion, all to desire/That little spark becomes a fire.” You almost expect to be charged a membership fee for each listening session.

Those sentiments, which pretty much drive every one of the 13 tracks on Thank You , can feel oddly impersonal, as if Ross isn’t conveying hard-earned life experience of her own but offering her fans a pep talk. (And given the last year and a half we’ve all had, maybe they need it.) From start to finish, she conveys them in a voice that sounds as airbrushed as some of the words; even though she’s 77, it’s hard to detect  a single lived-in crack in her delivery. It’s all part of the strange deja-vu experience that is  Thank You . The songs feel familiar, as if they’ve even assembled from parts of previous hits. (There’s more than a little “Endless Love” in something like “The Answer’s Always Love”). Even some of lyrics here and there — “You say I’m just a dreamer,” “The first time I saw your face” — almost seem designed to evoke classic old-school pop hits by other artists of her heyday.

All that said, there’s still an inordinate deal of pleasure to be taken in music that wants to sweep you up and revel in sonic bliss, whether you’ve emerged from a still-lingering pandemic or not. You won’t find a more ebullient resurrection of the Studio 54 era than “Tomorrow,” and “In Your Heart” brings to mind the meditative dance tracks Madonna explored in the mid to late Nineties. During those moments of feather-bed glory, Thank You recalls a time when pop was proud to be pop , not therapy sessions set to simmer-level rhythms and nebulous hooks. Ross isn’t preaching about love hangovers, but she’s still looking to cure a few modern ills.

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Meet Diana Ross' 5 Kids

F ans of classic pop and R&B are bound to be familiar with Diana Ross' biggest hits like "I'm Coming Out" and "Endless Love." After breaking onto the scene in 1959 with her group The Supremes (along with notable members Mary Wilson  and Florence Ballard) and later branching out with her solo career, Ross has had an incredible ride over the last five decades. However, what fewer people probably know about the singer is that Ross is a supportive and loving mother to her kids, many of whom are already known figures in the spotlight. You'd probably recognize a couple of them like Tracee Ellis Ross or Evan Ross.

These days, Ross is also a doting grandmother and spends a lot of time with her family. In April 2017, the singer revealed her parenting style to The New York Post in an email interview. "I'm a firm believer that you raise your children when they're young. My kids are adults now and they know what they want to do and I just support them in whatever that is. It's called unconditional love," she wrote. 

From her daughter who followed in her footsteps as a singer to her son who married Ashlee Simpson, let's meet the five kids of Diana Ross.

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Rhonda Ross Kendrick Is A Singer Like Her Mom

Rhonda Ross Kendrick is the eldest child of Diana Ross, a 13-time Grammy-nominated singer, and Berry Gordy, the founder of Motown, the record label that first signed her mother. The couple had an on-again off-again relationship when they had their first daughter in 1971. With such musically successful parents, it's no wonder that Rhonda followed in her mother's footsteps as a singer and also married a fellow musician, Rodney Kendrick.

Rhonda released her debut album "In Case You Didn't Know" in 2016 and was asked by her mom the following year to join her on tour. "Usually she didn't have an opening act. But she thought that our music [choices] were compatible," Rhonda told the Florida Times-Union in June 2017. "They're different, but they're compatible because both are about reaching for joy, about living your life and feeling good. And it means that she has been watching for 20 years and likes what I'm building, and is proud of it. And that means everything to me," she explained.

Diana has definitely been a role model for her eldest daughter. When asked by the Sarasota Herald-Tribune that same month about how her mother has inspired her, Rhonda answered, "The way she performs, the connection she has with her audience, the love that she has for her audience. They can feel that and it's authentic and it's true and I've witnessed that for my entire life."

She Is Also An Emmy-Nominated Actor

Rhonda Ross Kendrick is more than just a talented singer, as the performer also has several acting credits to her name, spanning back to 1985's "The Last Dragon." She made appearances on shows like "Cosby," "The Temptations," and between 1997 and 1999, she became known for her portrayal of Toni Burrell and Dana Kramer on the soap opera "Another World." The role earned Ross Kendrick a Daytime Emmy Award nomination in 1998, but she unfortunately lost out to Sarah Joy Brown from "General Hospital."

It would seem that Ross Kendrick's decision to pursue acting was a calculated choice, as she explained on "The Karen Hunter Show" in February 2020 that growing up and forging her own identity separate from her mother helped the singer and actor in several ways. "It made me realize I had to be someone on my own and in my own right, because the pressure to be known for and loved just because I was [Diana Ross'] daughter was so strong, and I knew that I couldn't live with that. ... I had to find my own in my art. I had to find my own in my career, and so it made me stronger for that reason," she said.

IN 2018, Ross Kendrick returned to film and television after nearly two decades off-camera with a cameo in the show "Girlfriends." Her project "Protector of the Gods" features her as a star but also a producer.

Tracee Ellis Ross Is An Actor Known For Black-Ish

In 1972, Tracee Ellis Ross was born to her famous mother and music business manager Robert Ellis Silberstein, who were married from 1971 to 1977. Like her older sister, she decided to pursue a career in acting and she managed to do incredibly well for herself. After her first credited role in 1996's "Far Harbor," Ross continued landing projects over the years until she secured her first long-term role on "Girlfriends" in 2000. She later became known for playing Dr. Rainbow "Bow" Johnson on ABC's "Black-ish" in 2014, scooping up six Emmy Award nominations in the process and reprising her role in the spin-off "Mixed-ish."

As she told People in September 2016 after her first Emmy nomination for "Black-ish," the nod didn't serve as needed proof that she'd finally made a name for herself separately from her mother. "I've never felt like I was in my mother's shadow. If anything, I felt like I was in her embrace. So it's never been a[n] effort to do that," Ross said.

Ross has continued her work in television and, after directing episodes of "Girlfriends" and "Black-ish," and executive producing several series, she has proven herself as a prominent Black woman in the industry. During a January 2024 interview with NPR , she explained, "Hollywood is limited in its thinking and particularly in its ability to see the elasticity and beauty of Black women and all that we can do."

She's Also The Owner Of Pattern Beauty

There's no question that Tracee Ellis Ross knows her way around beauty products. From the time the actor founded Pattern Beauty in 2019, a Black-centered brand of hair care products, she has become a go-to for all things self-care. (It probably helps that her mom Diana Ross is known for her iconic hairstyles ). It took 11 years from when Ross wrote her pitch for the brand to see it on shelves; it now houses more than 50 products, including styling tools, creams, shampoos, and more. Pattern Beauty has 10 retail partners including Sephora, Macy's, and Target.

During an episode of Sephora's "Why I Made This" series in August 2023, Ross broke down what inspired her to create her brand. "Growing up, there just were not products that suited my hair and supported my hair. I was cocktailing things, trying to figure my hair out and I discovered there were so many people that were also lacking in products. ... I wanted to make products that actually worked for our hair," she explained.

Now that the entrepreneur and beauty mogul has established herself as a go-to for self-care tips, fans were excited to see the actor reveal her skincare routine . In June 2022, during an interview with Vogue UK , Ross called her skincare process "insane" but insisted that it works. Perhaps Ross will branch out into other areas of beauty products as she continues her work as a busy actor and loving aunt to her siblings' kids.

Chudney Ross Became A Writer And Bookstore Owner

The youngest daughter of the "Upside Down" singer and Robert Ellis Silberstein was born in November 1975. Out of all her siblings, Chudney Ross has branched out probably the most, steering away from life in the entertainment industry after briefly serving as a talent coordinator, assistant production manager, and producer between 2002 and 2004. She also worked as a model and teacher before finding her passion as a bookstore owner and writer.

Ross opened Books and Cookies in Santa Monica in 2011 and realized she was filling a gap in the market. In speaking with Mestiza New York in August 2022, Ross explained, "What I learned quickly ... was that people with young children were looking for a space to build community. We created a welcome and joyful space to bring people together, make new friends, find love and support. Though I closed the doors to the physical space a while back ... we have continued to build community all over LA and virtually with our interactive musical story time gathering."

On top of starting Books and Cookies, which is now described as a "mobile literacy enrichment program," Ross wrote a kid's book called "Lone Bean." It was published in 2012 by Amistad, a publisher known for elevating Black voices. During her Mestiza New York interview, Ross remarked that, despite receiving sub-par reviews, "Kids seem to love it and for that, I am very proud!"

She Has Been Inspired By Her Mom In Motherhood

In September 2012, Chudney Ross had her first daughter with her then-boyfriend Joshua Faulkner. The couple then tied the knot in 2015 at a stunning ceremony in Hawaii surrounded by their friends and family. A few years later, Ross and Faulkner became a beautiful family of four when they welcomed Everlee Ernestine in October 2019.

In May 2020, Ross explained to Veronica Beard  that her mom had a massive influence on her own parenting style. "My mom is the most amazing role model for what motherhood should look like. From her, I learned the importance of being present, loving, supportive, and giving of myself wholly," she said.

While Ross has fortunately benefited from familial support throughout her motherhood, she recognizes that not everyone has that sense of community. She has been outspoken about her partnership with Alliance of Moms, a community of philanthropists that supports young moms as well as pregnant girls in Los Angeles foster care, and shared an Instagram post in April 2023 outlining its importance. "They say it takes a village to raise a child, and in this current day and age, most of us, don't have a village behind us, but it's so important to find a community of moms to support you through the highs and lows of this parenting journey," the caption read.

Ross Arne Naess Was Named After His Father

Diana Ross' first son with Arne Naess Jr. was born in 1987 and named after his father. While less is known about Ross Arne Naess in comparison to his siblings, he too has been briefly involved in the entertainment industry and worked as executive producer for 2014's "Acid Girls." However, he has shifted his focus to another industry, as Naess describes himself as an "artisan" on his Instagram account and lists himself as an owner of a Beverly Hills restaurant called The Hideaway and Warwick, a nightclub in Los Angeles.

Naess' father and namesake was a Norwegian shipping magnate but he was better known for his adventurous spirit. Tragically, it was one of his expeditions that was his downfall as the late Naess fell to his death at 66 years old while climbing the Groot Drakenstein mountains near Cape Town in 2004. His death doubtlessly had a huge impact on the business owner, as Naess was still just a teenager when he lost his father.

In March 2019, Arne Naess shared an Instagram post of a younger version of himself next to his father on a snowy mountain alongside a quote from the late Arne Naess. "The smaller we come to feel ourselves compared to the mountain, the nearer we come to participating in its greatness. I do not know why this is so," it read. Further down the actor wrote, "Miss going on adventures with you dad."

He Got Married In 2017

In addition to being a business owner, Ross Arne Naess is also a doting husband and father of two. He popped the question to Kimberly Ryan in May 2016 and the happy couple welcomed their first child Leif to the world the following month. In December 2017, Naess and Ryan had a stunning wedding in Santa Barbara and it was a full-on family affair. His sister Tracee Ellis Ross played the role of a bridesmaid , his brother Evan Ross performed a song for their first dance, and his famous mother officiated the ceremony. Ryan walked the aisle in a beautiful bohemian dress, pregnant with their second son Indigo, who would be born in August 2017.

Now, the happily married couple is a force to be reckoned with as they raise their children and focus on their business ventures. Ryan now co-owns Madre Wine with her friend Tami Farrell, which they started up during the pandemic. On top of his multiple business ventures to keep track of, Naess is also keeping busy with his hobbies, as he often shares snaps of his latest crafts like woodwork and pottery. He also posted on Instagram in May 2023 about how he and Ryan spent their 17-year anniversary volunteering for the non-profit Baby2Baby.

Evan Ross Became An Actor And Producer

The acting bug definitely bit several of Diana Ross' children, as her youngest child has also become an actor. Born in 1988 to the "I'm Still Waiting" songstress and Arne Naess Jr., Ross was just 3 years old when he made his first on-screen appearance in his mom's music video for "When You Tell Me That You Love Me."

He went on to star in several shows, like "90210," "Wicked Cities," and "Star," as well as other music videos for artists like The Notorious B.I.G, Macy Gray, and Usher. Ultimately, Ross became known for his portrayal as Messalla in "The Hunger Games: Mockingjay," which he spoke about in November 2015 with The Dallas Morning News . "We were in the trenches, like it was real, all day long. But it was incredible. All that stuff, I remember when we were shooting, we had to be so precise [to make sure] we were at a certain angle so that we weren't hitting anybody else. It was intense," he remarked.

With several projects under his belt and many currently in production, Ross clearly has a passion for acting. In addition to his on-screen roles, he has taken up a handful of production credits as well, including serving as an executive producer on his reality show "Ashlee+Evan" and "The Loneliest Boy in the World," in which he also starred.

He Is Married To Ashlee Simpson

Evan Ross and Ashlee Simpson made their first appearance as a couple in July 2013 after meeting at a mutual friend's birthday party. They got engaged after just a few months and tied the knot at Ross' mom's house in August 2014. The couple welcomed their daughter Jagger Snow in July 2015 and their son Ziggy Blue arrived in October 2020. Ross and Simpson have collaborated on several projects like their shared clothing line, their single "I Do," and a reality show. The Hollywood couple have managed to do all this while also raising their blended family, which includes the Simpson's son from a previous relationship, Bronx.

While speaking on "The Drew Barrymore Show" in March 2021, the couple revealed how they're able to keep their love alive after so many years together. When asked by a viewer of the show how they can try to not lose the spark in their relationship when dealing with young children, Simpson admitted it can be tough. "There's like [our] 5 [year old], 12 [year old], and a baby, and you're changing diapers all day," she said, but she credited Ross with recognizing when they do some have downtime to spend together. Ross added, "It doesn't have to be at night. ... Find the time [for one another]." The couple's advice seems worthwhile as they're celebrating their 10th wedding anniversary in 2024.

Read the original article on The List

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