Given the internationally inclusive nature of the annual United States Grand Prix – Formula One’s world championship race held annually at Austin, Texas’ Circuit of the America’s since 2012 – the audiences for the event’s evening-ending concerts are always somewhat atypical compared to those types the big-name performers might draw to regular shows. Meaning: there are plenty of people just watching out of curiosity because admission to the concert is included in their ticket price, so not necessarily the fully dedicated fanbase are packing arenas each night of tour.
Bruno Mars seemed well-aware of that factor during his spectacular Saturday night shebang on the specially constructed Super Stage, the warm-up for his impending 4-night 24K Magic World Tour reign at Los Angeles’ Staples Center (Oct. 23-24 & 26-27) – he made it clear from the get-go that no one would be excused from the party.
“It’s awfully quiet… is Austin in the house?” he asked after the final fireworks blast of “24K Magic” which came on the heels of equally explosive intro track “Finesse.”
“Listen, I know it's a little cold, but that's OK because were about to warm you up. Maybe, just maybe, everyone put their phones down and let's have fun – can we try that?”
For the most part, the tens of thousands watching obliged, mirroring Mars’ example of letting loose with flurries of Michael Jackson-inspired dance routines to the horn-laden funk of “Treasure,” the P-Funk-meets-Run-DMC stylings of “Perm” (cut with a snippet of Freak Nasty’s ’97 hit “Da’ Dip”) and ’80s-rock-riffing “Calling All My Lovelies.” The latter saw the 35-year-old artist transcending mere pretty-boy pop star to Prince-esque virtuoso level by shredding through multiple leads.
After testing Austin’s commitment to the groove – he goaded: “Is this how sexy we’re gonna get tonight? Just let me know …” – with three more R&B-infused 24K cuts (“Chunky,” “That’s What I Like” and “Versace on the Floor,” replete with lead-in saxophone solo from Dwayne Dugger), Mars once again asserted mastery of rock with a wailing, railed guitar solo alongside the Hooligans’ axeman Phredley Brown on 2010 hit “Marry You.”
The Hooligans then expounded on that spirited mode with big-band horns during “Runaway Baby,” which prompted Mars’ next verbal challenge: “Austin, let me tell you something … if you guys are gonna be quiet tonight, we’re gonna be quiet, too.”
With that, the music’s level dropped to a minimum and to fill the void, the crowd roared for a continuous couple minutes of the silhouetted singer effortlessly flexing into stage-spanning dance moves before the song’s explosive ending. Not coincidentally, two toned-down numbers – the soothingly soulful “Nothin’ On You” organ-accompanied “It Will Rain” – followed, highlighting Mars’ powerhouse vocals sans production frills and inciting the night’s most massive singalongs, matched only by the veritable church choir crowd chorus for followup “When I Was Your Man.”
From there, the energy never ebbed – galvanic anthem “Locked Out of Heaven” led the charge under a shower of golden sparks, jazzy and up-tempo new-boyband banger “Just the Way You Are” ended the main set, and of course, Mars crossed the finish line in flashy fashion with Mark Ronson-penned encore shoe-in, “Uptown Funk,” ostensibly crowning himself among the race day’s other victors.
