IN THE STREETS & ON THE WEB

ALICIA KEYS BOMBS AT THE BARCLAYS

Alicia Keys' sold-out show at Barclays Center Friday night stood out as much for what it didn't include as what it did.

At no point during the evening did the star twirl around on sky-high wires (like Pink), prance with abandon before packs of fancy dancers (like Beyonce) or fling herself through an abandoned subway car (a la Lady Gaga).

Instead Keys spent long stretches of the show either shimmying slowly in place or sitting calmly at the piano. Arriving on-stage to the strains of her local salute, "Streets of New York/Empire" the star stressed singing and musicianship over any distractions.

It made for a striking contrast to what has become a key part of the job description for modern divas. Choreographed theatrics defines their role as much as their voices. But Keys' lower-key approach Friday night mirrored a counter strategy she mapped out from the start.

Keys has long been a serious student of pop-soul, a craftsperson who prizes tasteful melodies and dutiful singing over all. She re-emphasized that intent here with songs like "You Don't Know My Name," a ballad blessed with the formal beauty of a '60s hit by Burt Bacharach or Laura Nyro.

And, yet, there's a consequence for all this composure. Keys' delivery — on CD and at this show - can seem teacherly or aloof. For a tour she titled "Set the World On Fire," her show notably lacked an element of the incendiary.

Keys' cooler approach had its own rewards. In a new song like "Tears Always Win," or an older one like "If I Ain't Got You," the focus fell on the expert structure of the pieces. They're songs Aretha Franklin might have proudly sung in her prime. While Keys delivered them fluidly, and in full voice, she lacked the hard need of deeper soul singers like Mary J. Blige or Bettye LaVette.

Keys' limitations showed most in the new pillow-talk song "Fire We Make." The Barclays show featured an extremely rare appearance by the same guest singer as the studio version: Maxwell. While Keys sounded sisterly and warm, his falsetto was lost entirely to sensuality.

As a composer, Keys can barely be beat. But as a performer, she continues to lose points by delivering her songs with more poise than guts.