When you have multi-platinum albums and are proclaimed the King of R&B, you can virtually write your own ticket. Apparently the price of the ticket didn't matter Friday night because R. Kelly sold out the Procter & Gamble Hall of the Aronoff Center for the Arts.

        It was definitely ladies night as the predominately-female audience were out en masse to show love to the multiple award-winning musician/composer/crooner.

        Mr. Kelly treated his audience to a multi-media spectacle, complete with closed-circuit television, light show, and a hi-tech stage set with hydraulic lifts. Aided and abetted by three back-up singers, a five-piece band, two mc's and a half-dozen dancers, R. Kelly did what he's best known for — the bump, the grind and the none-too-subtle innuendos of hitting the sheets.

        Lost amid all the hype are his writing/producing skills — ones that have been pay dirt for Whitney Houston, Celine Dion, Janet and Michael Jackson, Toni Braxton, Mary J. Blige and Luther Vandross. But the ladies didn't care — R. Kelly called and the women responded.

        Opening with ""Fiesta,'' the bad boy of romance demonstrated the appeal of thug love as he prowled the stage swaggering his testosterone-laden persona. Dressed in regulation street gear — clingy-ribbed tank top, low-slung oversize pants and Timberlands — R. Kelly managed to transcend the insipid redundancy of sexual bravado by exhibiting real talent.

        R. Kelly's vocal ability was undeniable amid the overtly suggestive lyrics of such songs as ""Slow Dance,” “Seems Like You're Ready,” “Your Body's Callin',” “Bump N' Grind,” “Feelin' On Your Booty,” “Slow Dance” and ""Strip For You.” His classic soul crooning and gospel singing style came through in his strong clear voice.

        Let it not be said that R. Kelly doesn't acknowledge his inspirations and his roots. Video montages offered a glimpse into his motivations and aspirations, and sequed into a tribute medley to his idol, Stevie Wonder (please, leave the impersonations to Eddie Murphy).

        The sensitive side of R. Kelly was displayed through such selections as the cross-over hit ""I Wish'' and the inspirational “I Believe I Can Fly,” which closed the show with a fully-animated, borderline-blasphemous video of R. Kelly knocking on the gates of heaven to be ultimately redeemed by his late mother.

        Tour and label mate Syleena Johnson opened the concert with a powerful but abbreviated set where vocals were front and center. Joined by two back-up singers (but no live musicians), Ms. Johnson opened with “Everybody Wants Somethin',” then followed up with ""Hit On Me,” which addressed the scourge of domestic violence. She closed her all too short set with ""I am Your Woman.”

        Rising comedian Al Catone answered the last minute call to warm up the audience as scheduled opener Sunshine Anderson was a no-show.

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