PERFORMING ARTS

Neil Diamond

Neil Diamond could be headmaster of the "Don't bore us, get to the chorus!" school of pop music.

The guy wrote "Sweet Caroline," for goodness' sake. And "Cherry, Cherry." And "I'm a Believer." And Tuesday at Verizon Center, Diamond, backed by a large band, wowed fans with those gems and so many more.

Now 67, Diamond arrived as a hitmaker in 1966 -- he let the horn section shine while playing his first big single, "Solitary Man," midway through the two-hour set -- and has never really gone away.

In between banging out short, sweet pop classics, Diamond served up reminders of what a schmaltz powerhouse he once was. He did a herky-jerky promenade across the stage during 1980's "Love on the Rocks" and crooned the opening of 1978's "You Don't Bring Me Flowers" while sitting at a small table with a bottle of red wine (the only props he used all night) as a spotlight singled him out. He rhymed "Jesus Christ" and "Fanny Brice" for "Done Too Soon," a name-dropping party that comes off as the template for R.E.M.'s "It's the End of the World as We Know It (and I Feel Fine)." He sweated through "Crunchy Granola Suite," the opening track on 1972's extravaganza "Hot August Night" that found him still shrieking "Good lordy!" and "Dig!" sans irony. This country ain't as immigrant-friendly as it once was, but when Diamond led a singalong of "Coming to America," even Lou Dobbs would have gotten caught up in the communal euphoria.

Perhaps because of the surplus of cheese in his songbook, Diamond has in recent years teamed up with makeover specialist/producer Rick Rubin. Diamond inserted songs from his newest record, "Home Before Dark," at a pro's pace. The late-model Diamond cuts were steady but lack the emotional peaks -- and the transcendent choruses -- of his vintage offerings.

But if the Rubin collaborations haven't instilled Cash-like gravitas, the moral of this show was that Diamond's legacy is secure.

Again: The guy wrote "Sweet Caroline."

-- Dave McKenna

Gnarls Barkley

Usually, when you're going to see an act with a two-album catalogue, the question of "What will they play?" doesn't come up. Then again, most acts don't score a massive hit with a pop-soul confection about the sweet relief of relinquishing your sanity. (Google "Crazy," "Gnarls Barkley," "2006," "ubiquitous.")

Gnarls Barkley -- vocalist-shaman Cee-Lo Green and aural scenarist Danger Mouse -- dutifully checked off "Crazy" at their sold-out 9:30 club show Tuesday night, but more exciting was their weirdly faithful cover of Radiohead's "Reckoner," a late-inning curve in a strong 75-minute show that otherwise couldn't help but disappoint a little in its ordinariness. Good-to-great tunes, performed with verve and emotion? Mos def. But where was the bling? If ever a group cries out for bombast, it's this one. Mix Gnarls's songbook with Coldplay's A/V committee and you'd really have something.

Gnarls's tunes (the lion's share were from "The Odd Couple," this year's worthy sequel to 2006's "St. Elsewhere") sounded raw and powerful, performed (apparently) sample-free by a six-piece band featuring Danger Mouse on keys. Green's raspy wail felt even more desperate than on recordings.

"Surprise" had a sunny New Pornographers vibe, and the energy climbed higher with Violent Femmes' "Gone Daddy Gone," and "Run." But longish 'tween-song pauses sapped momentum. Even Gnarls's sartorial swagger was muted: Green has been known to perform in Roman soldier's togs or an outsize pompadour wig. But he and Mouse could have been in the Temptations, what with their spangly sport jackets and gold lamé ties.

"I'm in the mood for some old-fashioned rock-and-roll," Green squeaked, before "Whatever." That described much of the evening's music, but "Transformer" got a downbeat acoustic refit, and "A Little Better" was tricked out with off-kilter syncopation.

It rocked, it rolled, it spooked, it cooed. I just wish it had been, well, crazier.

-- Chris Klimek