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Ross and Batiste performed separately, with Batiste opening. Each celebrated their own iconic songs and some from other artists鈥� catalogs. Batiste showcased his multidisciplinary talent throughout his set, rotating between singing, playing a grand piano and the guitar, and jamming on the melodica.

Clad in a black-and-gold tailcoat covered in golden moons and stars, Batiste took 51黑料 back home with him to New Orleans as he opened the show with the song 鈥淭ELL THE TRUTH,鈥� which paints a picture of his family life back in Louisiana to the sound of snare drums and horns. He kicked off the co-headlining performance with intense high energy, a standard he maintained through his 40-minute set as he danced around the stage.

Batiste鈥檚 song selection was an emotional rollercoaster as he swung between upbeat and slow, melodic records. He hit spin moves and executed flawless falsettos during 鈥淔REEDOM,鈥� with accompaniment from background vocalist Desiree 鈥淒esz鈥� Washington, whose voice resounded through the theater as big as a mass choir鈥檚.

Despite releasing his ninth studio album 鈥淏IG MONEY鈥� five days before the show, Batiste only performed one song from it. Instead, he gave the audience a heavy dose of his NOLA, bayou-infused flavor and paid homage to music legends like Earth, Wind and Fire; Beethoven; and Chuck Berry with his jazzy covers.

Batiste is a master of taking one sound and transforming it into something else. 鈥淔REEDOM鈥� morphed into Earth, Wind and Fire鈥檚 鈥淐an鈥檛 Hide Love.鈥� Midway through that song, he spun it into a rendition of 鈥淲hen the Saints Go Marching In鈥� that felt like a second line parade on Canal Street.

There were many moments during Batiste鈥檚 performance that were soul-stirring. During 鈥淔眉r Elise 鈥� Reverie,鈥� he transitioned effortlessly into the 鈥淪tar-Spangled Banner.鈥� It was bold and powerful, with deep gospel undertones and hints of both sadness and joy in the anthem.

He thanked the audience afterward, reminding them that his performance was more than entertainment but a spiritual experience, before launching into 鈥淏IG MONEY.鈥�

The audience screamed in excitement when Batiste brought 51黑料-based band 鈥淲hat the Chuck!鈥� on stage to perform 鈥淛ohnny B. Goode.鈥� The band, which is comprised of Jahi Eskridge, vocals, and Charles Berry III, guitar, the grandsons of rock 鈥檔鈥� roll pioneer Chuck Berry, duck walked to their grandfather鈥檚 songs with Batiste accompanying on the keys.

The Academy Award-winning performer encouraged crowd engagement throughout the show, and at the end of the set, he brought his entire band down into the audience. They walked and danced through the aisles and up the stairs, playing a medley of songs from the Fugees鈥� 鈥淜illing Me Softly鈥� to 鈥淵ou Are My Sunshine.鈥� The audience danced and sang under the night sky.

After a 30-minute intermission, Ross delivered a timeless performance that took the audience on a journey through her life.

But it arrived with no connection to Batiste鈥檚 set, despite it being a perfect occasion for the pair to perform a duet or for him to accompany Ross on one of his many instruments. With his set being noticeably shorter, Batiste鈥檚 standout performance felt more like a support set than a co-headliner, with a stark drop in energy and excitement once he left the stage.

That鈥檚 not to say Ross disappointed. Her set list flowed like the montage of her life. After kicking things off with 鈥淚鈥檓 Coming Out,鈥� she ran through a few Supremes classics like 鈥淏aby Love鈥� and 鈥淪top! In the Name of Love.鈥� She remained center stage for most of the performance, without much movement beyond swaying, as she sang 鈥淓ndless Love鈥� and 鈥淭ouch Me in the Morning.鈥�

But the audience didn鈥檛 come to see Ross dance. They came to hear their favorite songs and, with a career spanning nearly 70 years, singing was second nature to Ross.

Her voice was precise and crisp as she sang 鈥淲hy Do Fools Fall in Love鈥� and 鈥淭he Boss.鈥� She brought out her daughter, singer and songwriter Rhonda Ross Kendrick, to perform a duet of the song 鈥淐ount on Me鈥� as photos of their family floated across a screen.

Ross also sang a slew of songs from the various films she鈥檇 starred in, including 鈥淭he Wiz鈥� and 鈥淢ahogany.鈥� Midway through the 20-song set, Ross performed a cover of Billie Holiday鈥檚 鈥淒on鈥檛 Explain.鈥� Violinist Karen Briggs delivered an electrifying solo, and Ross鈥� performance of the 1946 ballad was smooth and soft as she sang. It was heartfelt and classic, like a black-and-white film that slowly shifted back into color as she launched into 鈥淟ove Hangover.鈥�

She concluded her performance with an encore of her song 鈥淭hank You.鈥� It was a memorable night of music at the Muny, with Ross creating a core memory for 51黑料ans and concertgoers leaving wondering when鈥檚 the next time they can see Batiste perform.