Alicia Keys, O2 Arena, London

Not content with being bound to the neo-soul vibe that paved the way to her multi-platinum success, Alicia Keys has moved with the times. Her latest album, As I Am, is more clichéd pop than urban fanfare, with the kind of wishy-washy anthems that mark her down as a 21st-century Bonnie Tyler (not least thanks to rock producer Linda Perry). But you can never deny the talent of this pretty piano virtuoso, the same lady who would simultaneously bash out Biggie and Beethoven if you gave her the chance, with splashes of sexiness for good measure.

Tonight, her creativity is flaunted to the max as she takes us on a musical journey through her career. Occasional bursts of piano are teamed up with flashy visuals and coquettish dance steps to prove she can work it in heels – and her energy is relentless, if not exhausting. One minute she's flanked by a hip-hop troupe to kick off the show with the dancehall party-starter "Ghetto Story", the next she's turning the clock back to pay homage to The Supremes with her two backing vocalists as they vogue their way through "Teenage Love Affair" and "Heartburn".

At times, she even dips into Beyoncé territory, gyrating away in a shimmy top that compliments the spacey stage set , and head-banging along with her impressive band. She's quite the feisty charmer, too – a sound glitch that had looked ready to shut down her show is played off with a smile. "London, that was just for you," she winks.

If Keys never opted for solo moments to tinkle the ivories, you'd fear she was keen to distance herself from her faithful Yamaha with all the flashy choreography, rock references and theatrical interludes. But an emotional performance of "Sure Looks Good to Me", where she pointedly sings "We can't let anyone rain on our parade", is a riposte to her critics. She goes one further when she serves up the Prince-inspired "How Come You Don't Call Me?", and the stirring ballad "Like You'll Never See Me Again".

It's just unfortunate that the show drags in the middle, after a brazen plug of her charity, Keep a Child Alive, while she postpones her more recognisable hits until the end. But signing off with chart-topping "No One" brings this party to an end too soon, just as Keys proves she's still in a league of her own – and not about to apologise for it, either.