A few favorites -- Jesus to a Child, Praying for Time -- didn't make the Houston setlist. But Michael surprised with choice covers (a powerful The First Time Ever I Saw Your Face) and lesser-known, late '90s tunes (Star People). It was an expert balance of moods and tempos.

And yes, a few Wham tunes made the cut, including the retro-synth stomp of Everything She Wants. ("Won't-you-tell-me-why ...")

Despite the "prompt" 8 p.m. start time printed on the ticket, Michael emerged 45 minutes later from behind an immense, ramped stage. It was an impressive and intricate setup. Digital images flickered on it and two accompanying screens. His large band was situated in a three-story framework behind the main set piece.

The gorgeous a cappella intro of Waiting gave way to the '90s club bounce of Fastlove, which expertly morphed into Wham hit I'm You Man. It was all the crowd needed to jump to its feet -- and stay up for most of the evening.

Michael looked casual and cool in a black jacket and V-neck shirt, accessorized with a cross pendant and a cell phone hooked on his belt. He was immediately engaging and danced confidently across the stage.

It was, in all honesty, a kick to see him up close. He looked healthy and sounded strong, often changing up the vocal arrangements of familiar hits. It was all a jolt of pure pop energy.

"You've got quite an audience to beat in Dallas," Michael teased. The crowd quickly erupted into playful boos.

"That's my hometown you're talking about," he quipped. (Michael owns a residence and art gallery in Dallas with partner Kenny Goss.)

Six backup singers added a soulful chill to Father Figure, which came with striking imagery of a red female hologram. Sparkling ballad One More Try was relit with an elegant gospel glow that would suit Mariah Carey; and 1990 hit Too Funky still has that irresistible swagger.

"I know this is an expensive show to see. I just hope that I can justify these ticket prices ($145 max) by the end of the evening," Michael said.

"Genuinely, genuinely, I'm not in this country to sell records or restart anything. I'm just here to say thank you to you guys."

Indeed, the lack of new material to promote gave his set a sense of musical freedom. Michael excluded I Want Your Sex and Wake Me Up Before You Go-Go but snuck in gems like Hard Day, a 1987 club hit; and the terrific Spinning the Wheel, an ominous tale of a destructive relationship. He transitioned from the original midtempo into the pulsing remix as video of doomed celebrity couples rolled onscreen.

Signature hit Faith, of course, drew one of the night's biggest reactions. It came with the requisite church-organ intro, hip swivels and hand claps -- from both star and audience.

From that point, the show's final section fell into a series of expertly sequenced segments. Michael injected jazz licks into a trio of tunes: a soaring, brassy Feeling Good (featuring video of burlesque queen Dita Von Teese), a moody cover of Police hit Roxanne; and elegant original Kissing a Fool. Modern-day crooners would be wise to listen closely.

Dance-floor drama coursed through the sweet lyrics of Amazing, which Michael dedicated to Goss; Flawless (Go to the City), a flirty gay anthem; and Outside, the disco-fied nod to mens' room shenanigans. Michael completed the joke by donning a police uniform.

Exquisite guitar work anchored A Different Corner, and Careless Whisper sent the crowd into fits of swooning and, if possible, made the temperature soar higher.

Obscure B-side Fantasy had a bit of a James Brown shuffle. Michael said he rarely performs the song live. It was so exhausting he lay flat on the stage for a few seconds and stuck out his tongue.

He ended, appropriately enough, with the joyous strains of Freedom! '90, a standout hit whose biographical lyrics still pack a punch. Fist flew into the air, and the song took flight on its wide-open chorus. Now more than ever, it's a fitting ode to Michael's fragile, fascinating, still-flourishing talent.