CALGARY -- Easy on the eyes and ears. So was the performance last night by American R&B trio Destiny's Child.

The big, brash, beautiful, sexy, high-energy set they put on for the 13,500 who packed the Saddledome was more than enough to make everyone forget they were a week late.

Taking the stage to enough pyro and lights to make KISS proud, Destiny's Child -- Beyonce Knowles, Kelly Rowland and Michelle Williams launched into an action-packed rendition of the Charlie's Angels hit, Independent Woman Part 1.

The stage show and the songs that followed -- spread nicely over D.C.'s three hit-filled albums -- perfectly bridged the gap between spectacle and music.

It was what Janet Jackson's recent show should have been. Because while there may have been flames, a posse of shiny dancers, costume changes and big screens flashing, those effects were never enough to take away from the real reasons behind the girls' popularity -- their catchy music and phenomenal voices.

Voices that are equal parts smooth, soulful and sassy.

Though it was the dynamic Knowles who shone most often -- on her knees by the end of Survivor, there was no doubt we were in the presence of a diva -- all three band members were given enough time in the songs, such as Say My Name and Bug-A-Boo, to let their marvellous vocals soar.

Even the band that backed the girls was tight and talented, winding up a meshed version of Proud Mary and Jumpin, Jumpin' with a crazed, electric jam session.

Just over an hour of Destiny wasn't nearly enough.

That's especially true when you take into account the set by openers b4-4.

Bush-league doesn't even begin to describe the musically and rhythmically challenged pap music trio.

The only good thing that came from their time on stage -- time that began and ended to a chorus of boos -- was that my life now has new purpose: To use my limited resources to see that these talentless mannequins are back bagging groceries by the end of the year.

Harsh? No, harsh is 12-year-old girls -- the band's only possible target audience -- being urged to sing along to a song about oral sex (Get Down), being passed off as good cheeky fun.

The made-for-TV Canadian Popstars Sugar Jones fared a little better.

For the first half of their set, they seemed to be concentrating more on the dance choreography than letting loose and consequently, all five girls were wooden and, at times, barely audible.

That changed drastically halfway through their set and the girls voices gained confidence, volume and character and by the time they reached the hit single, Days Like That, they were clicking on all five cylinders -- as modest as those cylinders are. (More on Destiny's Child)