An exclusive concert was also held at the Liaisons Au Louvre II Charity Gala in Paris, France, making Jackson the first female pop artist in history to perform at the I. M. Pei glass pyramid.

Entertainers such as Taylor Swift, Joe Jonas, Siti Nurhaliza, Rachel Stevens, Park Jung-Min, and British boy band JLS were reported to attend the tour.

She enters from the back of the audience flaunting a "scythe-edged" haircut in a grey catsuit to perform opening number "The Pleasure Principle", moving throughout the venue's centerpiece while interacting with the crowd.

A film reel of highlights from Jackson's acting career was played during a brief interlude, including scenes from Good Times, Poetic Justice, The Nutty Professor II: The Klumps, and Why Did I Get Married Too?.

The set began with "Nothing" and "Come Back to Me" before closing with "Let's Wait Awhile" and "Again", briefly pausing to allow the audience to sing several verses in their entirety.

"All Nite (Don't Stop)", "Runaway", "Call on Me", "I Get Lonely", "Diamonds", "The Best Things in Life Are Free", "Throb", "Go Deep" and "When We Oooo" were performed on selected dates.

The Jakarta Post wrote Jackson put together "a well-crafted performance, peppered with cool and familiar choreographies combined with an impressive multimedia backdrop.

"[20] Serene Goh of The Straits Times wrote, "She was theatrical before Lady Gaga, racy before Rihanna and bootylicious before Beyoncé ... Jackson, now 44, brought to the stage a different sensibility, a pared-down set, fewer back-up dancers and less distraction.

"[21] Amy Verner of The Globe and Mail stated Jackson "proved that she no longer needs elaborate stage sets or pyrotechnics to captivate her fans.

The "fast moving and slickly produced" show was thought to demonstrate her longevity, "reflecting her eclectic muse from pop, R&B to rock and dance.

Lawler emphasized, "A number of artists have been tagged with the honorific "Queen of Pop" title over the years, but Jackson's longevity and body of work make it clear that she is worthy of it.

"[24] Vaughn Schoonmaker of MTV News stated "Often imitated, never duplicated, Janet Jackson's outbursts of meticulous choreography, sassy exclamations and smoldering gazes into the audience kept them on their feet for the entire two-hour set... we can expect to see this singing and dancing pop legend shine far into the future.

"[19] Liz Tracy of Miami New Times called Jackson "as strong and feminine as ever", contrasting with her "soft-spoken, seemingly genteel" persona offstage, becoming "a sassy little powerhouse who is every straight (and gay) man's wet dream."

"[27] Jane Stevenson of Winnipeg Sun called the show "a scaled-down, fast-paced, crowd-pleasing, wall-to-wall hits package", heralding its medleys, "sexy, glamorous costumes", and choreographed dance moves.

[28] Annabel Ross of Australia's The Age called the tour "a walloping reminder of just how many hits she's produced, jamming 30-odd chart-topping singles into two hours."

In comparison to her recent contemporaries, Ross stated, "There was no hatching out of eggs, no fandangled props and light shows – just good old-fashioned song and dance from one of the best movers in the business.

"[33] Greg Kot of Chicago Tribune praised the "tightly-choreographed greatest hits show" as "the best Janet Jackson performance I’ve covered in 20-plus years."

"[35] Pocholo Concepción of Philippine Daily Inquirer said Jackson "ruled the stage"; her wardrobe giving the impression of a "sci-fi thriller movie."

[36] Victoria Barker of AsiaOne said Jackson "commanded attention", praising her rendition of "The Pleasure Principle" as "riveting ... hip-thrusting and gyrating included, drew enthusiastic cheers."

"[37] An additional critique called it "an amazingly riveting stage performance" backed by "impeccable" choreography, showcasing tactics thought to "silence even the most fervent of her haters.

"[39] Aidin Vaziri of the San Francisco Chronicle declared the show affirmed "her legacy as pop royalty", saying, "Jackson threw her body full force into the songs.

"[40] In reviewing her performance in London, Neil McCormick of The Daily Telegraph praised Jackson's "retained vocal tone and physical fitness" as "impressive", also saying "her voice still high, soft and girlish, her body curvy but firm and up to the demands of aerobic workout style dance routines.

"[41] Joanna Chaundy of The Independent wrote, "Watching Janet Jackson play such a prestigious venue, one that conveys a sense of intimacy despite its size, is a pleasure in itself.

"[42] Alexis Petridis of The Guardian said, "Jackson can still sing and dance up a storm", concluding "if she wanted to remind people how commanding a presence she can be, she's done her job.

"[43] The tour's entire box office earnings were not publicly reported, including sales from Europe, Australia, Asia, and its second North American leg.

"[52] Jackson was the year's sixth most successful touring act in the Philippines, ahead of artists such as Miley Cyrus, Maroon 5, Bruno Mars, and the Black Eyed Peas.

"[55] The prior year, Jackson had sold out the Louisiana Superdome while headlining the 2010 Essence Music Festival, breaking Beyoncé's attendance record at the venue.

[7] Entertainers such as Taylor Swift, Rachel Stevens, Siti Nurhaliza, Joe Jonas, Park Jung-Min, Alesha Dixon, Jordin Sparks, Cesar Purisima, and British boy band JLS were reported to attend the tour.

[60] Professional footage of "Feedback" filmed during a private show at the Hard Rock Hotel in Singapore was uploaded to Jackson's official YouTube channel.

[61] In 2020, a production company from Singapore shared footage of the concert on their YouTube channel, marking the first full professionally filmed show to be released in some form of this tour.