It is interesting how something as simple as a name seems to define everything about a product, including its image and quality.

The artist formerly known as Prince, currently known as The Artist, is a prime example.

The Artist’s reasons for changing his name are relatively clear — for innovation and something to separate him from the rest of the pop world. But sadly, innovation and distinction are exactly what he lost.

As Prince, none of his songs sounded the same. Each one had a style of its own that was generally unreplicable by any other pop artist.

However, in search of a new image, The Artist has changed his sound, and instead of setting precedents, he has fallen into the trap of mainstream pop.

And if the former Prince’s last three discs or disc sets are not enough to prove his current struggle to write original-sounding material, his Dec. 16, performance at Hilton Coliseum was as monotony became the catch phrase of the night.

The highly anticipated “Jam of the Year” began in a frenzy of excitement as The Artist emerged from backstage in an over-glorified air to the tune of none-other-than “Jam of the Year.”

Working his way to the front of the stage, The Artist displayed his amazing ability to dance as he assured the audience that they were about to witness something spectacular.

In these first couple of minutes, it was easy to see that The Artist recognizes his talent and is not afraid of it. Some may call it self-confidence and some may call it being cocky but he got what he wanted: a response from the audience as he danced around, letting his shirt slide off of his shoulder and crawling all over Beautiful, his piano.

Immediately making suggestive promises to not let expectations down, The Artist made sure to demonstrate his ability to play guitar and sing with immense feeling a few songs later with “Purple Rain.”

With the crowd in a frenzy of disbelief, he continued with “Little Red Corvette,” however, it was cut too short. The audience realized it was just the beginning of a melody of his newer material hit.

This first melody proved two things: the show was becoming difficult to “get into” and that all hopes of The Artist playing many of his classics at full volume would bring rise to bitter disappointment.

It was as The Artist began a set of his newer material that the word “formerly” began to take on several definitions: formerly unprecedented, formerly creative, formerly rhythmic.

Of course, no one could expect to see the Prince we remember from our adolescent days. We have to expect change and growth. The only thing left for listeners to analyze is whether they agree with the direction of change.

During his long and unfamiliar songs, the audience was given time to compare Prince and The Artist. It kept the mind occupied during the long lull of song after song that sounded like the one before.

However, there was an interlude and a spark of rebellion as The Artist sang “Face Down,” a song that sends the message “kiss my ass” to the rest of the world and was reminiscent of his older sounds.

The show continued with an odd combination of The Artist’s new and early ’90s music as he danced across the stage. Every once in a while he would try to excite the audience by saying something about Iowa, which he was never able to really pronounce right (which makes you wonder, considering he was born just a few hours away).

What may have been the most surprising aspect of the show was how The Artist kept insisting that the house lights be turned on. What it showed was a disappointing audience turnout.

Although the floor was full, the rest of Hilton had sporadic groups of fans scattered throughout. Disappointing for one of the greatest pop stars of the ’80s, although one can’t help but wonder if it is his own fault. Maybe if fans were given more than a week’s notice, they would be able to come up with the money for the over-priced tickets.

As usual, the encore (or in this case, three) was one of the biggest highlights of the show. But after waiting almost two hours to hear more than a few segments of classic Prince, even back to back favorites “Kiss” and “Get Off” were disappointing.

Leaving out such classics as “Cream,” “7” and “Let’s Go Crazy,” The Artist ended the final encore with a decent rendition of the everpopular “1999.”

The Artist is a talented stage performer who needs to spend a few more months in Set Lists 101 or possibly take some advice from opening act Grand Central Station, whose full-blown performance was a pleasant surprise.

A not-so-new yet highly innovative band, GCS showed several changes throughout its set, beginning with a parade around the floor of Hilton and ending in an all-out guitar jam.

With three original members from Sly and the Family Stone, GCS was a great combination of old rock and new funk. The band’s set included long jam sessions on the sax, trumpet, drums and several guitar solos from the lead and bass.

The highlights of the set were “A Family Affair” and the Sly and the Family Stone classic, “Everyday People.”

A good repertoire and vivacious sound kept the audience on its feet, dancing and wanting more. Perhaps it was GCS that put on the “Jam of the Year,” or at least the jam of the night.