Musical partnership has some problems in Prince tribute

You know it’s not a run-of-the-mill orchestral concert when the souvenir stand is selling tambourines — so you can play along. And Sunday night’s “4U: A Symphonic Celebration of Prince,” at the downtown Dr. Phillips Center, was anything but run-of-the-mill.

It’s not entirely successful, though at times it can be great fun. Diehard fans of the artist will enjoy the rare video clips and photos projected throughout the show — even when they don’t seem to have anything to do with the music. But hardcore music fans might be a little puzzled, as was I: What’s the point of inviting the orchestra if too often you drown out those musicians with the keys, electric guitar and drum kit?

The whole idea behind this touring show, authorized by the late singer’s estate, is to pair a band with orchestral musicians, conducted without fuss by James Olmstead. But it’s not always a pairing made in rock ‘n’ roll heaven. When it does work, like on the zippy “Raspberry Beret,” you have to think His Purpleness would be pleased.

Questlove, the prolific DJ-musician producer and unabashed Prince fan, helped curate the musical tribute. He promises at the concert’s start, through a voiceover, that the program will go “deep into the hidden gems.” And it does: I had no memory whatsoever of a few songs.

Unlike in a regular pop concert, which mixes the hits among the more obscure, the approach here is to stack the first half with the lesser-known (“Nothing Compares 2 U” and a raucous “1999” being notable and welcome exceptions). And here’s a funny thing about pop songs: They generally rely on a good hook — but if all you hear is that hook over and over, interest wanes. The concert’s songs are presented without any lead vocals — although backing vocals were sometimes sung from the stage, creating a sort of glammed-up karaoke vibe.

“4U” is beautiful to look at with a dynamic color palette, heavy of course on purple, that creates striking mood lighting under the giant symbol that served as Prince’s name for a time. And the second half succeeds much better at creating a party atmosphere — clumps of concertgoers were on their feet and dancing for hits such as “Take Me With You” and a refreshingly straightforward “Kiss,” with violins handling the melody.

The lushest part of the program is a prelude to “Purple Rain,” which lets the voice of the expressive timpani be heard while the strings finally display their emotional power. The playing of “Purple Rain” — the only song to use Prince’s recorded voice — becomes an epic hymn for the faithful. It’s a heady climax to what Questlove called a “purple journey.” I’d call it a sometimes perplexing one.