That voice, however, is let down by the staging, the song choices, the stage presence, the stage itself, and a host of other problems that make the show more of a miss than a hit.

Goss has had an interesting career path leading up to Vegas. He was a member of a British boy band called Bros that had hit after hit in the late '80s and early '90s. After striking off on his own he tried to recreate that success but like many former boy band members (Joey Fatone, I'm talking to you) he struggled to find a groove. He even wound up on a reality show, although for cooking and not for singing (he was a contest on Hell's Kitchen).

His current gig puts him on the microscopic stage in the only-slightly bigger Cleopatra's Barge nightclub in Caesars Palace. That's mainly notable because he is backed by a three-piece horn section, a guitarist, a bass player, a drummer, a keyboardist, two backup singers, and three dancers. There are so many people on such a small stage that the dancers spend the bulk of their time out amongst the audience resulting in a bit of "where do I look now?" head whipping.

Goss styles himself these days, both sartorially and musically, as the long lost member of the Rat Pack (or perhaps Michael Buble's long lost brother) complete with a tie-less tux and a fedora brought down low over his eyes. As opposed to being stylish it comes across as a gimmick; an affectation.

Along with it comes an attempt at a hipster, "Swingers," post-modern Vegas swagger that includes lecherous leers and asides directed toward his dancers and more than a few female audience members and a lot of "are you with me guys?" faux-camaraderie. It's kind of cute for a song or two - mainly because of the bad boy British accent, I think - but then it just gets old.

He mixes his own originals with covers of everyone from Frank Sinatra to The Beatles to The Eagles to Stevie Wonder to, yes, Michael Buble. All of the arrangements are tinged with a jazzy, R&B sheen, turning songs like "Hotel California" into something different than they originally were, which may or may not be a good thing depending on your musical point of view.

But regardless of how different the song, in Goss' hands it becomes an epic stage jam complete with instrumental solos, lots of encouragement to sing along, and more than a bit of the kind of vocal gymnastics that get people applause during the performance weeks on "American Idol." I wasn't keeping exact score but in the roughly 100 minute show, he only did about a dozen songs. That's an average of eight minutes per song and for some that's just too much. "Let It Be"? Great song. We didn't need three minutes of the audience singing the chorus with him over and over and over.

The bones of a good show are there - talented singer, great band - but it, and Goss himself, need a tough-love producer who will come in and give it to him straight. Drop the Rat Pack look and stage shtick, trim down the number of people on the stage or get a bigger stage, open up and be more accessible and friendly, and make the songs shorter and do more of them.

Then we'd have something to talk about other than just the fact that the bloke can sing.