First things, first. OK?

Let's talk about what Billy Porter Jr., the most fabulous fashionista, wore during his over-the-top Porter-licious concert Tuesday night at the State Theatre.

A sumptuous multi-pastel-colored jacket with matching train paired with sparkly orange pants. A black sequined jumpsuit with waist-length silver bauble epaulettes. An iridescent blue floor-length cape over a matching dress emblazoned with "RESPECT OUR HUMANITY."

Oh, I could go on (there were seven different ensembles), but I'm a music critic, not a fashion writer. Sorry if you're here for the fashion.

That's the thing with Porter. Why did the concertgoers go to see his Minneapolis debut? Fan of his Tony-winning Broadway work, especially in "Kinky Boots," his Emmy-winning role on "Pose," his stunning looks on the red carpet, his old dance-floor hits, his outspoken appearances on TV talk shows, his activism in the LGBTQ community?

Whatever the draw was, Porter, in his first extensive concert tour, reminded the State audience of what he's done. In a very self-referential, often indulgent 2½-hour show, Porter showed clips from "Pose," various talk shows and various red carpets (that Oscar tuxedo dress received huge applause) and plugged his memoir and his upcoming movie, "Our Son," about a gay couple that divorces a la "Kramer vs. Kramer." ("I play Meryl Streep," Porter boasted.)

Coming on like the child of Little Richard and Bette Midler, Porter, 53, preached about love and acceptance and jumped on his soapbox about gun violence and anti-drag show legislation. All of this was part of a tightly choreographed show (he comes from Broadway, baby, and this one started right on time, not like a rock concert). But there was room for spontaneity, like his telling the story of trying to negotiate the downtown Minneapolis skyways (he called them bridges) to visit an old friend at the Guthrie Theater. He responded to every shout from the audience, whether it was a woman asking him to autograph his memoir (the pause broke his flow, he said) or a former Pittsburgh high school classmate rooting for the old team (for real).

Though highly entertaining and wildly energetic, the concert seemed disjointed, with seams showing between the planned and the improvised. A mildly fun walk-off dance routine with eight fans invited onstage prolonged an already long show. I digress, as did that bit.

Presented in six acts plus encore (one for each outfit, thank you), the program captured the essence of Porter's career as an uber-talented multi-hyphenate with a stirring voice for singing and preaching.

Backed by a five-man band, Porter showcased 10 new tunes from his "Black Mona Lisa" album due in September. There were club bangers (the best of which was the sassy title cut) and big ballads ("Audacity," about being yourself, struck an emotional chord). However, what stood out among Tuesday's two dozen numbers were his covers of "Home" from "The Wiz" and Buffalo Springfield's antiwar anthem "For What It's Worth" as well as the hyperkinetic medley from "Kinky Boots," which found him strutting in his smashing thigh-high red boots amid the fans to their giddy delight.

Porter's "Love Is on the Way," a typical movie theme (from "The First Wives Club"), was the best of his 1990s oldies, when he released his first and only album of original material. Despite his unquestionable talents (his versatile voice delivered Broadway bravado and emotional nuance with equal authority), the show had notions of an aspirational pop star weaved throughout all those spectacular costumes and triumphant moments.

For me, it was hard to walk away from the less-than-full State Theatre and remember any particular song, but it was impossible to leave and not forget Billy Porter Jr.