Shirley Kennedy at Examiner.com wrote an interview/review of the Atlanta performance. Armed with a vocal talent that reaches the depths of the soul, Elliott Yamin electrified the music room at Smith’s Olde Bar with cuts from both his debut and his latest CD “Fight For Love.” Elliott and his team chose an acoustic tour to “spotlight Elliott’s vocals,” according to his tour manager John. And spotlight it did. Elliott’s vocals are impeccable; it is difficult to discern his live vocals from the recorded version. That is the mark of a true vocalist. There's much, much more, so check out the article.

Mary Colurso of The Birminghan News had good things to say about Elliott's performance in Birmingham. This was a cool little show with an intimate, laid-back vibe. Yamin and his troupe seemed relaxed and in sync; the sound they created was rich, full and funky. Yamin isn’t the most polished frontman on the planet, but his everyman attitude makes him extremely likable. More important, he has a strong voice with a soulful timbre. She has more to say, and you can read it at al.com.

Athens Blur has a review from Sunday's concert: Yamin’s voice was impeccable, as is to be expected from an American Idol finalist, and his bandmates provided a sufficient accompaniment. Though the rhythms were simple, the guitar timed perfectly with the drum machine’s percussive persistence, and the fluttery voice of Yamin’s backup singer meshed well with the overall sound.

The Silver Tongue has a great review of Elliott's concert in Atlanta, including these words of wisdom: The fact that Elliott Yamin is not receiving the airplay he should and isn't playing bigger venues and the fact that his album isn't getting the push it deserves is a testament to how horrific the music industry is. Talented artists, such as Yamin, get put on the back burner while record labels put their money and push behind the Miley Cyrus’ of the world. Yeah the girl sells, but so does fertilizer, which further proves my theory that if you put crap in a pretty package (and don’t call it crap) it will sell.

Preach it! If you want to read more of this, and I'm sure you do, you'll find the entire review here.
Photo below by yours truly. I swear I'll get more up soon:

John J Moser of Lehigh Valley Music didn't have much of anything good to say about Elliott's concert in Allentown. The silver lining is that he didn't say anything bad about Elliott's singing. It wasn’t that Yamin’s two acoustic guitarists, drum machine player and backup singer weren’t skilled – in fact, they were. But they rarely meshed with Yamin’s emotion-laden voice. Meant to showcase his vocals, they instead detracted from them. You can read this rest here.

Tad Dickens of the Roanoke Times reviewed Elliott's concert: Seated on a high stool, with only an acoustic guitar player and keyboardist to back him, Yamin showed that his music, stripped of the sterile and predictable pop production that dominates his records, is at essence closer to “yacht rock” than to contemporary mainstream pop, soul and R&B. He also showed a strong yet subtle voice that could burn even hotter with stronger material.

From Bella Online comes a positive review: Elliott Yamin’s Fight for Love reminds me of really good tiramisu – smooth, rich, strong, and sweet. It’s definitely worth a taste, or rather a listen.

The Washington Post in a short review of Elliott's concert at the 9:30 Club, declared that Elliott is so likeable he can pretty much get away with anything, including: singing the "fun but idiotic" Sharing The Night Together, dancing off with a giant gecko, singing Little Ghetto Boy, and wearing a Hannukah shirt with the slogan "Jews Do It for Eight Nights" while having a Christmas album on release. Read the article here.

Boston Herald's Christopher John Treacy wrote:

"At the Roxy Saturday, touring his recently gold-certified self-titled debut, Yamin (pronounced Yah-mean) showed his velvety smooth pipes are worthy of more than third place. Yet his performance also underscored the need to dispense with his CD’s urban slickness in favor of more mature, timeless material that’s better suited to his sizable gifts."

Treacy further noted that "Yamin can transcend the trappings of modern r & b with grace and style" while deploring what he called "precision-engineered radio fodder" such as Wait for You, Take My Breath Away and I'm The Man. Read the review here.