Musically, the last few years of the 20th century met with a schizophrenic identity crisis. Vacillating between the likes of synthesized Spears and windpipes Whitney, the American public struggled to strike a balance between rhythm & blues and pop music. Ultimately, 12-year-old girls cast the tie-breaking vote, crowning pop icons like Britney Spears and Christina Aguilera as the reigning victors.

But for a short while, these pop princesses had to contend with a troika of esteemed R&B songstresses led by Brandy, Whitney Houston and Deborah Cox. Though all three women were enamored and recognized as mega-talents, Cox became especially visible as a fresh face among the rest.

Cheating boyfriends and absentee baby daddies were shaking in their Timberlands as this distinguished diva won the broken hearts of empowered women and gay men everywhere. Through her resounding vocals and afflicted lyrics, Cox modernized the relic proverb, “Hell hath no fury like a woman scorned.”

The Toronto-born talent first initiated her career as a back-up singer for Céline Dion in the mid-’90s. But Cox’s beauty and commanding voice were far too upstaging to remain in the background, and she nabbed a contract with Arista Records in 1998. The same year, the virtually unknown Cox achieved parity success with Dion and Houston when “Nobody’s Supposed to Be Here” tied with Houston’s groundbreaking “I Will Always Love You” for having the longest running single on Billboard’s R&B 100. Cox’s celebrity was launched out of anonymity, leaving the public salivating for more.

1998 became a pivotal year for the once staunch R&B loyalist as Cox began to experiment with other genres of music. Prior to the late ’90s, Cox remained true to the classic riffs and melodies of R&B in both her 1995 self-titled debut album and 1998’s One Wish.

But following the success of the dance version of “Nobody’s Supposed to Be Here,” Cox embraced her dance following, ingratiating both R&B and dance fans alike. Stroking her R&B fan base, the versatile performer reminded them once more of her R&B roots in 2000 during an electrifying collaboration with the legendary Houston in “Same Script, Different Cast.” Following a conversational formula similar to that shared between Brandy and Monica in 1998’s “The Boy is Mine,” Cox and Houston showcased their vocal ranges in what sounded like a slightly competitive “voice off.”

Two years later, in the fall of 2002, Cox took creative license, parlaying her commercial notoriety on The Morning After. With “Absolutely Not” thrusting the album into the growing dance scene, Cox further solidified her place in the dance arena to the delight of fans everywhere.

For those who’ve questioned the whereabouts of the once ubiquitous Cox, no, she hasn’t been swallowed into the abyss of back-up singers never to be seen again. In fact, she’s become evermore omnipresent, starring in Elton John and Tim Rice’s Aida in 2004. Although Cox didn’t join the original Broadway cast, her role as Nubian princess Aida helped make the musical’s final 2004 cycle its most popular run yet. Elton John and Tim Rice’s Aida, at its close, ranked as the 29th longest running Broadway show ever, a record in which Cox undeniably had influence.

In 2005, the highly anticipated “A House is Not a Home” skyrocketed to No. 1 on Billboard’s Dance Club Play chart. The same year, Cox and her husband, music producer Lascelles Stephens, welcomed their second child into the world, Sumayah. Maternity leave seems unbeknownst to Cox as she is already working on a new album, with a release date planned for spring of 2007.

As a dance icon, Cox is generally in high demand on and around the eve of the New Year. Don’t miss this rare opportunity to see Cox live in San Diego at Club Montage. Celebrate the commencement of 2007 with Cox and DJ Scotty K. at the New Year’s bash of a lifetime.

For more information about ticket sales and packages, visit www.clubmontage.com.