Into the Millennium Tour

The staging for the tour featured a pentagonal stage which situated in the center of each venue, with a 360-degree in the round design.[15]

The stage featured a pentagonal outer track with five ramps to a central circular platform. This platform would normally be higher than the rest of the stage but could be lowered down below the stage to allow the band to enter from or exit the "understage" area (equivalent to "backstage"); the ramps would adjust accordingly. The platform and ramps could also be positioned flat at the level of the rest of the stage, creating a flat stage with only a slight step-up from the outer track to the center area.

The instrumental band was situated in the space between the outer track and the central platform, with band members separated from each other by the ramps. The stage was also accessible by stairways down off the outer edge of the stage to the venue floor, from where the "understage" could also be accessed. Among those involved in designing the staging was Mark Rabbit.[15]

The band was backed by both a six-member instrumental band and a complement of ten backup dancers (five male and five female).[15] The band would sometimes split up and perform with one member to each side or corner of the stage, but for much of the show, they performed to one side at a time, circling the stage (often as part of the choreographed dancing) throughout each song. The backup dancers sometimes performed on the opposite sides of the stage as the band. A video feed of the show was shown on video screens circling the overhead lighting rig.

The boys began each show in a curtained-off enclosure on the floor of the venue. The dancers carried torches onto the stage while marching to the prerecorded track of "The Imperial March". The boys would then rise from the curtained enclosure to the Star Wars theme song and ride to the stage on "hovering" surfboards employing wire harnesses. They would circle the stage and present themselves to each side of the audience before starting the first song, "Larger than Life".

The boys used several costume changes during the show. They wore "futuristic/space" costumes for the first segment of the concert. Two versions of these costumes were built: The original outfits featured blue checkerboard turtlenecks under padded blue vests. The later outfits (introduced as of February 19, 2000, in Atlanta, Georgia on the third leg of the tour). featured molded armor-like tops which were individually designed for each member. Both costumes featured plain black pants. As the press is typically only permitted to photograph concerts for the first several songs, most press photos of the tour were of the band in their "space" costumes.

After the first three songs, each band member would separately introduce themselves to the audience as the others changed into their next costume. Initially, this change involved removing the padded vests and wearing dark trench coats over the checkerboard turtlenecks from the space costumes. Later in the tour, the group donned black V-neck undershirts with the trenchcoats. They performed "As Long As You Love Me" with the song's signature "chair routine". The backup dancers performed an extended chair routine and the band played an extended instrumental outro as the boys changed into leather outfits for the next songs "Don't Wanna Lose You Now" and "Quit Playing Games (With My Heart)", during which the boys were again hooked up to wire harnesses and flown over the crowd (each to a different side of the audience) during the song's outro. They would throw stuffed animals out to audience members from the air. During the extended instrumental outro to that song, the band would again change into red and black motocross racing deflectors (plastic upper body armor) on top of black shirts and pants. Metal ladders were added to the corners of the stage for the boys to climb and hang on to during the next song, "Don't Want You Back".

They removed the deflectors for the next song, "The Perfect Fan", which they performed with five sets of mothers and daughters from the audience brought onstage (Brian, Kevin, and Howie brought their mothers up at one point). Following that, a grand piano was lowered onto the central platform, and Kevin Richardson played a piano duet with saxophonist Mindi Abair, leading into "Back To Your Heart", which Richardson co-wrote. Nick Carter also played drums at some of the later concerts. After another costume change into white outfits and an extended intro, the boys performed an up-tempo medley of "Everybody (Backstreet's Back)", "We've Got It Goin' On" and "That's The Way I Like It".

An instrumental jazz melody was used to allow the band to change into suits (initially pink, but replaced with dark pin-striped suits later in the tour). They were raised on the central platform with stools and mic stands to sing a string of ballads. They added matching fedoras for the "hat-dance" routine in "All I Have To Give". "Show Me the Meaning of Being Lonely" featured five of the female dancers slow-dancing on the outer track while the boys remained on the upper platform until after the bridge when the band members came down to the track to slow-dance with a dancer. They returned to the platform and were lowered under the stage to end the song, and ostensibly end the concert.

As an encore, the boys returned to the stage in street clothes to perform "It's Gotta Be You" with a break in the song to introduce each of the dancers and allow each pair of male and female dancer to do a brief routine. They then introduced each instrumental band member and gave each a solo. Finally, they circled the stage to bow to each side of the audience under a blast of confetti and ended the song, and again, ostensibly, the concert.

The boys returned once more with the final encore, "I Want It That Way", often adding a local sports jersey to their previous street clothes. After ending the song, an instrumental outro was played as the boys said their final goodnights, fooled around, shook hands with the audience members and had a sing-along with the crowd to the final choruses of the song.

The Backstreet Boys agreed to a merchandising tie-in with Burger King to exclusively sell a set of three CDs and one VHS cassette featuring songs and videos respectively from the tour.[16] Each For The Fans CD contained three live tracks from the tour, as well as three studio-recorded tracks, and enhanced computer content. The video contained footage of five songs, as well as interviews and other footage from around the tour. The material comes mainly from the concert in Indianapolis, Indiana.

• Billy Evans: Nick's Security
• Tom LeBrun: Head of Security/Brian's Security
• Marc Preston: Howie's Security
• Marcus Johnson: AJ's Security
• Carlos Cardenas: Kevin's Security
• John "Q" Elgani: Security*****

• Keyboards: Tommy Smith, Dennis Gallo, Mindi Abair
• Guitars: Guy Walker, Dennis Gallo
• Percussion / Saxophone: Mindi Abair
• Drums: William 'Bubba' Bryant
• Bass: Louie Vigilante

• Kristin Denehy (now Cameron) (1999–2000)
• Teresa LeBron (1999–2000)
• Earl "Sleepy" Manning (1999–2000)
• Roland "RoRo" Tabor (1999)*
• Nicole "Nikki" DeLecia (1999–?)
• "Elmo" (1999)*
• Reginald "Reggie" Jackson (1999–2000)
• Nefertiti Robinson** (1999–?)*
• Amy Allen (1999)*
• Richard "Swoop" Whitebear*** (1999)*
• Richmond "Rich" Talauega (Europe 1999, 2000)****
• Anthony "Tone" Talauega (2000)****
• Ed Moore (1999)*
• "Flli"
• Raymond "Ray" Ultarte (1999, RIP)*[21]
• Melanie Lewis (now Lewis-Yribar)
• Angela Elgani (née Randle)*****

1. Indicates which dancer appear in 1999 *
2. Fatima and Nefertiti Robinson are sisters **
3. Swoop also assists Fatima for the rest of the tour ***
4. Brothers Rich and Tone also choreograph the Boys' following tours: Never Gone, IAWLT, DNA and their Vegas residency ****
5. One of the dancers, Angela, recently married Backstreet Boys security, John "Q" Elgani *****[22]