Friday, 27 April 2012
NewNowNext Awards - Trespassing
Footage of the performance was surprisingly released a few days before it was aired on TV so there wasn't the usual excited gathering experiencing it all together. Kelly Osbourne's long gushing introduction may have been slightly embarassing even though it's probably what every Glambert thinks (but just won't say out loud to millions of people).
Adam is dressed head-to-toe in black with minimal make-up and big fluffy hair. His ensemble without a shirt and tie looks more casual that his usual dapper suit outfits but it's still more rhinestone glam than expected. He completes the look with leather lace-up trousers and gloves, making it consistent with this era. He's joined on stage by Ashley, Isaac, Tommy, new keyboardist Brian London and backing singers Keisha Renee and Octavia Latrice. The Trespassing identity features strongly on stage, with colour co-ordinated outfits and yellow and black stripes blinking to the rhythm.
As soon as the camera pans in on Adam standing tall and his neck wriggle, we can see that this one's going to be performed with attitude. He's definitely the fierce bitch in charge, sneering with disdain. The backing singers make quite a lot of difference to the often dry feeds we hear, adding a welcome depth of sound. I like that they have sufficiently powerful voices to accompany his. There's plenty of energy right from the start as the band claps out the rhythm. I'm loving the sound of the bassline which is unrelentingly cool. Adam's voice has a bit of a delicious hard edge and along with the electric guitar kicking in complements the funk with rock.
I don't understand the pose where Adam clamps his hands around his waist and I find some of the dance moves involving his hands and head a bit contrived. I think he should've left the extra "Crack" to the backing singers. Perhaps it's because I think of the song as rebellious and angry, but Adam refuses to take it too seriously, unable to resist a little injection of camp. As a result, I think it lacks a bit of the fire that I imagine this song would bring. The drop-down is fun though, and I'm almost willing him into some mic molestation.
There's a little bit before the second verse where I'm not keen on Adam's added riff. For once, the tone sounds weak and shaky in stark contrast to the rest of the strong defiant vocals. The bridge here takes me back to his BoW performance but with more control and less aggression. Maybe he could've channelled a bit more of that, but then again it doesn't sit quite right with funk. He moves to other side of the stage to prepare for the climax, and when it comes, oh fuck! The jizzing confetti says it all. There's so much clarity and power in that ringing voice, with just the right amount of rasp. It goes much higher than expected and sustained for much longer. Amazing. No wonder the whole stage is covered with so much 'confetti' we can't even see him! It's a few years late but it's so satisfying to see him finally get his confetti shower and in his own colours. He ends the performance abruptly by slamming down his mic stand and strutting off the stage.
This is a sassy introduction to the Trespassing era that makes me enjoy the song even more. I prefer this plugged-in version for the bass and the greater variation in light and shade. Not to mention being funky as hell. Even after it has stopped playing, I can feel my body grooving to it and can hear it in my still-nodding head. I would say it's an earworm trespassing in there but it's more than welcome to stay.