We Are Family Foundation Celebration Gala 2.0

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Do not adjust your screens, this really is my first post in absolutely ages. I did intend to summarise every concert but the backlog is now massive and Bert time is scarce. So I've been chugging along doing the bare minimum on the Performances site which should come in handy when that write-up time arrives. Not sure when that or the next post will be though.

Shady is by far my favourite Trespassing song for the groove, the mood and the lyrics so when I heard that Adam would finally get to perform it with collaborators Nile Rodgers and Sam Sparro I got all waggly-tailed, to put it politely. But I didn't manage to follow it live as the Earth has the audacity to be so rude as to separate me from the gig by units of time zone rather than inches. Damn you planetary physics and space-time! *Shakes fist*

Watching the videos was a blast though, especially with fresh senses not having first endured a Mermish assault. Here's my playlist:



Adam receives a special We Are Family Foundation Unity award for being his fabulously badass self. Presented to him by Sam Sparro (now where have we seen that before?), he gives a slightly awkward-sounding speech, having a gentle dig the atmosphere probably because the crowd talked all through Sam's presentation.

Zips and leather aplenty, Adam rocks up for the opening number all in black understated chic (but couldn't resist a sparkly electric blue belt). He's joined on stage by Sam, Nile and his band, which includes some original members of Chic and the drummer for Let's Dance. After 50+ versions from the AI tour, I love hearing this arrangement that's so close to the original. This full band version sounds much better than the hollow light-rock AI ones, or the funkless electronic VH1 version. Sam appears to have trouble with his mic, which seems to be on near-silent mode for much of the time. There's only one natural showman though, even with his back to the crowd doing dorky dance moves, such as using an invisible towel to scrub his rear. When Adam comes in for the solos, his voice surprises me by its softness and it's very very sweet. Makes me realise how shouty the early versions were in comparison. It lends extra impact to the sparingly-used big high notes, making them even more goosebump-inducing.

Shady is the one I've been waiting so long for, and my expectations were that this would be a special one. After a number of close calls of being in the same place but different day last year, Adam, Nile and Sam would finally be united on stage for a performance. There's an endearing familiarity between them on stage, the banter beforehand like that between old friends. I can only imagine how enjoyable it must have been to create this together. I love the sound of the dirtier bass and Nile's funk guitar. The tempo is much faster and it really bounces along. Aside from Sam's sound issues, the vocals are perfect, backing harmonies great and that panting part is delicious enough to tip anyone over the edge. I spot the return of the flaily-arm woman (of Glam Nation DVD infamy) right at the front of the stage doing her thang but thankfully the arms aren't overly obstructive. The brass section adds some light jazzy pizazzy fun, with the instrumental section inducing stank faces and impelling hips to get a groove on. In keeping with Adam's penchant for mixing songs (Naked Love + 100% Pure Love, Pop That Lock + Smooth Criminal) there's an inclusion of En Vogue's Free Your Mind in the mix too. There's so much more energy and vigour on stage than previous renditions, but at the same time there's an ease and a natural chemistry as talented musicians just having a jam.

WWFM is next in the set and Adam is honoured that Nile is accompanying on guitar. It's a fast and very full-sounding version with more backing vocal layers than normal, a funk edge and more instruments. Even brass makes an appearance. It's been quite some time since the last studio-like arrangement and it's a joy to see them both swaying together in synch to the music.

The set concludes with a fast-paced Trespassing that follows closely along the lines of the album version including the electro elements. I don't think Adam's quite ready when the band starts up but he makes it on cue. I love Nile's contribution to this version with and can't help feeling that this is how it ought to sound. Adam ends up singing some of the harmonies and nails the vocals including a magnificent ringing glory note.

I feel that what we have here is a level above what's gone before and I'm a huge fan of the bassist as well as Nile on guitar. I like the mixture of male and female backing vocals and the double drum kit. The brass adds an extra dimension as well as providing depth and variety. The short set provides a glimpse of what could be achieved in a live performance with a different set-up and direction. I hope it gives Adam some food for thought regarding options with the band to experiment with, aiming for more adventurous and free-spirited performances. I get the feeling that jamming on stage is where the magic really happens for Adam. I think he's at his best when spontaneous; venturing, reacting and flowing through a performance, continually probing, testing and adjusting rather sticking to a rigid plan. Propelled by quality musicianship and feeding off the audience energy to push himself that bit further, Fantasy Springs is the epitome of this for me. The stage here is made up of a mish-mash of very different individuals but they just click, producing something so cohesive. From the costumes to the movements and presentation, I don't feel there's anything contrived and I think it's because he's with musicians who share an understanding and have the style and talent to flourish when given the freedom to express themselves. Because of this, I often wish Adam would lean more towards jazz and funk stylings, especially as he has so much soul. I think the flexibility suits him more than the structure of electronic or rock. I'd be happy if he could infuse more of those dynamic elements into his music both in the studio and on stage.

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Just as I was beginning to write this review, I unusually managed to tune in to one of Adam's twitter parties and threw a few speculative questions his way. I had to check several times to make sure my second ever reply was real:

@lambosessed that movie "THE PAPERBOY" was shocking. And really sexy.
— Adam Lambert (@adamlambert) February 3, 2013

I have yet to meet him so tweets are the only contact I've had. And I'm fucking thrilled! Not only about getting a reply but I getting "sexy" in it. I got a wink and extra info volunteered in my first ever reply so I'm privileged.

Manchester

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Since this was the last one, I decided to stay up to brave the cellcast last night and was pleasantly surprised by the quality. It was the first time I've managed to sit through the whole set and more. The cellcaster was at the front and the result was similar to some of lower quality videos that have been posted. I'd been a little excited to see what kind of shenanigans would ensue, especially since there was talk of surprises going round the rumour mill. I tuned in at the end of Danny's set, and during the pause, I could feel the buzz of excitement. If salivating, pressure building up in chests and sweating palms make a noise, I heard it along with the intake of breath and the flutter of hearts. I had to turn the volume down a notch when the screen graphics heralded the start of Adam's set. Adam fans don't half scream.

Here are best videos from the final stop of the tour so far with my comments below:



When Adam swaggered onto the stage, the first thing I noticed was the hair - a glittery bouffant pompadour that lent more to sculpture than hairdo. From the subsequent photos, Adam's makeup was extra dramatic with points like tear stains trailing down from his lower lids and rhinestones framing his eyes. He wore a huge indigo gem of a ring.

Adam was on fire during Whole Lotta Love and his energy was explosive. He got 'way way down' and squatted so low he could have been lapdancing for a very lucky midget. His hips took on a life of their own and he threw us 'woman' along with 'backdoor man'. His final flourish ended with an accentuated twirl along with a crotch stroke just for good measure. He introduced Starlight by thanking 'Manchester' in an accent that I thought was a nod to its British counterpart, then thanked the band, telling them 'You guys fuckin'/frickin' rock!' He didn't sway about as much as usual when his back was turned, perhaps a little distracted by something. Mad World sounded good through the cell cast. He lost the timing at one point, but his voice sounded delicate yet full and resonant.

Slow Ride started with thanks to the crowd and a promise, 'I won't disappoint you, get ready for the CD!' It was such a fun end exuberant rendition and I found myself shouting at my screen as the cellcast got cut off. It started with mutual taking the piss out of each other - Adam flapping his limp wrist a la Allison, and Allison gyrating with a sequinned cod piece with a glittery black feather boa as a tail. Adam ogled it for a moment before cracking up. The performance saw flowers being thrown back into audience, a 'hey baby!' to a glittery bra, and another bunch of roses getting sniffed. He added an extra 'Slow' before realising it was actually time for the guitar solo, during which Allison took off the thong and tail. It was all thrown back to the crowd along with a purple something. It was sweet that they held hands up the steps toward the finish. After staring at each other for a shared moment, probably feeling a little emotional, he kissed her hand. Allison extended the song with an extra riff at the end.

The excessive echo effect at the beginning of the Bowie Medley was a little distracting. Adam picked up a Glambert bowler hat that had been lobbed onto the stage at the end of the last song and rested it on top of his hair. He worked it into the performance, giving a little bow before sending it on its way. He commanded the crowd to shake its collective ass at the start of Let's Dance. Antonio the backing singer was holding a chicken and Adam improvised the lyrics, 'You've got a nice chicken too,' before he started spanking him with it numerous times. Adam laughed and after it was thrown to the ground, Adam just couldn't help himself and exclaimed 'Oh! It's a lovely cock!' then threw it into the audience. While singing about a flower, he picked up a bunch of roses to throw into the crowd. At the end, I wondered if he had any more surprises but as the platform lowered, I just wanted to grab that arm to stop him. Want more.

The cellcast caught the last part of the medley and I decided to stay tuned for Don't Stop Believing. I was pleasantly surprised to see that as Kris's mic stand ascended, it was glammed up wrapped in a blue feather boa and I though it must have been Adam's mischievous doing. Kris looked a little surprised but amused as he shook his head. I didn't watch all of the set, but saw Adam come back out for Hey Jude and he was wearing the vest that was slashed low which he wore at the start of the tour. When he ascended for DSB, Kris looked very sheepish in Adam's jacket. I didn't notice at first because I wasn't looking at any of the others. The stage soon became littered with silly string and random objects from all sides and I was glad the caster helped me by following Adam around the stage. Michael and Danny both took turns to wrap Adam up in orange then white boas and I was moved by the genuine camaraderie between all the idols.

After the song finished, Adam walked around the stage, picking up and throwing the objects back to the audience. Kris pretended to throw Adam's coat and it was funny seeing his reaction, a momentary look of terror, to Kris's stitch-up. Adam took off his gloves and his jewellery to give away to his lucky fans as a gesture of gratitude and appreciation, and I was on the verge of feeling all choked up. It was the end of the Idol journey for us all. There were plenty of group hugs, and I felt that he was reluctant to leave the stage. We were all reluctant, but I know that he's destined for much bigger stages. Here's hoping that we don't have to wait too long for him to grace it once again; better, riskier, sparklier, fiercer and no doubt, 'Adamer'.

Thank you Adam for the entertainment and escape.

Syracuse

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This was the penultimate stop and despite not being fully recovered from his illness, Adam seemed to have a lot of fun in changing it up. Sporting swept-back hair, he held back a little vocally, but made up for it by letting loose physically. I wonder what surprises he'll have in store for us in tonight's finale.

Whole Lotta Love - Stripper moves on 'way down inside', 'honey', lovely slide on first looooove glory note, 'backdoor man'.
Starlight - Stumbling and laughing, some feedback issues.
Mad World - A few iffy notes at start.
Slow Ride - 'Ooh it's hot in here!', cat o'nine tails, orange boa, small black bra, lots of fun.
David Bowie Medley - Donned a fedora from crowd, not as vocal in beckoning the crowd to their feet at the start of Let's Dance. Hip swivelling, 'run with you two and you two and them two', 'peace' with a giggle, chest pumping & ass thrusting, twirl at end with lower end notes.

Providence

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Well, I'm finally back up to date (sort of) for now, so here's my selection from Providence:
Whole Lotta Love - Excited bouncing on the spot, 'baby', lots of 'Ooh's in riffs.
Starlight - Sends happy birthday wishes to Aaron the drummer, joyful relaxed smiles.
Mad World - A very tender whisper
Slow Ride - Allison enters with riding crop adorned with pink feathers, spanking Adam. Magenta bra, pink bra, pointing to each other at end.
David Bowie Medley - Spring in step, skipping about stage, extra feline & playful, 'shakin' your ass', waves to Aaron, varies up dance moves.

Portland ME

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No signs of sickness from Adam. Here's my video selection:
Whole Lotta Love - 'Woman', 'backdoor man', lots of improvised riffing.
Mad World - Started with one foot on higher stool rung.
Slow Ride - More singing with arms round each other.
Fame & Let's Dance - Huge riff at end of Fame, sings 'happy birthday to you' to the backing singer, fitting it into the melody.

Bridgeport

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Adam warned us that was feeling sick, although from the vocals you would never have known it as there was no holding back. All that theatre training has certainly paid its dividends. Here are the best videos so far - I've included Don't Stop Believing because Adam also sang Kris's part.

Whole Lotta Love - 'Baby' with long riff, backdoor man.
Mad World - Pleasantly surprised he belted the glory note.
Slow Ride - Sending his congratulations to his friends Jimmy and Vince who tied the knot.
David Bowie Medley - Draped round red feather boa, echo clashed slightly with singing.
Don't Stop Believing - Adam rose from platform alone, only changed top half of costume. Sang Kris's parts as Kris would have, kicked a couple of objects off the stage. One arm pinned behind back for much of it. Dished out all the thanks, wished Kris a happy recovery, beauty of a glory note.

Wilkes Barre

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Again, lots of good videos, here is my selection:
Whole Lotta Love - Lots of improvisations, 'woman', insane vocals.
David Bowie Medley - Knocking on leg to the beat, pose as taking off jacket, draped round blue boa, blows kiss to crowd, changing it up after 'Let's swa-a-ay'.

Reading

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There were lots of good videos from this stop, but here are my favourites:
Whole Lotta Love - Aggressive, strong vocals, huge 'woman' riff, 'backdoor man' x 2.
Slow Ride - 'C'mon, catch!' when throwing red boa, arm around Allison mid-performance, shimmy of shoulders at end.
David Bowie Medley - Thumb up to band at start, 'Woooh, gifts!', laughing by the bassist, pink bra.

Grand Rapids

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Whole Lotta Love - Flawless, 'woman' with super riff, backdoor man x 2.
Starlight - Happy, mentions Matt.
Slow Ride - Gives grey skinnyfying knickers to Allison, yellow & black boa, kicked something, awesome vocals.
David Bowie Medley - Smiles, hit in torso with some projectile.

Indianapolis

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Hair flatter and natural-looking.
Whole Lotta Love - Extra long 'baby'.
Starlight - Smiles.
Mad World - Sounds a bit off in parts.
Slow Ride - Allison playfully shoves Adam's ass. Adam beckons Allison with a riding crop whip with pink feathers. She turns and Adam gives her a light spanking on leg.
David Bowie Medley - Whips leg with cat o' nine tails, 'Who wants it?' before throwing into crowd. Extra 'yeah!' at end.

Madison

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Whole Lotta Love - Extra swagger, 'woman', crazy riffing, phenomenal vocals.
Mad World - Powerful belt.
Slow Ride - Takes a sip of water, clinically throws black bra.
David Bowie Medley - Lacked relaxed smiles, didn't mention city at end.

Rosemont

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Whole Lotta Love - 'Woman', staggering vocals.
Starlight - Sounds a little husky.
Mad World - Held head for a while.
Slow Ride - Kicked something, put arms around each other before end note.
David Bowie Medley - A problem with feedback at start of Fame, throws pink scarf.

Minneapolis

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Elvis hair after haircut.
Whole Lotta Love - No actions at 'every inch', 'woman', didn't throw himself about as much, less physical.
Starlight - Raised knee during 'care if I live or die'.
Slow Ride - No playing with props.
David Bowie Medley - Left props alone.

Kansas City

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Protesters
Whole Lotta Love - Very long 'woman'.
Mad World - Very distracting echo, soft glory note.
Slow Ride - Sang parts with arm around Allison, danced together.
David Bowie Medley - In full slow gyratory mode, long last riff, removed earpiece.

St. Louis

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Whole Lotta Love - Lots of gratuitous mic-wanking, mic stand whipped over by coat tail, 'baby', sublime vocals.
Starlight & Mad World - Falsetto not fantastic.
Slow Ride - Adam cracking Allison up, ignored props.
David Bowie Medley - Earpiece wire got disconnected from back pocket, shoulder-popping by backup singers.

Milwaukee

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Whole Lotta Love - 'Woman'.
Starlight - Slightly shaky vocals, 'expectayeeayeeaytions
Mad World - Unusually a little flat.
Slow Ride - Allison pats him on the bum, Adam pulls a face before end note and points to drummer.
David Bowie Medley - Very playful.

Detroit

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Whole Lotta Love - Cheeky thrusts at 'every inch', added head rolls, 'woman', 'backdoor man'.
Starlight - Brought in second verse prematurely, missed 'until the end of my life' lyric.
Slow Ride - Plenty of high riffs.
David Bowie Medley - Lime green bra.

Columbus

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Big fluffy hair, lots of props.
Whole Lotta Love - Rare off-key wail, 'woman', 'backdoor man', very long high last note.
Starlight - Could have done with a little fine tuning.
Slow Ride - Allison with polka dot boxers/scarf, Adam throws back pink bra, spanks Allison's calf with a riding crop whip with blue feathers.
Bowie Medley - Black and red boas kicked off stage, choregraphed voice and actions with falling boa. Spanked self with another riding crop, made 'pain' sound effect before throwing back into crowd with a considerate 'look out!'. Chuckle on picking up cat o' nine tails, overkill on echo effect.

Cleveland

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Whole Lotta Love - Plenty of mic stand action, lots of high wailing, long 'woman'.
Starlight - More dancing at start.
Mad World - Pause before 'very nervous', no belting.
Slow Ride - Blue boa thrown at Allison - 'Throw it at her head/hair', last note not sung in synch.
David Bowie Medley - Laugh after 'cavemen go', lots of hip shaking.

Pittsburgh

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Whole Lotta Love - 'Woman', 'back door man', crazy riffing.
Mad World - No powerful glory note.
Slow Ride - Holding black towel at start, kicked white piece of clothing off stage.
David Bowie Medley - Sparkly burgundy scarf, iffy penultimate note, ended on 'dance together', lots of echo.