I'd been waiting on this set of performances for ages, hoping that Sirius XM would post them on their channel but they still haven't appeared. Right now we only have the audio captured by @ScorpioBert. This set was performed back in February at the studio's Fishbowl for The Morning Jolt with Larry Flick.
The set starts with WWFM, the arrangement sounds lovely, especially the piano. Adam uses some new runs during his belts which sound fantastic. Trespassing sounds great with a beat, especially with that slightly electronic bass. There are some vocal tricks and lots of variations from the usual acoustic versions. OOL starts with a piano, something I'd hoped to hear since the debut. Other instruments are gradually introduced. It's a powerful and stirring rendition that has a different ending as he chooses to wail through rather than sing it. I realise it's been a while since we last heard BTIKM, even longer since Kevin's backing vocals but I realise I have missed it. Fever is jazzy, fun and free-flowing with brilliant vocals. The last song is Purple Haze, and it's the first time I've heard him do an acoustic version. His voice sounds rich and strong, ending with a riff from Trespassing.
Showing posts with label Exclusive Performance. Show all posts
Showing posts with label Exclusive Performance. Show all posts
Thursday, 31 May 2012
Saturday, 26 May 2012
95.5 WPLJ Scott & Todd's Super Summer Blast-Off
For an early morning gig, Adam looks chipper with an unusual sartorial choice of checked shirt over a white T-shirt. The crowd looks a little different to the usual flailing females, with quite a few stationary blokes in baseball caps near the front.
A strong Trespassing starts the set before the shirt comes off to go round Adam's waist for WWFM. It's a bit disconcerting that the crowd, for once, doesn't sing along, but I guess the point of these gigs is to capture a new audience. It's a lovely version with some new runs. Shady is next. It doesn't have the best of starts but the band sounds very tight, the arrangement hits the spot and there's a wow moment as he stretches out a powerful note that lasts forever. A great NCOE concludes the set.
I wonder if Trespassing and Shady were chosen for such a short set because they're considered to be the most commercial, and an indication of subsequent singles. NCOE is a given and WWFM was included for being Adam's biggest hit.
A strong Trespassing starts the set before the shirt comes off to go round Adam's waist for WWFM. It's a bit disconcerting that the crowd, for once, doesn't sing along, but I guess the point of these gigs is to capture a new audience. It's a lovely version with some new runs. Shady is next. It doesn't have the best of starts but the band sounds very tight, the arrangement hits the spot and there's a wow moment as he stretches out a powerful note that lasts forever. A great NCOE concludes the set.
I wonder if Trespassing and Shady were chosen for such a short set because they're considered to be the most commercial, and an indication of subsequent singles. NCOE is a given and WWFM was included for being Adam's biggest hit.
Wednesday, 23 May 2012
AOL Sessions - Trespassing Promo
Here's the AOL session that was originally recorded on 25th April. It's made up of NCOE, Trespassing, Cuckoo, Naked Love and Broken English. I've watched all of these through just the once so I'll only post brief first impressions for now.
Adam sounds incredible and looks fantastic despite my mild aversion to leopardskin. I'm so happy to get such a good quality recording of a live performance, even though there's a bit of distortion on the drums. The band sound tight and the backing singers are harmoniously great. Throughout the set we get all the big notes sung higher than what we've had on recent performances. I'm so glad the camera isn't fixated with a band member like the last time.
There are funny expressions aplenty as Adam enjoys goofing it up on Cuckoo. I really like the way it sounds here, very discoey without going overboard on the effects. It's also nice to have a version that's uninterrupted by the band intros. Naked Love continues to be a grower but I still think the abrupt ending needs a tweak. Broken English is such an enchanting song inhabited by a beautifully wailing banshee and his voice is a supernatural phenomenon. Love it.
I've included the interview here as Adam gives some interesting answers. He sounds hoarse like he's lost his voice a bit though. Enjoy!
Adam sounds incredible and looks fantastic despite my mild aversion to leopardskin. I'm so happy to get such a good quality recording of a live performance, even though there's a bit of distortion on the drums. The band sound tight and the backing singers are harmoniously great. Throughout the set we get all the big notes sung higher than what we've had on recent performances. I'm so glad the camera isn't fixated with a band member like the last time.
There are funny expressions aplenty as Adam enjoys goofing it up on Cuckoo. I really like the way it sounds here, very discoey without going overboard on the effects. It's also nice to have a version that's uninterrupted by the band intros. Naked Love continues to be a grower but I still think the abrupt ending needs a tweak. Broken English is such an enchanting song inhabited by a beautifully wailing banshee and his voice is a supernatural phenomenon. Love it.
I've included the interview here as Adam gives some interesting answers. He sounds hoarse like he's lost his voice a bit though. Enjoy!
Saturday, 19 May 2012
I Heart Radio - Trespassing Promo
For this concert, Adam looks fresh faced with lively hair. He's dressed mainly in black with a splash of colour from his silk leopardskin shirt:
Adam camps up Trespassing with his fun and fierce facial expressions to make it a blast. I got my wish where he left out the second "crack", leaving it to the backing singers. The high notes are always so impressive for this song, bright and brilliant. There's a lovely moment where he breaks out of the performer persona at the end to reveal a sweet smile.
Kickin' In has a great introduction that helps to build the excitement. During the first verse I can't hear much of Adam, just mainly the high backing vocals. The low scrapey tone comes in for the second verse though. It's a very cool performance but still find it rather repetitive towards the end despite his improvisations.
Shady doesn't have the most accurate start where Adam uses a part of his voice that I'm not used to hearing. It's less dance and much more rock than on the album, I guess because the electronic effects aren't so easy to recreate. I love the sticky bass sound.
WWFM has a very sombre intro with the piano and occasional big echoey drum. This rearranged moody version brings out the best of the beautiful textures in Adam's voice, stunning the audience into silence. The end is a surprising haunting one.
Adam doesn't sing all the verse lines of Broken English with half going to the backing singers, making it more like a conversation. It sounds very dreamy. He doesn't layer his vocals over the bridge for this version so instead we have Tommy doing a guitar solo. I would prefer Adam's voice but I do like the calmness of the guitar over the frenetic drumming. The final note is an effortlessly long and impressive one that comes unexpected.
Chokehold brings a beautiful soft sound to Adam's voice for the verses. I have to admit a mild obsession with the way he sings "pain" with such need. He again doesn't sing over the bridge, instead making use of the instrumentals and backing vocals.
I find Naked Love a bit too perky immediately after Chokehold but I like the giggling and enjoyment from Adam. The trumpety sound is a bit annoyingly distinct, and again the ending feels weird and indecisive. I guess it hasn't grown on me yet.
Cuckoo is thumping, sounding much funkier than the album version thanks to the guitar from Tommy. I love the electronic bass noises. This version includes an instrumental part with funk guitar and Adam riffing over the top. I love this one. There is a big rock finish.
Before NCOE, Adam reluctantly takes off his jacket after some audience banter. Apparently it ruins the whole look. I think that shirt could've done with some unbuttoning myself. There are less distinguishable electronic effects on this version and not the usual mighty runs on the big notes.
Adam camps up Trespassing with his fun and fierce facial expressions to make it a blast. I got my wish where he left out the second "crack", leaving it to the backing singers. The high notes are always so impressive for this song, bright and brilliant. There's a lovely moment where he breaks out of the performer persona at the end to reveal a sweet smile.
Kickin' In has a great introduction that helps to build the excitement. During the first verse I can't hear much of Adam, just mainly the high backing vocals. The low scrapey tone comes in for the second verse though. It's a very cool performance but still find it rather repetitive towards the end despite his improvisations.
Shady doesn't have the most accurate start where Adam uses a part of his voice that I'm not used to hearing. It's less dance and much more rock than on the album, I guess because the electronic effects aren't so easy to recreate. I love the sticky bass sound.
WWFM has a very sombre intro with the piano and occasional big echoey drum. This rearranged moody version brings out the best of the beautiful textures in Adam's voice, stunning the audience into silence. The end is a surprising haunting one.
Adam doesn't sing all the verse lines of Broken English with half going to the backing singers, making it more like a conversation. It sounds very dreamy. He doesn't layer his vocals over the bridge for this version so instead we have Tommy doing a guitar solo. I would prefer Adam's voice but I do like the calmness of the guitar over the frenetic drumming. The final note is an effortlessly long and impressive one that comes unexpected.
Chokehold brings a beautiful soft sound to Adam's voice for the verses. I have to admit a mild obsession with the way he sings "pain" with such need. He again doesn't sing over the bridge, instead making use of the instrumentals and backing vocals.
I find Naked Love a bit too perky immediately after Chokehold but I like the giggling and enjoyment from Adam. The trumpety sound is a bit annoyingly distinct, and again the ending feels weird and indecisive. I guess it hasn't grown on me yet.
Cuckoo is thumping, sounding much funkier than the album version thanks to the guitar from Tommy. I love the electronic bass noises. This version includes an instrumental part with funk guitar and Adam riffing over the top. I love this one. There is a big rock finish.
Before NCOE, Adam reluctantly takes off his jacket after some audience banter. Apparently it ruins the whole look. I think that shirt could've done with some unbuttoning myself. There are less distinguishable electronic effects on this version and not the usual mighty runs on the big notes.
Tuesday, 15 May 2012
MLB Fan Cave
Here's a video of the recorded stream from the concert which I'll update when we get better quality ones coming in, along with brief comments below:
It seems that Adam has decided to invert his outfit from the earlier GMA performance, going with what looks to be the trouser half of the infamous Horse Suit Jacket and all black up top.
Trespassing - Adam's voice is incredible in this. A great start to the set to get those feet moving.
Kickin' In - The bassline is banging and there's something so appealing about the way he orders "Girl, don't you hit the ground!". There's lots of echo which makes it sound like more of a club tune.
Shady - The recording can't really handle the bass here but it's so funky I could have this in repeat.
WWFM - This is a completely revamped and re-arranged version with a different drum beat. It could actually fit on Trespassing with its moodier feel and the backing singers lend a different angle.
Broken English - Phenomenal vocals, he hit those highs with gusto.
Cuckoo - Different slightly trippy instrumental interlude with loads of fabulous funk guitar and Adam's voice on top.
NCOE - Some unbelieveable notes.
Fuck me stupid that was awesome! Even though many of the songs are in still their infancy performance-wise, I love it that Adam is averse to singing straight-up versions, preferring to play. Lucky, lucky New Yorkers.
It seems that Adam has decided to invert his outfit from the earlier GMA performance, going with what looks to be the trouser half of the infamous Horse Suit Jacket and all black up top.
Trespassing - Adam's voice is incredible in this. A great start to the set to get those feet moving.
Kickin' In - The bassline is banging and there's something so appealing about the way he orders "Girl, don't you hit the ground!". There's lots of echo which makes it sound like more of a club tune.
Shady - The recording can't really handle the bass here but it's so funky I could have this in repeat.
WWFM - This is a completely revamped and re-arranged version with a different drum beat. It could actually fit on Trespassing with its moodier feel and the backing singers lend a different angle.
Broken English - Phenomenal vocals, he hit those highs with gusto.
Cuckoo - Different slightly trippy instrumental interlude with loads of fabulous funk guitar and Adam's voice on top.
NCOE - Some unbelieveable notes.
Fuck me stupid that was awesome! Even though many of the songs are in still their infancy performance-wise, I love it that Adam is averse to singing straight-up versions, preferring to play. Lucky, lucky New Yorkers.
Monday, 7 May 2012
Radio Promo Picks
This is long overdue but I still think it's a necessary post. Adam's radio gigs went by in a bit of blur and it was hard work staying on top of it all. But I have managed to watch and sort everything now, so here's a playlist of my recommendations:
I hope you'll find these highlights easily digestible, useful for catching up with, and finding for future reference. I tried my best to narrow down my favourite highlights but obviously picking one of each song was impossible. So we have the following:
BTIKM
B96 Chicago - Not the best quality, no tricks, but it's like looking in on a private moment. Very intimate and raw.
94.5 PST Princeton - I chose this for the sweet fluttery warbling near the end.
106.1 Kiss FM Seattle - Excellent quality, beautiful tone and different set of notes to finish.
OOL
Kidd Kraddick Dallas - The guitar isn't great but the quality is and Adam's emotive voice is wonderful.
WWFM
Q100 Atlanta Bert Show - The video is beautifully shot and Adam's rich voice is perfection.
99.7 The Point Kansas - There's a big note wow moment and Adam plays around with the melody in a new way.
Mix 106.5 San Jose - Adam sings a very different-sounding bridge that hasn't been done before.
Fever
Mix 104.1 Boston - This was only Fever I'm aware of, lots of freestyling and so much fun.
Trespassing
93.9 Lite FM Chicago - Foot-stomping fun as Adam's voice soars towards the end.
Mix 93.3 Kansas - This version is unexpectedly extended and Adam fills it with excellent improv.
104.3 MY FM LA - This is the only version with a drum, giving a different vibe. The sound is great though a bit out of synch.
Cuckoo
105.1 The Buzz Portland - Adam is brilliant in voice, doing plenty of riffing on this fun theatrical version.
Energy 103.7 San Diego - Lots of cheeky attitude as Adam dances in his seat and claps in this mic-less version.
NCOE
Star 101.3 San Francisco - Some magnificent powerful glory notes in this.
Live 95.5 Bing Lounge Portland - The vocals are majestic and the quality is excellent.
I hope you'll find these highlights easily digestible, useful for catching up with, and finding for future reference. I tried my best to narrow down my favourite highlights but obviously picking one of each song was impossible. So we have the following:
BTIKM
B96 Chicago - Not the best quality, no tricks, but it's like looking in on a private moment. Very intimate and raw.
94.5 PST Princeton - I chose this for the sweet fluttery warbling near the end.
106.1 Kiss FM Seattle - Excellent quality, beautiful tone and different set of notes to finish.
OOL
Kidd Kraddick Dallas - The guitar isn't great but the quality is and Adam's emotive voice is wonderful.
WWFM
Q100 Atlanta Bert Show - The video is beautifully shot and Adam's rich voice is perfection.
99.7 The Point Kansas - There's a big note wow moment and Adam plays around with the melody in a new way.
Mix 106.5 San Jose - Adam sings a very different-sounding bridge that hasn't been done before.
Fever
Mix 104.1 Boston - This was only Fever I'm aware of, lots of freestyling and so much fun.
Trespassing
93.9 Lite FM Chicago - Foot-stomping fun as Adam's voice soars towards the end.
Mix 93.3 Kansas - This version is unexpectedly extended and Adam fills it with excellent improv.
104.3 MY FM LA - This is the only version with a drum, giving a different vibe. The sound is great though a bit out of synch.
Cuckoo
105.1 The Buzz Portland - Adam is brilliant in voice, doing plenty of riffing on this fun theatrical version.
Energy 103.7 San Diego - Lots of cheeky attitude as Adam dances in his seat and claps in this mic-less version.
NCOE
Star 101.3 San Francisco - Some magnificent powerful glory notes in this.
Live 95.5 Bing Lounge Portland - The vocals are majestic and the quality is excellent.
Saturday, 5 May 2012
Jimmy Kimmel Live
This post is very late but after watching and reviewing every single one of those radio gigs, I needed a bit of a break. You can always watch all the latest performances on Adam Lambert Performances when this blog isn't up to date. Here's the set from Jimmy Kimmel Live, which featured a set of five songs, all from Trespassing:
This is the first fully plugged-in version of Never Close Our Eyes from Adam and his band. A piano intro instead of the synths give a truly spine-tingling start. There are definite signs of nerves from Adam at the beginning, his pitch a shade imprecise by his standards and tone less assured. It doesn't take long for him to settle into it though, incorporating light fluttery elements along with rich grain. His look is consistent with that from the NewNowNext awards, again all in black but less formal with more leather. The sound from this recording doesn't strike a good balance for me as he sounds too quiet, the instrumentals lacking in clarity and a touch muffled. The backing singers are also too loud at points. Adam inhabits the song though, his expressions are fierce throughout and his movements have both power and grace. I think the bridge might sound better with a few of those super notes he adds near the end to give it that extra oomph. He's unusually a tiny bit flat on the last note which he shouts.
Among the things I notice first about this Trespassing are the snare drums lending a different feel, as if a soundtrack to an army of rebels marching through a no-go area. This performance is very cool and laid-back, with the guitar riffs and effects making it funkier than the NNN version. It's not as climactic, lacking the confetti and he squeaks a bit on the high note but this one is packed full of energy. There's plenty of camp and fun, and I think it's becoming my favourite song so far. No wonder it's the title track for the album.
This was the first outing of new song Naked Love. It has an unusual choral that leads into a mellow beat with hints of synths. Now I'm afraid I don't have much love for this song. Do you know those perennially chirpy people with boundless positivity and happy smug faces? Well this song is their equivalent. I want to give them a good slap for being so annoying. It says more about me being a cranky old git than anything else. It's a light frivolous pop song. I don't like happy fluffy pop. I like things to have a bit of a nasty edge. It feels like a cross between a JLS song and an 80s pop-by-numbers Stock Aitken and Waterman production so much so that I think I might be being Rickrolled. Maybe that means it'll be a huge hit. Adam borrows from Crystal Waters's 100% Pure Love and incorporates a sing-a-long. It doesn't pick up enough for me, not enough variation, lacking in wow moments and the ending feels odd. Still, the performance gives us some cracking moments as we hear Adam with a coy little giggle after "Take it off!" and see the joy emanate from him, lighting up the crowd. I can see the benefits of having a song like this for a high-intensity set. It's easy to sing and it'll give his voice a bit of a rest. Since it's Adam, I'm sure he'll make me love it as he plays around with and tweaks more performances.
There isn't a pro quality recording of Broken English yet so we're limited to audience videos filmed from mobile phones. What can I say? I'm loving it so far. It's an atmospheric sexy slow burn with a moody melody. It has a big swelling dramatic production which I can hear as a climactic soundtrack. The vocal is striking and powerful, though a little masked by the backing singers for the highs. The bridge is something else though, as Adam lends a beautiful haunting ghostly wail over frantic drumming. I'm very excited to hear the album version of this and an acoustic arrangement would probably slay me.
This is the first plugged-in performance of Cuckoo and includes the band intros. The sound quality of the recording isn't great which makes it hard to review. The funk is cranked right up as Tommy maximises the wah wah effects on his guitar. It might be a bit of overkill at times but it's hard to tell on the recordings available. It's all very adrenaline-fuelled crazy 70s disco and an absolute riot. Adam has such fun dancing and strutting round the stage, and his voice is on brilliant form, bright, ringing and full of power. I'm inching closer to hearing what the album version will sound like (I've resisted listening to snippets). We've heard plenty of acoustic versions but it's when it's plugged in that it really dances into life. This must be a sure fire hit. What's not to like? I'm Cuckoo for it.
It's a bit of a surprise that there's no BTIKM, and with the absence of covers and FYE songs, this set definitely looks forward. My favourite songs from the set are Trespassing, Broken English and Cuckoo. The fact that I've barely managed to narrow it down bodes well for the quality of songs to come. I can't wait.
This is the first fully plugged-in version of Never Close Our Eyes from Adam and his band. A piano intro instead of the synths give a truly spine-tingling start. There are definite signs of nerves from Adam at the beginning, his pitch a shade imprecise by his standards and tone less assured. It doesn't take long for him to settle into it though, incorporating light fluttery elements along with rich grain. His look is consistent with that from the NewNowNext awards, again all in black but less formal with more leather. The sound from this recording doesn't strike a good balance for me as he sounds too quiet, the instrumentals lacking in clarity and a touch muffled. The backing singers are also too loud at points. Adam inhabits the song though, his expressions are fierce throughout and his movements have both power and grace. I think the bridge might sound better with a few of those super notes he adds near the end to give it that extra oomph. He's unusually a tiny bit flat on the last note which he shouts.
Among the things I notice first about this Trespassing are the snare drums lending a different feel, as if a soundtrack to an army of rebels marching through a no-go area. This performance is very cool and laid-back, with the guitar riffs and effects making it funkier than the NNN version. It's not as climactic, lacking the confetti and he squeaks a bit on the high note but this one is packed full of energy. There's plenty of camp and fun, and I think it's becoming my favourite song so far. No wonder it's the title track for the album.
This was the first outing of new song Naked Love. It has an unusual choral that leads into a mellow beat with hints of synths. Now I'm afraid I don't have much love for this song. Do you know those perennially chirpy people with boundless positivity and happy smug faces? Well this song is their equivalent. I want to give them a good slap for being so annoying. It says more about me being a cranky old git than anything else. It's a light frivolous pop song. I don't like happy fluffy pop. I like things to have a bit of a nasty edge. It feels like a cross between a JLS song and an 80s pop-by-numbers Stock Aitken and Waterman production so much so that I think I might be being Rickrolled. Maybe that means it'll be a huge hit. Adam borrows from Crystal Waters's 100% Pure Love and incorporates a sing-a-long. It doesn't pick up enough for me, not enough variation, lacking in wow moments and the ending feels odd. Still, the performance gives us some cracking moments as we hear Adam with a coy little giggle after "Take it off!" and see the joy emanate from him, lighting up the crowd. I can see the benefits of having a song like this for a high-intensity set. It's easy to sing and it'll give his voice a bit of a rest. Since it's Adam, I'm sure he'll make me love it as he plays around with and tweaks more performances.
There isn't a pro quality recording of Broken English yet so we're limited to audience videos filmed from mobile phones. What can I say? I'm loving it so far. It's an atmospheric sexy slow burn with a moody melody. It has a big swelling dramatic production which I can hear as a climactic soundtrack. The vocal is striking and powerful, though a little masked by the backing singers for the highs. The bridge is something else though, as Adam lends a beautiful haunting ghostly wail over frantic drumming. I'm very excited to hear the album version of this and an acoustic arrangement would probably slay me.
This is the first plugged-in performance of Cuckoo and includes the band intros. The sound quality of the recording isn't great which makes it hard to review. The funk is cranked right up as Tommy maximises the wah wah effects on his guitar. It might be a bit of overkill at times but it's hard to tell on the recordings available. It's all very adrenaline-fuelled crazy 70s disco and an absolute riot. Adam has such fun dancing and strutting round the stage, and his voice is on brilliant form, bright, ringing and full of power. I'm inching closer to hearing what the album version will sound like (I've resisted listening to snippets). We've heard plenty of acoustic versions but it's when it's plugged in that it really dances into life. This must be a sure fire hit. What's not to like? I'm Cuckoo for it.
It's a bit of a surprise that there's no BTIKM, and with the absence of covers and FYE songs, this set definitely looks forward. My favourite songs from the set are Trespassing, Broken English and Cuckoo. The fact that I've barely managed to narrow it down bodes well for the quality of songs to come. I can't wait.
Wednesday, 25 April 2012
Promo Rounds Chicago-Kansas-SLC-Seattle
Here's the playlist of Adam's promo rounds from Chicago to Seattle and some brief comments about each of the performances:
93.9 Lite FM
WWFM - Adam addresses the crowd as his babies and gives a spot-on vocal with lots of interesting little changes and riffs that are quite different from anything he's done so far for this song.
BTIKM - This splendid vocal is pretty close to perfect and it's great to see him having fun pointing at the audience and laughing at himself at the end.
Trespassing - This is a massively enjoyable one that's not to be missed. It's impossible to stay still through this. Adam stamps and provides his own bit of percussion at the start and it looks to me like he's demonstrating a higher tempo that he wants Tommy to follow with his guitar playing. He misses his cue for the second verse and laughs at himself. The stamping kicks back in later on as Tommy appears to slow down. His voice has the perfect roughness and rings with such clarity despite the rapid delivery. Fantastic stuff.
B96 FM
BTIKM - This one is another 100% unplugged performance without amps and mics. It seems to be a much more internalised affair without the outward expression for a targetted audience. He has closed eyes or looks at the floor for much of it, like he is deep in contemplation, in the zone if you like, singing for himself. Maybe it's partly due to the lack of mic focal point. The emotion is expressed is raw and I can't help but feel that we are looking in on him when vulnerable, at a private moment. Not the best recording but a wonderful performance.
101.9 FM The Mix
BTIKM - Adam finds himself smiling through some of this and you have to wonder what he's thinking about. Pretty vocals with mic-frazzling belting.
99.7 The Point
BTIKM - This one has a super long glory note.
WWFM - There's a variation on the freak line and a wow moment towards the end as Adam stretches a big note and plays around with the melody.
Cuckoo - The first acoustic performance of this song, you can't help but move to it. Adam's in magnificent voice but I think it would work better with drums driving the beat.
Mix 93.3
BTIKM - This gets off to a slightly slow start but once it gets going, Adam's full voice is a joy to listen to.
Cuckoo - Adam can't resist dancing in his seat and censors the f-word in the lyrics. His voice has a bit of a rock edge and there's lots of improvisation towards the end.
Trespassing - A great energetic performance where Adam seems to hump his stool. I think it's meant to have an abrupt ending where Adam does the cut sign, but it seems Tommy is oblivious and keeps playing. It's all to our benefit through as we hear just that little bit more.
Mix 107.9
This is another mic-less set.
BTIKM - It's a quiet start but you can really appreciate the volume range at which Adam sings.
WWFM - Adam's voice sounds so sweet and smooth here in this mellow performance with great use of both falsetto and belt towards the end.
Cuckoo - Adam leaves out the F-words in this rendition and rouses the audience to laugh as he swings an imaginary lasso while sitting on an imaginary horse for dancing. There's a lot of thigh-slapping and improvising towards the end.
97.1 ZHT / My 99.5
BTIKM - This one is sweet and floaty with an impressive crescendo.
Cuckoo - Again, Adam leaves out the swearing in this very fun version where Adam's wonderful voice shines.
106.1 Kiss FM
BTIKM - Performed live on air in the studio, there is excellent quality sound on this recording. Adam's voice sounds velvety smooth and so close. We get to hear a very different set of notes at the end as he continues to make every single performance unique.
Amazon Fishbowl
This was a corporate event at Amazon's HQ.
Trespassing - Adam's voice sounds full and brilliant with that gorgeous and slightly rough tone.
93.9 Lite FM
WWFM - Adam addresses the crowd as his babies and gives a spot-on vocal with lots of interesting little changes and riffs that are quite different from anything he's done so far for this song.
BTIKM - This splendid vocal is pretty close to perfect and it's great to see him having fun pointing at the audience and laughing at himself at the end.
Trespassing - This is a massively enjoyable one that's not to be missed. It's impossible to stay still through this. Adam stamps and provides his own bit of percussion at the start and it looks to me like he's demonstrating a higher tempo that he wants Tommy to follow with his guitar playing. He misses his cue for the second verse and laughs at himself. The stamping kicks back in later on as Tommy appears to slow down. His voice has the perfect roughness and rings with such clarity despite the rapid delivery. Fantastic stuff.
B96 FM
BTIKM - This one is another 100% unplugged performance without amps and mics. It seems to be a much more internalised affair without the outward expression for a targetted audience. He has closed eyes or looks at the floor for much of it, like he is deep in contemplation, in the zone if you like, singing for himself. Maybe it's partly due to the lack of mic focal point. The emotion is expressed is raw and I can't help but feel that we are looking in on him when vulnerable, at a private moment. Not the best recording but a wonderful performance.
101.9 FM The Mix
BTIKM - Adam finds himself smiling through some of this and you have to wonder what he's thinking about. Pretty vocals with mic-frazzling belting.
99.7 The Point
BTIKM - This one has a super long glory note.
WWFM - There's a variation on the freak line and a wow moment towards the end as Adam stretches a big note and plays around with the melody.
Cuckoo - The first acoustic performance of this song, you can't help but move to it. Adam's in magnificent voice but I think it would work better with drums driving the beat.
Mix 93.3
BTIKM - This gets off to a slightly slow start but once it gets going, Adam's full voice is a joy to listen to.
Cuckoo - Adam can't resist dancing in his seat and censors the f-word in the lyrics. His voice has a bit of a rock edge and there's lots of improvisation towards the end.
Trespassing - A great energetic performance where Adam seems to hump his stool. I think it's meant to have an abrupt ending where Adam does the cut sign, but it seems Tommy is oblivious and keeps playing. It's all to our benefit through as we hear just that little bit more.
Mix 107.9
This is another mic-less set.
BTIKM - It's a quiet start but you can really appreciate the volume range at which Adam sings.
WWFM - Adam's voice sounds so sweet and smooth here in this mellow performance with great use of both falsetto and belt towards the end.
Cuckoo - Adam leaves out the F-words in this rendition and rouses the audience to laugh as he swings an imaginary lasso while sitting on an imaginary horse for dancing. There's a lot of thigh-slapping and improvising towards the end.
97.1 ZHT / My 99.5
BTIKM - This one is sweet and floaty with an impressive crescendo.
Cuckoo - Again, Adam leaves out the swearing in this very fun version where Adam's wonderful voice shines.
106.1 Kiss FM
BTIKM - Performed live on air in the studio, there is excellent quality sound on this recording. Adam's voice sounds velvety smooth and so close. We get to hear a very different set of notes at the end as he continues to make every single performance unique.
Amazon Fishbowl
This was a corporate event at Amazon's HQ.
Trespassing - Adam's voice sounds full and brilliant with that gorgeous and slightly rough tone.
Monday, 23 April 2012
Promo Rounds Atlanta-Nashville-DC-Hartford-Boston
Here's the next set of videos from the radio promo rounds covering Atlanta to Boston, and my brief notes below:
Q100 The Bert Show
BTIKM - This was performed live on air in studio and is a lovely quality recording. Adam has a falsetto crescendo as opposed to belt.
WWFM - We can hear Adam's delightful breathy voice here and I'm liking the low "Just keep coming around".
Star 94 FM
BTIKM - Adam performs this one in front of a live audience with a pretty floaty, grainy voice and low improvisations.
WWFM - This has a beautiful powerful finish.
Q100 Jezebel magazine launch party
It's great to see Adam back in a suit again, I've missed it. The resemblance to Elvis is more than passing with half-down hair. Adam performs with his whole band fully plugged in.
FYE - The drums are very loud on the recording and strangely Adams's not dancing to this rock rendition.
IIHY - Adam looks so formally dressed for this one, not dancing but with waggly leg.
Fever - Adam's wearing spray-on trousers with a weird pullover/bib type thing, which can be seen with the removal of his jacket. There's lots of hip action here, accentuated by his dangly belt accoutrement.
Cuckoo - This upbeat song features lots of strutty dancing. It has an element of funk but it's not picked up by the recording. It's quite hard to distinguish the bassline and the hook.
Chokehold - This sounds like soft rock with an epic big production feel that will draw comparisons with Sleepwalker. It has an interesting melody which I like, contrasting higher register soft vocals with a heavy beat. I can hear the guitar riffs in some other song whose name escapes me. Adam is very expressive but there's also some attitude in there which I love.
Trespassing - The songs has lots of tricky lyrics that are very easy to stumble upon. Even though the recording isn't very good, it's stompy and has a great vibe with Adam finally getting his groove on. He's a little flat in places but his vocals are bright and it's easy to see why this is the album's title track.
107.5 The River
From here on, there is a change in personnel as Tommy replaces Kevin on guitar for these acoustic radio performances. BTIKM - This is a much less bouncy, rather calm measured performance with pretty vocals and a soft ending.
WWFM - The guitar finally sounds right here. I guess it was Kevin's guitar that was unpleasant to my ears. I still don't know whether it was a rattly string or his playing. Adam's voice is velvety but hard and he requests for guitar to be turned up.
Radio 107.3 FM Gibson Guitar Showrooms
BTIKM - Strong and note perfect, it's just a pity that a pro recording hasn't been made available yet.
WWFM - Adam's voice is rich and full with a glorious belt and low variation on the last "Need a second to breathe".
Hot 99.5
BTIKM - Adam's voice is frustratingly quiet on the recording and Tommy seems to make a little mistake midway through. This version is well worth listening to as the climax is quite different.
WWFM - This is another that's well worth listening to. Again, Adam's voice is in the background on this recording but listen out for the change-ups on the first "Here we are", the lead-up to the bridge and right at the end. There's also a minor lyric fail in there.
94.7 Fresh FM
BTIKM - Adam's voice has much of that sweet floaty quality that leads to an almighty belt.
WWFM - Adam addresses the crowd as his babies in that part of the lyric. His voice here is just beautiful, full of that grainy timbre especially near the finish. His change in melody for the final "WWFM?" is just delightful.
KISS 95.7 / KC101.3 Dunkin' Donuts lounge
BTIKM - A strong consistent one from Adam. Tommy appears to make a mistake on the guitar and almost stops altogether but Adam does a fantastic job of trying to cover it up by singing through it with abundant power.
WWFM - Adam's voice sounds beautifully growly on one of the choruses. He appears to hit a bum note at one point, but proceeds to guide it into a pleasant melodic improv last heard at the 107.3 gig that he repeats later on.
KC 101.3
BTIKM (Studio audience) - This is a mic-less, tech-less unplugged performance where the lucky audience is able to appreciate the pure raw beauty of Adam's voice. Some nice riffs in there.
WWFM - This is quite a gentle version where Adam uses much more of his falsetto than usual, the melody seeming to hover around the tricky bridge between registers. He amps up the power towards the end though.
BTIKM (Live on air) - Adam stands up for this one and I wonder whether in a hectic schedule he's trying to conserve his voice just a touch. The high parts of the song get no powerbelt treatment and are all done in a pretty warbling falsetto with riffs that must be heard.
96.5 TIC FM
BTIKM - This one's a strong performance with the return of Adam's belting and a surprisingly gentle finish.
WWFM - There's a little variation on the "I'm a freak" line and some very different and unexpected plays on the timing with stretched notes and pauses.
Mix 104.1
BTIKM - A consistently good performance that was live streamed from the station.
Fever - A fun rendition with a cheeky "baby steps" lyric addition. Adam enjoys this theatrical one with laughs aplenty and freestyles his way though the second half of the song.
KISS 108 FM
BTIKM - A typically strong performance in voice with a couple of hesitant notes where it seems like he only decides mid-way where the note is going to go.
Trespassing - This is the first performance for a radio audience, performed with attitude as Adam dances in his seat. His timbre is magnificently powerful and grainy. It feels like the song keeps picking up pace going faster and faster and Adam has to finally tell Tommy to stop. Unfortunately there are some rare bum notes at the end which spoil it for me.
104.5 WXLO
WWFM - The quality of recordings here are beautiful and Adam expertly showcases the rich resonant scrapey lower tone of his voice. He calls for the guitar to be made louder. BTIKM - This is Adam's voice at its glorious best. Flawless.
Q100 The Bert Show
BTIKM - This was performed live on air in studio and is a lovely quality recording. Adam has a falsetto crescendo as opposed to belt.
WWFM - We can hear Adam's delightful breathy voice here and I'm liking the low "Just keep coming around".
Star 94 FM
BTIKM - Adam performs this one in front of a live audience with a pretty floaty, grainy voice and low improvisations.
WWFM - This has a beautiful powerful finish.
Q100 Jezebel magazine launch party
It's great to see Adam back in a suit again, I've missed it. The resemblance to Elvis is more than passing with half-down hair. Adam performs with his whole band fully plugged in.
FYE - The drums are very loud on the recording and strangely Adams's not dancing to this rock rendition.
IIHY - Adam looks so formally dressed for this one, not dancing but with waggly leg.
Fever - Adam's wearing spray-on trousers with a weird pullover/bib type thing, which can be seen with the removal of his jacket. There's lots of hip action here, accentuated by his dangly belt accoutrement.
Cuckoo - This upbeat song features lots of strutty dancing. It has an element of funk but it's not picked up by the recording. It's quite hard to distinguish the bassline and the hook.
Chokehold - This sounds like soft rock with an epic big production feel that will draw comparisons with Sleepwalker. It has an interesting melody which I like, contrasting higher register soft vocals with a heavy beat. I can hear the guitar riffs in some other song whose name escapes me. Adam is very expressive but there's also some attitude in there which I love.
Trespassing - The songs has lots of tricky lyrics that are very easy to stumble upon. Even though the recording isn't very good, it's stompy and has a great vibe with Adam finally getting his groove on. He's a little flat in places but his vocals are bright and it's easy to see why this is the album's title track.
107.5 The River
From here on, there is a change in personnel as Tommy replaces Kevin on guitar for these acoustic radio performances. BTIKM - This is a much less bouncy, rather calm measured performance with pretty vocals and a soft ending.
WWFM - The guitar finally sounds right here. I guess it was Kevin's guitar that was unpleasant to my ears. I still don't know whether it was a rattly string or his playing. Adam's voice is velvety but hard and he requests for guitar to be turned up.
Radio 107.3 FM Gibson Guitar Showrooms
BTIKM - Strong and note perfect, it's just a pity that a pro recording hasn't been made available yet.
WWFM - Adam's voice is rich and full with a glorious belt and low variation on the last "Need a second to breathe".
Hot 99.5
BTIKM - Adam's voice is frustratingly quiet on the recording and Tommy seems to make a little mistake midway through. This version is well worth listening to as the climax is quite different.
WWFM - This is another that's well worth listening to. Again, Adam's voice is in the background on this recording but listen out for the change-ups on the first "Here we are", the lead-up to the bridge and right at the end. There's also a minor lyric fail in there.
94.7 Fresh FM
BTIKM - Adam's voice has much of that sweet floaty quality that leads to an almighty belt.
WWFM - Adam addresses the crowd as his babies in that part of the lyric. His voice here is just beautiful, full of that grainy timbre especially near the finish. His change in melody for the final "WWFM?" is just delightful.
KISS 95.7 / KC101.3 Dunkin' Donuts lounge
BTIKM - A strong consistent one from Adam. Tommy appears to make a mistake on the guitar and almost stops altogether but Adam does a fantastic job of trying to cover it up by singing through it with abundant power.
WWFM - Adam's voice sounds beautifully growly on one of the choruses. He appears to hit a bum note at one point, but proceeds to guide it into a pleasant melodic improv last heard at the 107.3 gig that he repeats later on.
KC 101.3
BTIKM (Studio audience) - This is a mic-less, tech-less unplugged performance where the lucky audience is able to appreciate the pure raw beauty of Adam's voice. Some nice riffs in there.
WWFM - This is quite a gentle version where Adam uses much more of his falsetto than usual, the melody seeming to hover around the tricky bridge between registers. He amps up the power towards the end though.
BTIKM (Live on air) - Adam stands up for this one and I wonder whether in a hectic schedule he's trying to conserve his voice just a touch. The high parts of the song get no powerbelt treatment and are all done in a pretty warbling falsetto with riffs that must be heard.
96.5 TIC FM
BTIKM - This one's a strong performance with the return of Adam's belting and a surprisingly gentle finish.
WWFM - There's a little variation on the "I'm a freak" line and some very different and unexpected plays on the timing with stretched notes and pauses.
Mix 104.1
BTIKM - A consistently good performance that was live streamed from the station.
Fever - A fun rendition with a cheeky "baby steps" lyric addition. Adam enjoys this theatrical one with laughs aplenty and freestyles his way though the second half of the song.
KISS 108 FM
BTIKM - A typically strong performance in voice with a couple of hesitant notes where it seems like he only decides mid-way where the note is going to go.
Trespassing - This is the first performance for a radio audience, performed with attitude as Adam dances in his seat. His timbre is magnificently powerful and grainy. It feels like the song keeps picking up pace going faster and faster and Adam has to finally tell Tommy to stop. Unfortunately there are some rare bum notes at the end which spoil it for me.
104.5 WXLO
WWFM - The quality of recordings here are beautiful and Adam expertly showcases the rich resonant scrapey lower tone of his voice. He calls for the guitar to be made louder. BTIKM - This is Adam's voice at its glorious best. Flawless.
Sunday, 22 April 2012
Promo Rounds Denver-Dallas-Houston
Slowly but surely I'm finally managing to catch up on the glut of performances we got out of Adam's Promo rounds. I'm afraid if I don't add some notes, some absolute gems might end up being overlooked and lost in the pile. I'm splitting the posts up by date and location, so first up is the Denver-Dallas-Houston week. Here's a playlist of those performances:
Alice 105.9
WWFM - The guitar here still sounds a bit out-of-tune to me but the quality of the recording is horrendous. In spite of this, Adam's fluttery sweet voice stands out. The vocal runs before and just after the bridge are lower and a bit different here.
BTIKM - It sounds like the key here has been lowered again. It's smooth with lots of light and shade at the end with some startling glory notes.
Mix 102.9 Dallas
OOL - This is the song's US debut. Adam's voice is gorgeous, quiet and tender and I could drink it in all day long. He seems to lose control a little at the climax with an iffy note. It ends with his hard scrapey tone and a beautiful touch with the sobby "lo-o-ove" at the end.
WWFM - Adam's voice is grainy and rich with some nice changes at the end. I'm still not keen on the guitar though.
BTIKM - This has a quick tempo. Another solid performance with echoey voice and no backing vocals.
103.7 Lite FM
BTIKM - The sound quality here is great, again without the backing vocals and a lovely gentle finish.
WWFM - Adam comments about how some fans can keep winning competitions. His voice has that tone I go nuts for and there's a very satisfying belter of a climax.
i93
BTIKM - This is fast and bouncy, but unfortunately the skipping sound is a distraction. Adam seems to enjoy himself here, smiling and laughing during the performance.
WWFM - Adam uses his hard voice here that I think at times sounds a touch harsh and strained.
Kidd Kraddick
BTIKM - The quality of this recording is great. It's quite a soft version, again without backing vocals. There's too much echo in it for my liking but it has a delightful ending
OOL - I'm not keen on the guitar picking at the intro, the sliding and clipped note sounding unpleasant. It's also too loud as this is one of the quietest and most doleful of renditions, Adam's voice a mere whisper at the start. It's sounds like there's a little error in the guitar at the end of the first chorus. The way Adam howls his way through this is beautiful, though just after the climax there's a tense note. Again, I love that sobbing "lo-o-ove" where he puts a break in his voice.
Mix 96.5
BTIKM - I love the crescendo in this powerful vocal.
WWFM - Adam sings this with his glorious full voice.
Fever - The guitar doesn't sound quite right here and we don't get the glory note but it's an entertaining and cheeky performance.
Alice 105.9
WWFM - The guitar here still sounds a bit out-of-tune to me but the quality of the recording is horrendous. In spite of this, Adam's fluttery sweet voice stands out. The vocal runs before and just after the bridge are lower and a bit different here.
BTIKM - It sounds like the key here has been lowered again. It's smooth with lots of light and shade at the end with some startling glory notes.
Mix 102.9 Dallas
OOL - This is the song's US debut. Adam's voice is gorgeous, quiet and tender and I could drink it in all day long. He seems to lose control a little at the climax with an iffy note. It ends with his hard scrapey tone and a beautiful touch with the sobby "lo-o-ove" at the end.
WWFM - Adam's voice is grainy and rich with some nice changes at the end. I'm still not keen on the guitar though.
BTIKM - This has a quick tempo. Another solid performance with echoey voice and no backing vocals.
103.7 Lite FM
BTIKM - The sound quality here is great, again without the backing vocals and a lovely gentle finish.
WWFM - Adam comments about how some fans can keep winning competitions. His voice has that tone I go nuts for and there's a very satisfying belter of a climax.
i93
BTIKM - This is fast and bouncy, but unfortunately the skipping sound is a distraction. Adam seems to enjoy himself here, smiling and laughing during the performance.
WWFM - Adam uses his hard voice here that I think at times sounds a touch harsh and strained.
Kidd Kraddick
BTIKM - The quality of this recording is great. It's quite a soft version, again without backing vocals. There's too much echo in it for my liking but it has a delightful ending
OOL - I'm not keen on the guitar picking at the intro, the sliding and clipped note sounding unpleasant. It's also too loud as this is one of the quietest and most doleful of renditions, Adam's voice a mere whisper at the start. It's sounds like there's a little error in the guitar at the end of the first chorus. The way Adam howls his way through this is beautiful, though just after the climax there's a tense note. Again, I love that sobbing "lo-o-ove" where he puts a break in his voice.
Mix 96.5
BTIKM - I love the crescendo in this powerful vocal.
WWFM - Adam sings this with his glorious full voice.
Fever - The guitar doesn't sound quite right here and we don't get the glory note but it's an entertaining and cheeky performance.
Saturday, 3 March 2012
Radio Promo Rounds
As there are so many videos from this round of promo, instead of doing a post for each, I've put them all together in the embedded playlist below along with some brief comments. There are 15 performances in 14 videos in at 8 different stations. There should be more but we don't have anything yet for Sirius XM.
95.5 WPLJ New York
WWFM features Kevin strumming on guitar, and as before, I still feel that there's something slightly unpleasant about the sound. Maybe it's one string that's affecting the balance of the chords, I don't have enough expertise to put my finger on it. The performance has quite a lively energy and it's rather endearing to see Adam twisting around on his swivel chair. I'm pleased to hear Adam still changing it up with a lovely run on 'now' and notable variations at the end.
This BTIKM has only a guitar accompaniment so I'm thrilled they decided to dispense with the drum machine. It's very quiet, all the better for hearing Adam's gentle voice, which has quite a bit of an echo. We realise it's only quiet because the mic's too far away and someone comes to move it closer. The expression on Adam's face when it happens is priceless but he's unaffected by it, showing no signs of being distracted with the beautiful vocals and harmonies.
Fresh 102.7 FM New York
Again, there's something with the guitar that sounds imperfect to me in this WWFM. There are more variations to this one and I really like the low 'Just keep coming around' and how Adam plays with the timing at the end. He takes the unusual step of singing a final 'me' which doesn't sound like 'may'.
He sounds wonderful on this slightly mournful BTIKM, even though there is a shaky moment at 'All along' from which he quickly recovers. There's less grain in his voice than some of the other versions but there are so many pretty embellishments, especially on the 'whoa's near the end.
B104 Allentown
This WWFM sounds quite different with lovely improvisations in both the melody of riffs and the timing.
BTIKM has a wonderful ending which alternates rapidly between power and tenderness, a bit like the contrasting sides of himself in the video.
94.5 PST Princeton
This BTIKM is a bouncy one that sounds rushed compared to some of the others. I realise that I always look forward to listening to ending of his performances, not only for the crescendoes but I think he's at his best and vocally most creative when he's outside of the confines of song structure. This is one ending that I love, where his sweet falsetto floats like the chirping of a songbird at dawn.
This WWFM features lots of the rougher texture of Adam's voice.
Q102 (Mix 106.1) Philly
This WWFM, although acoustic, has a harder edge than the others.
It's during this performance of BTIKM that I really get to appreciate the the less-is-more beauty of the bridge which goes from a hectic plucking of the guitar evoking the chaotic feeling of being rushed, to the soothing tranquility of ''Cause I need you now'. It's like the climax of the song, counter-intuitively, is a diminuendo. A powerful, belting performance.
B98.5 Jersey Shore
Unusual for any performance, this mini-set has no speakers set up for the audience. It's my dream to be able to hear Adam's actual, unprocessed singing voice that hasn't gone through any audio equipment. Lucky them. This is the first performance where Adam skips all the yodelly parts, and I actually prefer it as it sounds more elegant. Without backing vocals, Adam balances his delicate falsetto with some belting freestyling at the end.
WWFM is powerful and more aggressive than the other versions.
94.3 The Point
BTIKM is rather fast and bouncy, again without backing vocals and yodelly parts. Adam is spectacular in voice in both falsetto and belt.
There is little to report about this WWFM other than the voice being near perfect.
92.7 WOBM
Adam seems to have only sung WWFM at this station. There's not a lot that's particularly different about this version but this is as perfect as it gets.
95.5 WPLJ New York
WWFM features Kevin strumming on guitar, and as before, I still feel that there's something slightly unpleasant about the sound. Maybe it's one string that's affecting the balance of the chords, I don't have enough expertise to put my finger on it. The performance has quite a lively energy and it's rather endearing to see Adam twisting around on his swivel chair. I'm pleased to hear Adam still changing it up with a lovely run on 'now' and notable variations at the end.
This BTIKM has only a guitar accompaniment so I'm thrilled they decided to dispense with the drum machine. It's very quiet, all the better for hearing Adam's gentle voice, which has quite a bit of an echo. We realise it's only quiet because the mic's too far away and someone comes to move it closer. The expression on Adam's face when it happens is priceless but he's unaffected by it, showing no signs of being distracted with the beautiful vocals and harmonies.
Fresh 102.7 FM New York
Again, there's something with the guitar that sounds imperfect to me in this WWFM. There are more variations to this one and I really like the low 'Just keep coming around' and how Adam plays with the timing at the end. He takes the unusual step of singing a final 'me' which doesn't sound like 'may'.
He sounds wonderful on this slightly mournful BTIKM, even though there is a shaky moment at 'All along' from which he quickly recovers. There's less grain in his voice than some of the other versions but there are so many pretty embellishments, especially on the 'whoa's near the end.
B104 Allentown
This WWFM sounds quite different with lovely improvisations in both the melody of riffs and the timing.
BTIKM has a wonderful ending which alternates rapidly between power and tenderness, a bit like the contrasting sides of himself in the video.
94.5 PST Princeton
This BTIKM is a bouncy one that sounds rushed compared to some of the others. I realise that I always look forward to listening to ending of his performances, not only for the crescendoes but I think he's at his best and vocally most creative when he's outside of the confines of song structure. This is one ending that I love, where his sweet falsetto floats like the chirping of a songbird at dawn.
This WWFM features lots of the rougher texture of Adam's voice.
Q102 (Mix 106.1) Philly
This WWFM, although acoustic, has a harder edge than the others.
It's during this performance of BTIKM that I really get to appreciate the the less-is-more beauty of the bridge which goes from a hectic plucking of the guitar evoking the chaotic feeling of being rushed, to the soothing tranquility of ''Cause I need you now'. It's like the climax of the song, counter-intuitively, is a diminuendo. A powerful, belting performance.
B98.5 Jersey Shore
Unusual for any performance, this mini-set has no speakers set up for the audience. It's my dream to be able to hear Adam's actual, unprocessed singing voice that hasn't gone through any audio equipment. Lucky them. This is the first performance where Adam skips all the yodelly parts, and I actually prefer it as it sounds more elegant. Without backing vocals, Adam balances his delicate falsetto with some belting freestyling at the end.
WWFM is powerful and more aggressive than the other versions.
94.3 The Point
BTIKM is rather fast and bouncy, again without backing vocals and yodelly parts. Adam is spectacular in voice in both falsetto and belt.
There is little to report about this WWFM other than the voice being near perfect.
92.7 WOBM
Adam seems to have only sung WWFM at this station. There's not a lot that's particularly different about this version but this is as perfect as it gets.
Friday, 2 March 2012
HR3 Radio Germany - Better Than I Know Myself
As you can tell, I'm a bit behind on all the reviews after the overload of radio promo performances (imagine what it would've been like for him!) so I'm going to just post brief comments with the videos.
Adam performed this BTIKM at Germany's HR3 radio station on his birthday, dressed as Light!Adam in what looks to be a turtleneck for those with necks the width of a torso. It looks so comfortable, ideal slouchwear but there's no slouching here.
An acoustic performance with Kevin, Isaac and Tommy, the piano is flowy and Adam's voice has a beautiful balance of both tenderness and grit.
Adam performed this BTIKM at Germany's HR3 radio station on his birthday, dressed as Light!Adam in what looks to be a turtleneck for those with necks the width of a torso. It looks so comfortable, ideal slouchwear but there's no slouching here.
An acoustic performance with Kevin, Isaac and Tommy, the piano is flowy and Adam's voice has a beautiful balance of both tenderness and grit.
Wednesday, 15 February 2012
Z100 New York
During his promo rounds in New York, Adam performed an acoustic WWFM and a plugged-in BTIKM at radio station Z100, with Kevin doing the instrumentals.
There's something a little dissonant with the guitar near the start of WWFM which makes me think it's not perfectly in tune, and a very rare flat note from Adam. This rocking rendition sounds quite different from any other WWFM so far, with his voice being harder and raspier than usual. For the first time in a while, he remembers all the lyrics and there's a lovely low change on 'You could save my life'.
Maybe it wasn't the guitar after all but a very dodgy sound mix as when we get to the BTIKM introduction, the synthetic drums sound like they come from a cheap toy that even five-year-olds would turn their noses up at. The beat is key to the song and without drums and bass, the amateur effect is quite comical, distracting from the intended mood. I hope that as funk features heavily on the album, this drum machine won't be used again. Better to go acoustic than sound like this plugged in. Perhaps it sounded much fuller live and it's just the recording. Anyway, when Adam's voice comes in, the little ants hammering on the hamster-sized drum kit take a back seat. Beautiful and sweet with that little bit of scrapeyness I love. The crescendo is another spine-tingling moment where he palms the air, tongue out, and his endearing glory-note lever of a leg rises up. The ending is simply divine.
There's something a little dissonant with the guitar near the start of WWFM which makes me think it's not perfectly in tune, and a very rare flat note from Adam. This rocking rendition sounds quite different from any other WWFM so far, with his voice being harder and raspier than usual. For the first time in a while, he remembers all the lyrics and there's a lovely low change on 'You could save my life'.
Maybe it wasn't the guitar after all but a very dodgy sound mix as when we get to the BTIKM introduction, the synthetic drums sound like they come from a cheap toy that even five-year-olds would turn their noses up at. The beat is key to the song and without drums and bass, the amateur effect is quite comical, distracting from the intended mood. I hope that as funk features heavily on the album, this drum machine won't be used again. Better to go acoustic than sound like this plugged in. Perhaps it sounded much fuller live and it's just the recording. Anyway, when Adam's voice comes in, the little ants hammering on the hamster-sized drum kit take a back seat. Beautiful and sweet with that little bit of scrapeyness I love. The crescendo is another spine-tingling moment where he palms the air, tongue out, and his endearing glory-note lever of a leg rises up. The ending is simply divine.
Tuesday, 31 January 2012
Q-Snowcase 2012
Adam's 30th birthday was spent working on promoting his new material for Belgian radio station Qmusic. He performed an exclusive set at the Q-Snowcase event in the picturesque city of Zell am See, Austria. They were kind enough to let us crash their servers while providing a live stream of the event as it unfolded. We were waiting, salivating over the hope that we might hear some new material after reading unanimously glowing reviews of his album from all over the place.
The set is acoustic with Isaac, Kevin and Tommy but no Ashley, and takes me back to the first round of international promo. As well as being more portable and easier to set up, it also allows Adam's talent to shine supreme. Dressed all in black, nothing showy, he keeps his look consistent with the other performances in this era.
The surprise opener is Fever. I'd often wondered how this song with so many electronic sounds would work acoustically, so I'm grateful I've been answered with its first outing. Adam's voice utilises a grainier texture which is my absolute favourite. The song bounces along brightly, a little strange in the absence of crotchularly fixated movements but Adam appears to battle hard to stay seated. Kevin's dexterous piano work is jazzy and free-flowing especially towards the end, and though a touch tentative, I'm really liking Tommy's additional funk riffs.
BTIKM has a bit of a shaky start with Adam's pitch a little off, but he soon finds his feet. The first verse is very gentle, and instead of belting out the highest parts, he goes into his falsetto. It's also less beat-driven than the single with smooth piano work. His timbre is so rich and when he reaches the climax with his powerful belt it's a prickly-hair moment. Kevin's backing vocals complement Adam's well. Make sure you listen to Adam's beatboxing cameo after the end of the song.
The highlight of this set for me has to be OOL. I've heard the St. Agathe one so many times that the audience screams have become integral to it. So it comes as a wonderful relief to no longer hear those sounds when braced and ready for them. Oh my. Even the introduction is a joy to behold, the pleasant sound of the flowing piano nowhere near as harshly jangly as that of the guitar. I've not heard Adam's voice so soft, so sweet and so silken smooth. I'm usually one for the excesses of full-on wails but this is understated perfection. His doleful voice emotes quiet resignation, hushed breathy and fragile, not whispery but still retaining melody. His fluttery vibrato is painfully beautiful and I just can't get enough of that 'clooooooser' along with umpteen other different examples in the first verse.
Kevin and Tommy aren't quite in perfect synch with their timing at the intro to the second verse. Adam changes his volume and tone to go from resignation to mild defiance as Isaac kicks in with percussion. The little embellishments at 'old' and 'enough' are a nice touch as is replacing the final 'oh' at the bridge with a velvety 'eh'. The crescendo is one that's deeply satisfying as Adam ups his intensity to give us my favourite harder scrapier tone of his, rich resonant and harmonious, goosebumps galore, showing plenty more fight left within.
I've heard WWFM so many times now but this goes to show how every one is still unique. I suspect there was a case of lyric fail when Adam started a 'Just' line with 'I' that brought on his freestyling ad-libbing riffs, a wonderful treat. The ending 'I won't let you down' rather than 'WWFM?' gives the song a very different feel. It's abrupt and shifts the focus towards taking responsibility rather than feeling the victim.
And then we have the first listen of the album title track, Trespassing. It's only a short snippet because we agonisingly got cockblocked by request. Adam tries to get the audience to liven up by clapping. First impressions are that it's a fast punchy song, funky as fuck with lots of with and rebellious attitude in the storytelling lyrics. It's very wordy with a quick delivery so there's no room for getting tongued-tied stumbling over them. Definitely not one for singing whilst drunk! The bassline is irresistible, (having already set up camp within my head and showing no signs of ever wanting to shift) the melody of which reminds me of MARRS's 80s classic Pump Up The Volume but more fleet-footed. There's a sprinkling of funk riffs and if you don't feel the urge to move to this then get someone to zap you with a defibrillator because you must have just died. This is just the type of song I've been waiting so long for Adam to lend his voice to, and my, does that voice sound infuckingcredible.
The set is acoustic with Isaac, Kevin and Tommy but no Ashley, and takes me back to the first round of international promo. As well as being more portable and easier to set up, it also allows Adam's talent to shine supreme. Dressed all in black, nothing showy, he keeps his look consistent with the other performances in this era.
The surprise opener is Fever. I'd often wondered how this song with so many electronic sounds would work acoustically, so I'm grateful I've been answered with its first outing. Adam's voice utilises a grainier texture which is my absolute favourite. The song bounces along brightly, a little strange in the absence of crotchularly fixated movements but Adam appears to battle hard to stay seated. Kevin's dexterous piano work is jazzy and free-flowing especially towards the end, and though a touch tentative, I'm really liking Tommy's additional funk riffs.
BTIKM has a bit of a shaky start with Adam's pitch a little off, but he soon finds his feet. The first verse is very gentle, and instead of belting out the highest parts, he goes into his falsetto. It's also less beat-driven than the single with smooth piano work. His timbre is so rich and when he reaches the climax with his powerful belt it's a prickly-hair moment. Kevin's backing vocals complement Adam's well. Make sure you listen to Adam's beatboxing cameo after the end of the song.
The highlight of this set for me has to be OOL. I've heard the St. Agathe one so many times that the audience screams have become integral to it. So it comes as a wonderful relief to no longer hear those sounds when braced and ready for them. Oh my. Even the introduction is a joy to behold, the pleasant sound of the flowing piano nowhere near as harshly jangly as that of the guitar. I've not heard Adam's voice so soft, so sweet and so silken smooth. I'm usually one for the excesses of full-on wails but this is understated perfection. His doleful voice emotes quiet resignation, hushed breathy and fragile, not whispery but still retaining melody. His fluttery vibrato is painfully beautiful and I just can't get enough of that 'clooooooser' along with umpteen other different examples in the first verse.
Kevin and Tommy aren't quite in perfect synch with their timing at the intro to the second verse. Adam changes his volume and tone to go from resignation to mild defiance as Isaac kicks in with percussion. The little embellishments at 'old' and 'enough' are a nice touch as is replacing the final 'oh' at the bridge with a velvety 'eh'. The crescendo is one that's deeply satisfying as Adam ups his intensity to give us my favourite harder scrapier tone of his, rich resonant and harmonious, goosebumps galore, showing plenty more fight left within.
I've heard WWFM so many times now but this goes to show how every one is still unique. I suspect there was a case of lyric fail when Adam started a 'Just' line with 'I' that brought on his freestyling ad-libbing riffs, a wonderful treat. The ending 'I won't let you down' rather than 'WWFM?' gives the song a very different feel. It's abrupt and shifts the focus towards taking responsibility rather than feeling the victim.
And then we have the first listen of the album title track, Trespassing. It's only a short snippet because we agonisingly got cockblocked by request. Adam tries to get the audience to liven up by clapping. First impressions are that it's a fast punchy song, funky as fuck with lots of with and rebellious attitude in the storytelling lyrics. It's very wordy with a quick delivery so there's no room for getting tongued-tied stumbling over them. Definitely not one for singing whilst drunk! The bassline is irresistible, (having already set up camp within my head and showing no signs of ever wanting to shift) the melody of which reminds me of MARRS's 80s classic Pump Up The Volume but more fleet-footed. There's a sprinkling of funk riffs and if you don't feel the urge to move to this then get someone to zap you with a defibrillator because you must have just died. This is just the type of song I've been waiting so long for Adam to lend his voice to, and my, does that voice sound infuckingcredible.
Sunday, 6 November 2011
Crowning the EMAs
Thoughts are a jumble, tuning in was a hectic scramble but got there just in time for this, the not-very-well-kept secret of Adam and global icons Queen crowning off the EMAs with a medley of "The Show Must Go On", "Under Pressure", "We Will Rock You" and "We Are The Champions":
MAGNIFICENT.
Power.
Panache.
What a voice.
What a frontman.
No one else could.
Global Icon.
I got my wish.
There may be some more thoughts tomorrow after repeated viewings.
Also, weird red carpet wide forehead hair with fugly clunky blue shoes that remind me of '80s wallabies. But I don't give a fuck when has a voice like that and performs like that.
Did I mention that he's a fucking megastar?
MAGNIFICENT.
Power.
Panache.
What a voice.
What a frontman.
No one else could.
Global Icon.
I got my wish.
There may be some more thoughts tomorrow after repeated viewings.
Also, weird red carpet wide forehead hair with fugly clunky blue shoes that remind me of '80s wallabies. But I don't give a fuck when has a voice like that and performs like that.
Did I mention that he's a fucking megastar?
Thursday, 18 November 2010
Unplugged in Paris
This performance, which came as a complete surprise this morning, made me realise how long it's been since we last had a professional quality recording and what a beauty it is. As great as some of the concert videos have been, they're no comparison and it makes me even more eager to get my hands on that acoustic EP. Freakin' hell, that voice! It's best appreciated through headphones so put them on, sit back and enjoy.
We get to hear Adam attempt some French before that soothing velvety voice works its magic and seduces us. The voice is so close I can almost feel the breath on my neck and my hair stand on end. The breathiness, the drawn-out notes and the way he works in that vibrato are agonisingly tender. There are a number of change-ups and the guitar is bouncier than the previous NRJ version from Berlin. The studio audience feels it and ends up clapping along, even providing a backing vocal at one point. I think I can see him lift just a little with that energy exchange. Simply beautiful.
We get to hear Adam attempt some French before that soothing velvety voice works its magic and seduces us. The voice is so close I can almost feel the breath on my neck and my hair stand on end. The breathiness, the drawn-out notes and the way he works in that vibrato are agonisingly tender. There are a number of change-ups and the guitar is bouncier than the previous NRJ version from Berlin. The studio audience feels it and ends up clapping along, even providing a backing vocal at one point. I think I can see him lift just a little with that energy exchange. Simply beautiful.
Sunday, 31 October 2010
Fang You Adam! - A Halloween Treat
I decided it was time for a little seasonal Halloween treat. Remember last year's Party City fund-raising gig? Well when I was cut off from the online world, distraction-free and incommunicado, I got constructive. My perfectionism decided to sort out the videos with those wishy-washy colours and the sound that dribbled out of one ear, so we could enjoy it that little - but very important - bit more. I omitted all the footage that didn't include Adam, adjusted the picture, muted some of the screaming and created a synthetic stereo track. Here are a couple of before and after shots:
Adam sings without a band behind him and the venue doesn't appear to support the performance with the same level of professionalism as he's accustomed to. There are constant sound issues and the engineer is unresponsive to Adam's gestures so he has to interrupt his performance to give verbal instructions. As you can tell, this isn't one of my favourite gigs because I think this is one of the rare occasions on which Adam seems a little uncomfortable. It's like he and the audience - which isn't made of avid fans - aren't quite on the same level and that energy exchange he often mentions is somewhat stunted. He has to work extra hard to engage them and get them going. I feel his frustration that they don't afford him enough respect and he has to tell them to shut up at the start of BtbW.
All videos from this concert are now in this embedded playlist:
Despite all this, the vocals are brilliant throughout and the banter is charming. I love this longer version of RoF and this is the only time we hear him sing both BoW and BtbW outside of AI. It's been a while since we last heard this slow emotional version of MW and he manages to recreate those stratospheric notes of BtbW with aplomb. We get a triple helping of 'Baby', 'Woman' and 'Man' at the a capella ending of a high-energy, gyratory, rocking WLL. I miss this arrangement and would love to hear it before the end of the tour. It's hard to believe he does all of this whilst wearing fangs. Yes, he can still fucking sing amazingly well with big fangs in his mouth!
Get my Halloweeny Glam Nation design in velvety print on a T-shirt:
DOWNLOAD Ring of Fire iPod compatible mp4 - 19.7MB
DOWNLOAD Ring of Fire HD mp4 - 48.7MB
DOWNLOAD Black or White iPod compatible mp4 - 29.3MB
DOWNLOAD Black or White HD mp4 - 72.4MB
DOWNLOAD Mad World iPod compatible mp4 - 24.7MB
DOWNLOAD Mad World HD mp4 - 61.1MB
DOWNLOAD Born to be Wild iPod compatible mp4 - 29.3MB
DOWNLOAD Born to be Wild HD mp4 - 72.8MB
DOWNLOAD Whole Lotta Love iPod compatible mp4 - 36.4MB
DOWNLOAD Whole Lotta Love HD mp4 - 89.9MB
And here's a new Glampire pic from last night:
Happy Halloween!
Adam sings without a band behind him and the venue doesn't appear to support the performance with the same level of professionalism as he's accustomed to. There are constant sound issues and the engineer is unresponsive to Adam's gestures so he has to interrupt his performance to give verbal instructions. As you can tell, this isn't one of my favourite gigs because I think this is one of the rare occasions on which Adam seems a little uncomfortable. It's like he and the audience - which isn't made of avid fans - aren't quite on the same level and that energy exchange he often mentions is somewhat stunted. He has to work extra hard to engage them and get them going. I feel his frustration that they don't afford him enough respect and he has to tell them to shut up at the start of BtbW.
All videos from this concert are now in this embedded playlist:
Despite all this, the vocals are brilliant throughout and the banter is charming. I love this longer version of RoF and this is the only time we hear him sing both BoW and BtbW outside of AI. It's been a while since we last heard this slow emotional version of MW and he manages to recreate those stratospheric notes of BtbW with aplomb. We get a triple helping of 'Baby', 'Woman' and 'Man' at the a capella ending of a high-energy, gyratory, rocking WLL. I miss this arrangement and would love to hear it before the end of the tour. It's hard to believe he does all of this whilst wearing fangs. Yes, he can still fucking sing amazingly well with big fangs in his mouth!
Get my Halloweeny Glam Nation design in velvety print on a T-shirt:
And here's a new Glampire pic from last night:
Happy Halloween!
Thursday, 17 June 2010
MTV.co.uk Live Sessions
I'd been wondering when these MTV.co.uk sessions would released, expecting them to coincide with a publicity blitz or the release of WWFM on July 19th, so they came as a surprise. They were taped on the date of the HMV Heaven gig and I actually waited outside the studios trying to meet him but he was running hopelessly late. That combined with spending a very long time perfecting each song meant that I gave up.
Strut
WWFM
FYE
IIHY
Fever
At the start of Strut, Adam's voice sounds unnaturally high and he flubs the lyrics swapping pollution and solution. The soft focus camera angles give a strange and slightly freaky perspective. WWFM is very bass heavy with Monte's guitar sounding unpleasantly grating on instrumental break. FYE feels like more of a rocking than electronic version with emphasis on guitar over the synths. The backing vocals on the second verse ruin it though as the sound is terrible. IIHY has plenty of distracting lights but surprisingly so dancers. Again, there's a slight lyric discrepancy as Adam's vocals don't match the backing track. Fever is very camp from the inturned toes to the OTT expressions and I like the variations he made at the end.
Now that we're well into the tour, this slick high-glam look of Adam's feels like it's from such a long time ago. We can see the improvement since then in him, the dancers and the band. I think this tells us a little more about how he's going to be marketed here in the UK, leaning towards the dance-pop vibe. The sound isn't quite right in these and Adam performs much better in front of an audience than studio cameras but the voice is impressive as ever.
Strut
WWFM
FYE
IIHY
Fever
At the start of Strut, Adam's voice sounds unnaturally high and he flubs the lyrics swapping pollution and solution. The soft focus camera angles give a strange and slightly freaky perspective. WWFM is very bass heavy with Monte's guitar sounding unpleasantly grating on instrumental break. FYE feels like more of a rocking than electronic version with emphasis on guitar over the synths. The backing vocals on the second verse ruin it though as the sound is terrible. IIHY has plenty of distracting lights but surprisingly so dancers. Again, there's a slight lyric discrepancy as Adam's vocals don't match the backing track. Fever is very camp from the inturned toes to the OTT expressions and I like the variations he made at the end.
Now that we're well into the tour, this slick high-glam look of Adam's feels like it's from such a long time ago. We can see the improvement since then in him, the dancers and the band. I think this tells us a little more about how he's going to be marketed here in the UK, leaning towards the dance-pop vibe. The sound isn't quite right in these and Adam performs much better in front of an audience than studio cameras but the voice is impressive as ever.
Wednesday, 2 June 2010
Blick in Black
I don't have enough time to comment at the moment so thought I'd just post these additional treats from Switzerland's Blick.ch for now. These rousing acoustic songs are simply breathtaking.
The sound on these recordings is excellent and hearing Adam's pristine voice feels like he's right next to you singing into your ear. I've felt that Sleepwalker hasn't been quite perfect in concert recently, but the acoustic renditions always are, and this is a stunning example. We get to hear the breathiness during 'Walker walker walker' and plenty of those gorgeous scrapey tones. The riffing where he really gets to play around and improvise is always a joy. WWFM is another beautiful one to add to the ever-growing collection.
The sound on these recordings is excellent and hearing Adam's pristine voice feels like he's right next to you singing into your ear. I've felt that Sleepwalker hasn't been quite perfect in concert recently, but the acoustic renditions always are, and this is a stunning example. We get to hear the breathiness during 'Walker walker walker' and plenty of those gorgeous scrapey tones. The riffing where he really gets to play around and improvise is always a joy. WWFM is another beautiful one to add to the ever-growing collection.
Tuesday, 18 May 2010
Unplugged in Berlin
I'd been waiting for this to be released ever since hearing the incomplete version recorded off the radio. It's the sparsest arrangement yet, no drums, just Adam's breathtaking voice and Monte's guitar. It's so personal and intimate, seizing you through a vulnerable spot in your armour. It's like listening to Adam's heart breaking, with his voice so close and so bare as he pleadingly whispers directly into your ear to give him another chance. You can't help but empathise and ache with him.
The guitar starts off quiet and mournful then Adam breathily sings the most gentle and fragile of notes, adding emotion-laden quivers. He keeps it tender through the first chorus before Monte's picking turns into light strumming. He builds in strength and volume as the song progresses and we get to hear some of the grainy tone I'm particularly fond of. I love the embellishments he makes as he flows through the instrumental break before sombrely bringing it back down at the bridge. It's brought back up with frustration before a soft and resigned finish. At the very end, the exchanged look between Adam and Monte reveals a closeness and an understanding between them. It's like they're a colluding double-act and don't need words to communicate with each other.
Adam inhabits the song to give a very dynamic and rousing performance, even though he refrains from full belt. I could listen to it over and over again as it's one in which we feel closest to the heart of Adam's perfect pure vocal, a wonder of staggering beauty. I love this.
The guitar starts off quiet and mournful then Adam breathily sings the most gentle and fragile of notes, adding emotion-laden quivers. He keeps it tender through the first chorus before Monte's picking turns into light strumming. He builds in strength and volume as the song progresses and we get to hear some of the grainy tone I'm particularly fond of. I love the embellishments he makes as he flows through the instrumental break before sombrely bringing it back down at the bridge. It's brought back up with frustration before a soft and resigned finish. At the very end, the exchanged look between Adam and Monte reveals a closeness and an understanding between them. It's like they're a colluding double-act and don't need words to communicate with each other.
Adam inhabits the song to give a very dynamic and rousing performance, even though he refrains from full belt. I could listen to it over and over again as it's one in which we feel closest to the heart of Adam's perfect pure vocal, a wonder of staggering beauty. I love this.
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