It was Queenbert last time round that broke this blog due to the long sets and overwhelming volume of media, so this seems an appropriate time to fix it. A Queenbert collaboration is about as perfect a fit as it's possible to get and a reunion we'd been wishing the months away for. Here's the full set:
It seems like forever since I last saw Adam perform and what a sight for sore eyes he is. Wow. He looks stunning. Cutting a svelte figure looking refined in unimposing understated black, he's dressed respectfully in keeping with the rest of the band and not attention-seekily, which only shows Adam's sensitivity and class. There's facial hair with very little make-up and it's quite rare to see him without a jacket for such an event. Maybe he's remembered it makes him sweat bucketloads. Casual with shirt slashed to the waist and skintight jeans, there's no denying his irresistible sex appeal. The only bling comes in the form of a bit of jewellery, a belt and those bedazzled Louboutins.
The set kicks off with the "Mama" part of Bohemian Rhapsody and with it he's finally scratched my 5 year (almost) itch. Despite being part of previous Queenbert concerts, this is the first time Adam has performed it since his AI audition. It will draw the inevitable comparisons with Freddie but he holds his own. I think he lacks the cutting clarity of Freddie's tone but it's strong and he adds a different grittier rock texture to it. The theatricality and the emotion still give it that impact though.
Another One Bites The Dust completes the opening medley and the start is a shock. Adam's voice is so low and rich and it's that part of his range that we rarely hear. Even during the higher parts I realise that during the Trespassing era I haven't heard that much of his melodic sweet spot, which is truly sublime. He gets his strut on, showing us all what a powerful and charismatic front man he makes.
Crazy Little Thing Called Love comes with a heavy dose of swagger with some of Adam's diction a nod to Elvis. He's a bit tentative when the music cuts out but his belting is mightily impressive.
Who Wants To Live Forever brings an abrupt change to the mood of the set. Super dramatic from very soft and whispery to strong, powerful and operatic, Adam's voice seems limitless as he glides effortlessly between its many different shades and facets. He gives me goosebumps galore, especially at the climax which I will to keep going. You cannot fail to be moved by this and the emotion behind it. It's spellbinding. I watch and listen in awe, astounded all over again by his mastery of his phenomenal voice. I already feel from this concert that he's reached a new level, above everything else so far and it makes me proud to see him strive to keep improving when there's so little room for it. It could just be the quality of the recordings but it sounds to me that the difference between this and last year's Queenbert is considerable.
Adam leaves the stage for Fun to join Queen for Somebody To Love, sung by their front man Nate Ruess. It's quite cruel for anyone to follow Adam, kind of like the anti-climax of Kris performing after Adam on the AI tour. Nate has a lovely timbre to his voice but he seems to not be very well trained on the mic. I think it's too far and he doesn't keep it steady, affecting how we perceive his tone, power, projection and volume. They have different styles though and I've come to appreciate how slick and well-controlled Adam's is. Comparatively rough around the edges, Nate does a good job and it's enjoyable, but for selfish reasons I can't help but wish it were Adam singing instead. As an aside, it seems Fun's guitarist didn't get the memo regarding what to wear. I think he looks like a guy they dragged in off the street.
Adam is re-introduced back on stage for a Fat Bottomed Girls duet with Nate. When I think of Adam performing, I often think of him playing up to the crowd but I have a new-found appreciation of how physically restrained he is. In direct contrast to Nate's rather hyperactive flaily style, Adam seems effortlessly cool and laid back in comparison. His stage presence still dominates and is second-to-none. The highlight which is hilarious, has to be where he straddles an imaginary object (I'll leave that to your imagination), works his snake hips and demands us to get on our bikes and ride. Yes sir!
A mashup of Dragon Attack with the Bohemian Rhapsody breakdown follows. By force of habit, I almost expect DA to segue into Shady but both songs are frustratingly abbreviated. He hits a rare sharp note in the very short burst of BR. I want to hear more of it though. I really think full versions deserve to be heard and a half hour set is nowhere near enough.
We Will Rock You marks the beginning of the end. A tuft of hair is starting to fall and there's a flat note. I have to say that the crowd is particularly lame. Don't any of them know how to clap in time? Admittedly they didn't all come to see Queen and the venue is massive but when you compare it to any of theLondonshows it must have been a disappointment for the performers. Maybe Adam should have led the clapping There was the potential to create a magical atmosphere for all that was missed.
We Are The Champions is the spectacular conclusion to the set and Adam leaves no doubt as to his suitability for the task in hand. The crowd is better for this one with a few arms swaying in the air but it's still not a patch on London last year. He ends the concert with a blast of his trademark bluesy runs but I just don't want it to end.
I love this concert though the truncated songs and the abrupt switching between them is a serious source of irritation. I would've liked to have heard Don't Stop Me Now, The Show Must Go On and a full Bohemian Rhapsody but the allocated time is too short. I feel that Adam's upped his game, vocally stretching his range. His voice and his presence are so very powerful, exuding charisma and commanding all before him. There is no denying his Rock God credentials as I feel humbled just watching him. Magnificent.
This was to be one of a number of LGBT events that Adam was to perform in. There were a few rumours (wishful thinking) about that stemmed from Adam's tweet that A Deeper Love might be a new inclusion in his set. Thinking back to Sydney's Mardi Gras I did wonder whether he was going to really let loose and perform in the true spirit of the event, codpiece and all. In one of most ridiculously loud outfits you'll ever see him wear, with gladiator-type sandals, (I'm guessing it was his personal take on Miami Vice fashion) he was honoured with the key to the city of Miami. How the fuck he managed to pull that outfit off is anyone's guess but against all logic, he's never looked more fabulous, and positively glowed. Here's my playlist of his set:
After the earlier suit I'm ever so slightly disappointed that his outfit for the performance is comparatively conservative. I mean, if there's a time and place to get all creative with Zodiac-style OTT bare-chest with spray-on-leggings and said codpiece then this is surely it? He's opted for a leopard print T-shirt under a sleeveless leather top and black combats with glittery blue belt. He's without a live band and although he's joined on the tiny stage by dancers Johnny and Terrance, it does affect the energy somewhat. When there's a backing track that can't be adjusted around him during the performance, the freedom to ad-lib is limited.
A remix of NCOE is played after Adam's introduction so I do wonder whether he missed his cue and was originally meant to perform it. He starts with Trespassing and from the off, he's fierce and crotch-grabby. There are variations in the melody as he opts to go for some lower notes but the ringing glory note belt is magnificent. Naked Love is next and I can't quite tell from the sound quality whether the backing track has been remixed into something less pop and more beat-driven dance. Terrance and Johnny bring on a couple of topless guys to gyrate around, making this altogether a lot saucier than usual and Adam mischievously gives one of them a nipple-tweak. It looks like Johnny has more fun with his than Terrance though. A very celebratory and joyful performance. Next up is Pop That Lock sung with attitude and Adam proves he has the moves. The big notes are fantastic once again. I find WWFM a rather surprising choice with which to end the set. The energy of this one is a step down from the others and Adam is on his own. He comes up with yet another lovely new way to sing "I need a second to breathe, Just keep coming around". Timely fireworks come in just at the crescendo as he wails his way to the finish.
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.
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.
I'm really impressed with this album. It's quite different and riskier than what I was expecting, the songs loosely divided into upbeat dance and emotional ballads, flowing fairly well and all threaded through with Adam's vocals and an electronic edge to the production. There are references, elements and effects that span multiple songs to aid continuity. Adam uses his voice creatively like never before, not just singing but using it as an instrument for effect. He stretches the boundaries of its versatility in the harmonies, layers, textures, nuances, phrasing, timbres and pitches used and it's an absolute joy to listen to. He's come such a long way since FYE and this feels like an honest statement about where he is at the moment. It's an accomplished second album and one which he should be proud of because I know I am.
My favourites so far are Trespassing, Shady, Pop That Lock, Broken English, Underneath and Chokehold. But that might change on subsequent listens. What are your favourites? The lyrics and my comments are below.
1. TRESPASSING
Writers: Adam Lambert, Pharrell Williams
Producer: Pharrell for the Neptunes
“Trespassing is a song that I wrote with Pharrell Williams It's basically a song about being an outsider, about somebody or a group of people telling you "Keep out, you're not allowed in here" and you saying "You know what? I don't care, I'm going to go in there anyway" and do what I'm going to do and be who I want to be.”
This is funky with a top-notch modern production and for the first time I actually prefer this to the live versions. The irresistible staccato bassline will get you nodding away if you're not already up and shaking it, clapping along. Adam's voice is there in all its splendour, mainly in its hard form. On the live versions I couldn't hear the electronic synths and driving bass beats at the bridge, along with the guitar licks at the end which really add to the impact. This is very well written with smart lyrics and a sassy rebellious attitude that shines through. Love it.
Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me
Yeah, c'mon! Ah!
One day I was trippin'
And that's when I could see
That the ether that I tapped into
Could be reality
It was great
That's when I climbed that optimistic vine
Once I hit that mountain peak
I began to lose my mind
I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah
Make their faces crack
There's no turning back
Let's go!
Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me
Hey, whoa yay
I ain't got B.S. in my bag
That's the one thing you can believe, yeah
My heart is gold my body is glass
Come on baby can't you see?
I don't need no GPS to show me where to go
But I can turn into the North Pole
And show you what is cold, ooh!
I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah
Make their faces crack, crack!
There's no turning back
Let's go!
Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me
Wait 'til ya get a load of me
I said, wait 'til ya get a load of me
Ah, ah, ah, ah, ah, ah!
Ah, ah, ah, ah, ah, ah!
I ain't stayin' at home
I got places to roam
I ain't stayin' at home, no no!
Hey hey hey heyay yay ya-a-ay!
I don't need no sympathy
I won't cry and whine
Life's my light and liberty
And I shine when I wanna shine, yeah
Let's go!
Well, I was walkin' for some time
When I came across this sign
Sayin' who are you and where are you from?
We don't like when visitors come
No Trespassing that's what it said
At least that's what I could read
No trespassers yeah, my ass!
Wait 'til ya get a load of me
2. CUCKOO
Writers: Adam Lambert, Oliver Goldstein, Bonnie McKee, Josh Abraham, Anne Preven
Producers: Josh Abraham, Oligee
“Cuckoo is really just about that moment where you realise that maybe you're a little crazy. I certainly have realised that in the last couple of years, that I've got a couple of screws loose but it's really fun and it's owning that and hopefully inspiring people to want to feel crazy. You know if been working all week or you've had a stressful day, you just want to go out with friends and get crazy.”
The production on this is very different to what I expected after seeing the Jimmy Kimmel performance. I thought we'd get some 70s disco funk with a splash of rock and a modern twist. It's slower than I expected, much more electronic and the way his voice is distorted in the effects reminds me a bit of the Aftermath remix. I like the overall melody and vibe in the verses but think the 80s-sounding chorus lets it down a little, along with effects overkill in parts. I assume it's the intended effect of a busy brain going mad but I can't help thinking the production tries to do too much. The lyrics are playful and humorous, and anyone who takes liberties with English to coin "thingses" gets the thumbs up from me. I like it a lot, but not as much as I expected. Still gets me up dancing though.
Feel like I'm having a meltdown
F-feel like I'm losing control
They tell me I'm a danger to myself
Now the crazy train is ready to roll, oh
Walk that walk like you don't give a fuck
You've got a right to turn it up and get down
Electric shock, no I can't get enough
'Cause tonight we're takin' over the town, eh
I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away
I'm swinging off of my hinges
I'm cocked and I'm ready to go
Go on and pack up your thingses
The crazy train is ready to roll, oh
Walk that walk like you don't give a fuck
You've got a right to turn it up and get down, yeah
Electric shock, no I can't get enough
'Cause tonight we're takin' over the town, eh
I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away
Lose my mind
I'm gonna lose my mind
Gotta get out of this straitjacket woah, cuckoo!
Gotta get out of this straitjacket woah, yay!
I wanna lose my mind, like a maniac
And cross the line, never lookin' back
We're on the loose, getting crazy and we've gone cuckoo
Gonna party 'til they take us away
Lose my mind
Gonna lose my mind
I'm gonna lose my mind
Gonna party 'til they take us away
Lose my mind
Gonna lose my mind
Yeah
Gonna party 'til they take us away
3. SHADY
Writers: Adam Lambert, Lester Mendez, Sam Sparro
Producer: Lester Mendez
“Shady is a song that I wrote with Sam Sparro and Lester Mendez. Basically, it's just saying "I kind of feel nasty tonight, and I want to get into some trouble, some good kind of trouble". Kind of being so wrong that it's right.”
Fucking hell! I'm hooked right from the start with this sticky pulsating bassline and beat, which sounds like a dark nasty version of Stevie Wonder's Superstition. Love it love it love it! It's so different to anything Adam's done before, funky as fuck and so so sexy. The vocals aren't bombastic but understated. Conspiratorial. And sexy. The harmonies are great, as are the guest vocals and Nile's guitar. It has shades of Prince in it, which is always good. The song is about cruising for sex, confrontational, bold and uncompromising. It's very well written, dark twisted sleazy fun. And did I mention how much I love it? And how sexy it is?
Baby I'm on the hunt
Baby I got my target on you
Trouble, that's what I want
And I'm gonna do just what I have to
Get your ass down to the front
Go on and roll it out, I dare you
Sorry I'm kinda drunk
But did you just say your game was brand new?
No I ain't broken, but I, I need a fix
That satisfaction when I, I get my kicks
I'm up all night
I'm outta sight
Don't turn on the light
'Cause I'm feeling so shady lately
Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately
Oh! Oh!
Gonna go and get me a shot
Gonna knock it back, forget all my blues
Yeah, that really hits the spot
I'm feeling pretty fierce in my dancin' shoes, yeah
No I ain't broken, but I need a fix
That satisfaction when I get my kicks
I'm up all night
I'm outta sight
Don't turn on the light
'Cause I'm feeling so shady lately
Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately
I throw more shade than a cloudy day
The brakes don't work, I'm just a runaway train
Somebody come and help me out, all I wanna be is free
I was tryin' to get down, now I can't get out
I'm shady lately
Come on and take me underground
Deep under the street
Come on and take me, take me down
Where freaks like us can meet
Turn it up, turn it up, turn it up, turn it way up
Don't stop the beat
Come on and turn me, turn me out
'Cause I'm feeling so shady lately
Shady lately, that's how I play
They say maybe it's just a phase
Shady lately, runaway train
Blame the game, quit blaming the gays
'Cause I'm feeling so shady lately
4. NEVER CLOSE OUR EYES
Writers: Bruno Mars, Philip Lawrence, Ari Levine, Lukasz Gottwald, Henry Walter
Pruducers: Dr. Luke & Cirkut for Prescription Songs, The Smeezingtons
“Never Close Our Eyes is an amazing song written about Bruno Mars. It's a beautiful powerful melody about "We can sleep when we're dead. Let's make the most of this moment and be in the now and connect and live". It's a little bit hedonistic but it's very uplifting and very positive with a great dance beat.”
I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never
I don't want to let a minute get away
'Cause we got no time to lose
None of us are promised to see tomorrow
And what we do is ours to choose
Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never
It's so hard to think this could fade away
But what goes up must come down
Why can't we just live life with no consequence
And always live in the now
Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never (never never)
Ooh
Yeah
Ooh
Yeah
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Oh
Never
5. KICKIN' IN
Writers: Adam Lambert, Pharrell Williams
Producer: Pharrell for the Neptunes
“Kickin' in is a song that was created with Pharrell and basically it's a about a girl at a club who is just kind of going for it. She is drinking and partying and I'm just observing. And I'm like "Are you alright? Are you good? Don't fall down!” I think everybody can relate to that girl at the club that's either had to much or you're the friend that's watching her back. And by her, boys, you know that we call each other that. She drunk!
After a long intro of trancey ascending and descending electronic bleeps and voice samples, it's quite a surprising moment when it finally kicks in. It's like coming to a moment of clarity. On the verses, Adam's voice is fresh, breathy and backed with a falsetto vocal. With the bassline, it immediately recalls Michael Jackson's Off the Wall. Then it gets a bit strange at the chorus, as he sings to the second person, with all that hypnotic repetition like a skipping CD. The song tells of and addresses a mate determined to get demolished into oblivion, so it does sound like the pounding that arrives when all the substances take hold. It's the imaginary persistent echoing music that follows from an altered state of consciousness when you're still pumping. I'm sure I used to get stoned to this. It's an aggressive tune to dance to and although I'm liking it, I'm just not sure about the amount of repetition.
She wants to be up there
In the air
Where the clouds live
The sweetest seeds
Make the best treats
Thirty thousand feet
She can smile there
And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?
She wants to introduce me
To her friend Eddie
What is she trying to do to me?
He got words that rhyme
He got a dirty mind
Persuasive
Am I about to do a three?
And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there?
And now, she puts her shot glass down
She asks for another round
She wants to hit the clouds
Honey, are you up there?
Now she puts her shot glass down
She asks for another round
Girl, don't you hit the ground
Is it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Do you feel it kickin' in?
Honey, are you up there? ... ... ... ... ... ...
6. NAKED LOVE
Writers: Benjamin Levin, Ammar Malik, Dan Omelio, Oliver Goldstein, Josh Abraham
Producers: Josh Abraham, Oligee
“Naked Love is a really fun upbeat positive anthem about no frills. It's asking somebody to just love you without all the bells and whistles, without all the hub bub. I don't need flowers and I don't need a fancy dinner, I don't need you to make a big deal out of it, I just need the real thing. Stripped back, naked, pure.”
I wasn't that keen on this song after seeing the live performance. My comments were:
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.
I'm afraid to say that my opinion hasn't really shifted. It sounds a little more modern and less 80s but still a bit generic. Adam's voice is delicious though.
Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah
Lose control
Collision course
With you my love
Call 911
So roll the dice
Get lucky tonight
I know you're holding back
No more hesitation, no
Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight
Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah
Take it off
And try me on
The hottest threads
You ever worn
So roll the dice
Get lucky tonight yeah
I know you're holding back
No more hesitation
Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight
Oh whoa yeah yeah yeah
Oh whoa yeah yeah yeah
Just come on
I want your naked love
So don't you dress it up tonight
Yeah come on
You know your naked love
Is what I'm dreamin' of tonight
7. POP THAT LOCK
Writers: Adam Lambert, Josh Crosby, Lesley Roy, Robert Marvin, Nate Campany
Producers: Robert Marvin for Kustom Thrills, Josh Crosby for My Kid Brother Music
“Pop That Lock is a song about just being who you are, letting it all hang out and letting down your guard. Pop that lock, unlock it, open the door, just be, let it go. We're all victims at one time or another of being trapped by our own fears or limitations, or we think people want from us, and this song is a really cool electro-dance song about just letting go.”
The intro sounds rather industrial and it's a throbbing start with Adam's voice on top of the beat. It's a simple stompy rhythm that I generally don't like but it works here. The thumping chorus is sharp and I absolutely love love love that dirty scratchy electro breakdown with its dark heavy beats and Adam's throaty banshee wail. It sounds much more experimental than anything I'd dared hope for. It's another song about liberating oneself and letting go, like Cuckoo, which also references this. Adam bosses us around with punchy lyrics and low rich vocals. Another one I love.
Left, right, step up to the spotlight
Why're you acting up tight?
I'm takin' you to school, thats right
High, low, don't tell me you don't know
How to ever let go
I'm takin' you to school, that's right
Tonight we burn it all
Get high, get tall
Yeah, we're lighter than air
You got the key to your release
So pop that lock until you're lighter than air
If you wanna be it
You've got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock
Banshee boys and dancey girls get down
Work, bitch, you don't gotta
Stress this
Got 'em feeling restless
Show 'em how it's done, alright
Secret, don't care if you don't keep it
Don't care if you leak it
Show 'em how it's done alright
Tonight we burn it all
Get high, get tall
Yeah, we're lighter than air
You got the key to your release
So pop that lock until you're lighter than air
If you wanna be it
You've got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock
Banshee boys and dancey girls get down
Get down
Work work work alright
Work work work alright
Banshee boys and dancey girls get down
You better pop that lock
If you wanna be it
You got to dream
If you got the key then baby
Pop that lock
If you wanna free it
You have got to scream
If you got the key then baby
Pop that lock
Get down yeah
Baby pop that lock, get down
Get down
Pop that lock get down
8. BETTER THAN I KNOW MYSELF
Writers: Lukasz Gottwald, Joshua Coleman, Claude Kelly, Henry Walter
Producers: Dr. Luke, Cirkut & Ammo for Prescription Songs
“Better Than I Know Myself is a song that I think anybody who has been in or is in a relationship can relate to. Sometimes you screw up ir you say something that hurts your partner's feelings or you haven't been supportive. This song basically owns that, says, "Look, I'm sorry that sometimes I'm not perfect but without you, I wouldn't know what I would do with myself. I need you because you are the only person that knows me better than I know myself."”
Cold as ice
And more bitter than a December
Winter night
That's how I treated you
And I know that I
I sometimes tend to lose my temper
And I cross the line
Yeah that's the truth
I know it gets hard sometimes
But I could never
Leave your side
No matter what I say
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
All along
I tried to pretend it didn't matter
If I was alone
But deep down I know
If you were gone
For even a day I wouldn't know
Which way to turn
Cause I'm lost without you
I know it gets hard sometimes
But I could never
Leave your side
No matter what I say
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
I get kind of dark
Let it go too far
I can be obnoxious at times
But try and see my heart
Cause I need you now
So don't let me down
You're the only thing in this world
I would die without
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
9. BROKEN ENGLISH
Writers: Adam Lambert, Lester Mendez, Sam Sparro
Producer: Lester Mendez
“Broken English is kind of a sexy song about communication and there are so many different ways to communicate. You can communicate with words and then sometimes it's not about the words at all, it's about, maybe body language. I think that there can be some challenges that some from not being able to communicate verbally, and then there's also a lot of beauty in that disconnect, and that's what Broken English is about.”
The intro is a surprisingly delicate ambient one and once the reverberating beat comes in, it reminds me of Ultravox's Vienna. It's a song about the inability to communicate in a relationship, causing misunderstandings. My original thoughts after Jimmy Kimmel were:
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... The bridge is something else though, as Adam lends a beautiful haunting ghostly wail over frantic drumming.
That still stands but I just want to add how much I love Adam's voice on this. What he does with his voice on the bridge is just sublime and otherworldly. It's a mournful howl of a siren call, its ethereality accentuated by the heaviness of the instrumentals. Just beautiful.
Tower of Babel has fallen down again
Information disarray
I don't know who I should believe in
Everybody's an authority
Fragments don't count
They always end up fallin' through the cracks
Don't think out loud
'Cause once it's out your mouth can't take it back
Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you somehow
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english
Lost inside communication breakdown
Better just to read my lips
Comin' in clearer when we get down
Iceberg just the tip
My words get lost
Can you read the look that's on my face
Wires get crossed
In communion with the human race
Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you some how
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english
Can't say all the little things
That I wanna tell you right now
I know you won't understand
But I gotta tell you some how
And on and on and on I go
Connect the neck to what's below, I know
Now your body language is broken, broken english
10. UNDERNEATH
Writers: Josh Crosby, Catt Gravitt, Tom Shapiro, Adam Lambert
Producers: Josh Crosby for Mu Kid Brother Music, Robert Marvin for Kustom Thrills
“Underneath is a pretty personal song. I think this one is the most revealing on the album. Even someone like myself, who's been given this great opportunity and has seemingly a great life, I have moments where things aren't always totally happy, you know we all go through that, so hopefully the listener at home can relate to that feeling, that struggle and that turmoil that sometimes takes over your being.”
The start of this is bare, just the stirring sound of a piano. Adam's voice is so close, so fragile, so vulnerable. It strengthens as we head to the chorus and the depth of emotion channelled through it defies belief. It must be so difficult to sing live. We can hear so many different textures to his voice complemented by a balance of classic and electronic instrumentals. The second verse is less minimal, building to a desperate cry at the crescendo. Inviting us into his private world with hard-hitting lyrics containing powerful imagery, it's extremely moving. It delves into such a personal and intimate realm it actually makes me feel uncomfortable listening to such anguish pouring out of that voice. It's so intense I can only handle it in small doses and find myself drained after listening to it. Time to take a deep breath. An evocative masterpiece.
Strip away the flesh and bone
Look beyond the lies you've known
Everybody wants to talk about a freak
No one wants to dig that deep
Let me take you underneath
Baby, better watch your step
Never mind what's on the left
You're gonna see things you might not wanna see
Still not that easy for me
Underneath
A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?
Welcome to my world of truth
I don't wanna hide any part of me from you
I'm standing here with no apologies
Such a beautiful release
You inside of me
A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?
A red river of screams underneath
Tears in my eyes underneath
Stars in my black and blue sky
And underneath under my skin
Underneath the depths of my sin
Look at me
Now do you see?
Underneath underneath underneath
Look at me
Do you see?
Look at me
Do you see?
Welcome to my world of truth
I don't wanna hide any part of me from you
11. CHOKEHOLD
Writers: Adam Lambert, Oliver Goldstein, Bonnie McKee, Josh Abraham
Producers: Josh Abraham, Oligee
“Chokehold is a song that I wrote with Bonnie Mckee. It's about a relationship that's not good for you. It's about being into somebody or obsessed with somebody that isn't emotionally healthy. I think everybody at some time or another has chased after the wrong person and sometimes if they're bad or wrong for you, it feels really good and we keep going back for more.”
The intro to this song about being addicted to a destructive relationship is a dark and menacing one. When Adam's voice kicks in for the verses, it's contrastingly light and breathy. The choruses feel like an anthemic rock song with a big production. The delicate moaning at the bridge is a thing of beauty and I love the tinkly electronic sounds over the synths near the end. It's well written and Adam's expressive voice emotes both resignation and exasperation in this beautifully stirring song.
Starin' at the ceiling in the dark
Sheets are in a knot
My heart is like a rock, hey
Pictures flashing by inside my head
I'm hanging by a thread
But I'd do it all again, hey
I keep running away
Running away
Running away from you but I
Can't stand breaking the chains
Breaking the chains
Breaking the chains
It's too good
'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me
Bring it on back to me
Bring it on back to me
Oh, without your touch I suffocate
Cold asphyxiate
But I kinda like the pain, hey
Baby, I can smell you on my clothes
I try to stay composed
But I feel a fever grow, grow
I keep running away
Running away
Running away from you but I
Can't stand breaking the chains
Breaking the chains
Breaking the chains
It's too good
'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me
Bring it on back to me
Bring it on back to me
Gonna bring it on back to me
'Cause I know
The second you go
Want you to bring it on back
Bring it on back
Bring it on back to me
And you know
I want your chokehold
Want you to bring it on back
Bring it on back
Bring it on back to me
Yeah, yeah, I'm gonna bring it on back to me
Bring it on back to me
Bring it on back to me
12. OUTLAWS OF LOVE
Writers: Adam Lambert, Rune Westberg, BC Jean
Producer: Rune Westberg
“Outlaws of Love is a song about the struggle to overcome adversity of any kind. I wrote it personally about my feelings in the way the struggle makes me feel that the gay and lesbian community faces. What's great about the song I think is that I wrote it from that perspective, but upon presenting it to some friends and family, it can be interpreted as any sort of adversity or challenge or obstacle, whether it be star-crossed lovers like Romeo and Juliet or Bonnie and Clyde running from the law or Thelma and Louise. It's kind of that lamentation of being on the run.”
The arrangement on this is very similar to that of the debut performance but has more of a beat to it, which I think it ages it a touch. Adam's gentle mournful voice is so soothing and has harmonies as backing on the choruses. There are marked differences in his voice towards the end, changing into strong and defiant rich tones, then back to resignation. The lyrics are uncomplicated and sincere with a strong message, making this a potential anthem for LGBT rights.
Oh, nowhere left to go
Are we getting closer, closer?
"No," all we know is "No!"
Nights are getting colder, colder
Hey, tears all fall the same
We all feel the rain
We can't change
Everywhere we go, we're looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Scars make us who we are
Hearts and homes are broken, broken
Far, we could go so far
With our minds wide open, open
Hey, tears all fall the same
We all feel the rain
We can't change
Everywhere we go we're, looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Aaah...
Everywhere we go, we're looking for the sun
Nowhere to grow old, we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Outlaws of love
Outlaws of love
Outlaws of love
Outlaws of love
13. RUNNIN'
Writers: Adam Lambert, David Marshall, Fred Williams, Catt Gravitt, Robert Marvin
Producer: Robert Marvin for Kustom Thrills
The intro leads me to think of 80s/early 90s sci-fi action movies until Adam's voice comes in, which gives me one hell of a shock. The sustained low tone is unlike anything else I've heard from him before. It's rich and gravelly and a joy. The verses sound dark, describing an undesirable predicament but it takes flight during the choruses when he decides to take action. It's so satisfying when Adam lets his voice rip. Apart from a few electronic bits, it's a big uplifting rock ballad with a frenetic hammering beat at the bridge that makes way for the peace of a hymn-like break. This feels like perfect soundtrack material but I can't help feeling that the production is disjointed with the rock and electro elements not quite consolidating. Good as a bonus track.
Steel to my trembling lips
How did the night ever get like this?
One shot and the whiskey goes down, down, down
Bottom of the bottle hits
Waking up my mind as I throw a fit
The breakin' is takin' me down, down, down
My heart's beating faster
I know what I'm after
I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart
Round and around I go
Addicted to the numb livin' in the cold
The higher the lower the down, down, down
Sick of bein' tired and sick and ready
For another kind of fix
The damage is damning me down, down, down
My heart's beating faster
I know what I'm after
I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart
Oh, I'm coming alive
Oh, I'll wake up now and live
Oh, I'm coming alive
A life that's always been a dream
I'll wake up now and live, oh
I've been standing here my whole life
My heart's beating faster
I know what I'm after
I've been standing here my whole life
Everything I seen twice
Now it's time I realise
It's spinning back around now
On this road I'm crawlin'
Save me 'cause I'm fallin'
Now I can't seem to breathe right
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart
'Cause I keep runnin', runnin', ... ... ... ... ... ...
Runnin' from my heart
14. TAKE BACK
Writers: Adam Lambert, Busbee
Producers: Busbee, J. Bonilla
The piano intro is a bit deceptive, leading me to think that this might be another stripped down emotional song. Then the pulsating beat kicks in and I know it's another one for the dancefloor. The verses are beat-driven, surprisingly there's is no melody in the first few lines as Adam sings it monotone. The panting "Eh eh eh" sounds in between are sexy though. The choruses remind me of NCOE's with the bass zipping up and down and a beat that I'm not too keen on. The vocals are fantastic though, especially at the bridge where sultry turns to the gritty powerbelting chorus. Unsurprisingly it's a song about wanting to undo something so I find the choice of an understated and restrained "Oh My" in the lyrics to express this as a source of amusement because for me it would be expletive-ridden. It ends on what sounds like an Irish folk trill to me. There are other songs I prefer from this album but this is one that will get me up and moving.
All you ever think is gimme gimme
But you'll never give back
All I ever do is overthink and drink
Until I attack
We know how to talk it into the ground
We know how to wear it out
If we ain't gonna save it
Gonna end up in the grave and baby
How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my
I fed you a fantasy
But you been drunk on reality
All you want is to be wanted
Long as you get it outta me
We used to be a jungle, sticky and wild
It used to be we owned the night
All the stupid games we're playin'
All the shit that we've been saying'
How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my
Remember remember the first time we collided?
We lost it we lost it
Yeah
How do we take back what's been done?
What's been said?
Oh, my
How do we take back 'cause no one wins
When love breaks down
We both die
And I would give anything
Just to chase the dark away
And start all over again
How do we take back what's been done?
What's been said?
Oh my
14. NIRVANA
Adam Lambert, Josh Abraham, Oliver Goldstein, Stephen Wrabel
Producers: Josh Abraham, Oligee
The opening chords are pleasantly dark-sounding as Adam describes the negativity that love overcomes. The choruses turn into a smooth ride over a flowing piano but something doesn't quite hit the spot for me at "In nirvana stay". I think it's the melody or the forced rhyme which shifts the focus off "nirvana" to "stay", taming the impact. I still enjoy the uplifting feeling it generates though. The calm is broken momentarily as Adam soars thorough the clouds at the bridge with the most beautiful of notes, modulating from a hard gritty timbre into one that floats lighter than air. I love what he does with his voice towards the end, bringing it fully to life. It's a mellow end to the album leaving a feeling of contentment.
When the stars are too cold
Frozen over their glow
On the edge of the night
We can be their light
So give me more than your touch
And give yourself to the rush
Just keep holding my hand
As we're taking off
I know where we'll land
We can escape to a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
Through the dark there's a way
There's a love, there's a place
Where we don't have to hide
We can dream all night
So follow me through the sky
And watch the oceans collide
Just keep holding my hand
As we're taking off
I know where we'll land
We can escape to a higher plane
In nirvana stay
Where the dreamers lay
And I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
Oh, we don't need any diamonds or gold
Watch the mystic and cryptic unfold
As we fly high
We can escape to a higher plane
In nirvana stay
Where the dreamers lay
And I'll lay you down, lay you down
Safe on a higher plane
In nirvana stay
Where the dreamers lay
I'll lay you down, lay you down
I'll lay you down, lay you down
I'll lay you down, lay you down
I've finally managed to get on top of all that radio promo so it's time to write about Adam's first plugged-in performance of Trespassing at the NNN awards earlier this month.
Footage of the performance was surprisingly released a few days before it was aired on TV so there wasn't the usual excited gathering experiencing it all together. Kelly Osbourne's long gushing introduction may have been slightly embarassing even though it's probably what every Glambert thinks (but just won't say out loud to millions of people).
Adam is dressed head-to-toe in black with minimal make-up and big fluffy hair. His ensemble without a shirt and tie looks more casual that his usual dapper suit outfits but it's still more rhinestone glam than expected. He completes the look with leather lace-up trousers and gloves, making it consistent with this era. He's joined on stage by Ashley, Isaac, Tommy, new keyboardist Brian London and backing singers Keisha Renee and Octavia Latrice. The Trespassing identity features strongly on stage, with colour co-ordinated outfits and yellow and black stripes blinking to the rhythm.
As soon as the camera pans in on Adam standing tall and his neck wriggle, we can see that this one's going to be performed with attitude. He's definitely the fierce bitch in charge, sneering with disdain. The backing singers make quite a lot of difference to the often dry feeds we hear, adding a welcome depth of sound. I like that they have sufficiently powerful voices to accompany his. There's plenty of energy right from the start as the band claps out the rhythm. I'm loving the sound of the bassline which is unrelentingly cool. Adam's voice has a bit of a delicious hard edge and along with the electric guitar kicking in complements the funk with rock.
I don't understand the pose where Adam clamps his hands around his waist and I find some of the dance moves involving his hands and head a bit contrived. I think he should've left the extra "Crack" to the backing singers. Perhaps it's because I think of the song as rebellious and angry, but Adam refuses to take it too seriously, unable to resist a little injection of camp. As a result, I think it lacks a bit of the fire that I imagine this song would bring. The drop-down is fun though, and I'm almost willing him into some mic molestation.
There's a little bit before the second verse where I'm not keen on Adam's added riff. For once, the tone sounds weak and shaky in stark contrast to the rest of the strong defiant vocals. The bridge here takes me back to his BoW performance but with more control and less aggression. Maybe he could've channelled a bit more of that, but then again it doesn't sit quite right with funk. He moves to other side of the stage to prepare for the climax, and when it comes, oh fuck! The jizzing confetti says it all. There's so much clarity and power in that ringing voice, with just the right amount of rasp. It goes much higher than expected and sustained for much longer. Amazing. No wonder the whole stage is covered with so much 'confetti' we can't even see him! It's a few years late but it's so satisfying to see him finally get his confetti shower and in his own colours. He ends the performance abruptly by slamming down his mic stand and strutting off the stage.
This is a sassy introduction to the Trespassing era that makes me enjoy the song even more. I prefer this plugged-in version for the bass and the greater variation in light and shade. Not to mention being funky as hell. Even after it has stopped playing, I can feel my body grooving to it and can hear it in my still-nodding head. I would say it's an earworm trespassing in there but it's more than welcome to stay.
Well it's truly been an embarrassment of riches recently with all the performances, hence the lack of posts so I hope my companion blog of bare performances has helped you keep up. I'm in the process of watching and summarising everything and will hopefully post on those soon. For now though, it's time to listen to the new single Never Close Our Eyes:
I must be one of the only fans who hadn't yet listened to the live Bing Lounge version, deciding to give my ears the full studio treatment of NCOE first. It's taken a hell of a lot of restraint but I'm glad to have made it. I think it'll give me a much better appreciation of the acoustic performances.
From the minimal sound of the keyboard and the echo effects it's apparent right from the beginning that this song is going to have an electronic dance production, late 90s springing to mind. Any concerns about Adam's voice getting neutered are alleviated at the first 'that' - rich, a little rough, with a hint of vibrato and unmistakably, powerfully, Adam. And there's plenty more of that on this track so I'm a happy chappy.
The instrumentals have a phased introduction coming in layer by layer. Unusually this song starts with the chorus, the verses finally kicking in with a very satisfying, driving, syncopated beat. I find that I'm loving this part, with the rub-a-dub bass, the cheeky beeps and Adam's voice on top.
It moves onto a hands-in-the-air section on the return of the echoey synths where beat builds for the release of the full-blown pumping chorus. It has a four-on-the-floor house sound with the bass zipping up and down. It's my least favourite part of the song, having wanted to hear those earlier rhythms built upon but I can see it being meant for the clubs and people going mad for it. The bridge is a series of 'ooh's and 'ah's building up to a climactic vocal lead into the final chorus which ends abruptly. It's a very fitting end, suddenly closing your eyes at the death of the song.
If BTIKM is this era's WWFM then I'd say NCOE is its more sophisticated, accomplished IIHY. Released before the start of summer (unlike IIHY), I can see this Bruno Mars collaboration taking off as a huge summer hit. It's almost made for Ibiza - party-goers with cocktail in hand, evening breeze carrying over the excitement of the night as the sun sets over the sea, promising insanely fun times ahead. Maybe you could interpret in the lyrics a reference to recreational substances too, for round-the-clock goggle-eyed hardcore clubbers feeling the sense of togetherness that they bring on.
NCOE is an upbeat positive song with heaps of energy and delicious rock vocals. Having now listened to one of the acoustic versions, I think this studio version with all the excitement of the multiple build-ups works much better, despite missing that live quality in Adam's voice. Though still different to what I was expecting and not the darkly humoured funk (which I think will be Shady) I'd been hoping for, I'm liking it a lot. It's very catchy, sure to never leave our ears once we've heard it.
Here are the lyrics as far as I can make out:
I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never
I don't want to let a minute get away
'Cause we got no time to lose
None of us are promised to see tomorrow
And what we do is ours to choose
Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never
It's so hard to think this could fade away
But what goes up must come down
Why can't we just live life with no consequence
And always live in the now
Forget about the sunrise
Fight the sleep in your eyes
I don't want to miss a second with you
Let's stay this way forever
It's only getting better
If we want it to
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Never (never never)
Ooh
Yeah
Ooh
Yeah
You know that I wish that this night
Would never be over
There's plenty of time to sleep
When we die
So let's just stay awake
Until we grow older
If I had my way
We'd never close our eyes
Our eyes
Oh
Never
Today, Adam's music video for Better Than I Know Myself was finally unveiled. We'd had a preview and a yellow-eyed still beforehand so we had an idea of what was in store for us, that the twist in the video was going to be Adam reconciling opposing sides of himself rather than singing to a partner.
The flickering gives it a home video feel where we're peering in on his private life through a letterbox aperture. The light and dark duality theme of the album pervades the video with two neighbouring rooms separated by a mirror/window. On either side we have evil hell-raising vampire Adam and cherubic cuddly domesticated Adam. We see the characters act out their separate parts, in a dark versus light, negative versus positive, masked versus bare, hard versus soft, stormy versus calm, action versus contemplation, destructive versus constructive, cold versus warm battle.
As Evil Adam increasingly acts up in a temper tantrum and starts to disturb Good Adam from his Zen, Good Adam tries to help but is frustrated that his efforts are thrown back at him, finally leaving it up to Evil Adam who then sets fire to the place in a self-destructive rage, depriving him of his life-force. It's only he who can save himself from himself, which he eventually does.
In the end, it says to me the power to be who we want to be is in our own hands, that people aren't black and white but have elements of both as depicted by Adam's in-between look with different coloured eyes (nod to Bowie? Also note the Trespassing visual reference as he passes the striped warning tape on the wire fence). This could personally apply to Adam the performer and Adam the person as well. It's something we've seen so often, going from the snarling predatory disdainful sex-magnet to the sweet wholesome cutie in a matter of seconds at the end of a performance.
This has many shades of the WWFM video in it, the acting more accomplished. It's interesting and engaging to see the different Adams with their expressions which are both fun to watch and easy to identify with. I have to say I'm much more drawn to the dark side, finding a vodka-guzzling mischief-making lairy night out on the lash with him much more appealing than having the homebody nurse me in my hangover state with his juicing. How many times have you re-watched him rip apart the pomegranate he hands himself, run his fingers through the lighter flame or throw his drink? It's a fascinating, fabulous and entertaining story for a video that I will watch again and again.
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.
Hot off the heels of the Leno performance comes the next stop on the promo rounds, Ellen. Keeping his look consistent but in a more casual daytime affair, Adam sticks with sober colours, very little makeup and only a bit of jewellery for sparkle.
The mix is so much better than on Leno with each sound being more distinct. The bass and guitar are more noticeable with Adam's vocals right where they should be. His voice is clear, mellifluous and less whispery. Listen to the velvety smooth sound of truth with that little bit of vibrato. I could drink it up all day. The harmonies are delightful and I'm definitely feeling the fire in this one. There's less holding back from the beginning which makes the hunger for the crescendo a little less desperate but when it does come, it's an impassioned, spine-tingling moment that gets a huge cheer from me.
In the short interview, Adam touches on the two different sounds and moods on Trespassing. He acknowledges his relationship and falling in love before being quizzed about the drunken shenanigans in Finland over the holidays. Respect to him that he doesn't shirk it but handles his response with class. As well as give our dirty minds 'juicing' to smirk about as a euphemism.
A successful appearance and another gem for the collection for this second performance of BTIKM. Within the space of a couple of days, I'm shocked at how much room for improvement Adam was able to demonstrate, but by now I really should know better.
After what felt like years, the performance to mark the start of Adam's new Trespassing era was finally upon us; the debut performance of Better Than I Know Myself leading the new album with new band. This would be his first televised performance as a solo artist since March last year. The pressure was on to give this second era the best possible first impression to do justice to all the hard work.
I'm sure the memory of the AMAs and its associated pressures were at the back of many minds, hence a few anxious twitchings as we counted down the clock. Welcomed back were those once-familiar questions of what Adam would wear, how he'd be styled, how the staging would work, what vocal nuances would be added to the live performance, how the live instrumentals would differ from the single.
Judging by what we know of the album so far and having seen the single cover, it comes as no surprise that Adam is fresh-faced with minimal make-up, and high hair (thankfully without the Kim Jong-Un shaved sides) that has a roughed-up texture in line with a lower maintenance look. It's one that's austere, his outfit monochrome without a single speck of glitter, rhinestone or feather in sight. His shirt collar looks a dog collar, giving the impression of being a bit restrained. There's no tie, which I would have been tempted by to add a splash of colour, and even the suit, the cut of which is rather straight, has no sheen so it's left to the few pieces of jewellery to remind us of his Glambert roots. He looks beautiful, understated and chic.
He's joined by band members Ashley Dzerigian on bass (who had to crouch for much of the time due to a failed strap), Isaac Carpenter on drums, Kevin Hastings on keys and Tommy Joe Ratiff on guitar.
The introduction still reminds me a bit of a church organ and once we get a close-up of Adam, his translucent ears reveal the absence of ear monitors. When I heard this on the stream, I thought his voice at the start was more tentative than usual in the weaker part of his range, whispery rather than allowing the space to be melodic. As well as nerves, I think a small part of it's down to his voice getting a bit lost in the mix, especially in the chorus so I've amped it up here just a smidgen. It's sung in a lower key than the single and Adam retains the some of the grainy timbre which is my absolute favourite. He sounds more confident as the song goes on and at the bridge, we get to hear Kevin's backing vocals, the harmonies of which are spot-on.
It's when we get nearer the end of the song that things get really exciting for me. Like I've been watching and waiting for Adam to let rip, and I can see it in his body that he's been itching for it too so when it does happen, it's like a release. Wow. I feel like those cockatoo crest feathers when they rise. We see the tongue lick out and hear the accompanying notes, splendid and powerful. I'm sure his unintended stint at method acting over the winter prepared him well for performing BTIKM, enabling him to emote the song to a different level. I get the feeling he still holds back a touch though, as he resists elaborating those runs and reaching even higher. This is an accomplished performance, leaving the impression of being quietly self-assured. After the excesses of the first era, this "less is more" theme is going to take a bit of getting used to because I just can't wait for more.
YESSSSS!!! I'm thrilled I didn't have to wait very long for the full song after deciding to skip on the snippets. It leaked earlier today but now I've finally listened to it for the first time from the official site. Here it is for your listening pleasure:
First impressions are it's got much more of an urban sound than what I was expecting. One of the things that stands out is the beat. I think the uniformity and simplicity of the beats from FYE let it down a little so I'm incredibly happy to hear something quite different. I wanted something more complex and this syncopated beat hits the mark. Brilliant. I recognise the rhythm but the names of songs on which it has been used escape me so if you could enlighten me I'd be grateful.
It's not your bog-standard catchy pop tune, being light on instrumental melody and with no instrumental hook. Instead it has a synthesiser drone in the background (which resembles the reverent sound of a church organ in the intro and also has a hint of Sleepwalker) that hardly competes with Adam's voice, allowing it to take centre stage. And that voice is marvelous. No vocal trickery or acrobatics but there's plenty of that graininess that I love and can't get enough of, especially on 'sometimes'. It's only the high notes in the chorus that I feel have lost a little in the production but I'm already excited about the prospect of being able to hear it belted out live in an attack of goosebumps.
Here are the lyrics:
Cold as ice
And more bitter than a December
Winter night
That's how I treated you
And I know that I
I sometimes tend to lose my temper
And I cross the line
Yeah that's the truth
I know it gets hard sometimes
But I could never
Leave your side
No matter what I say
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
All along
I tried to pretend it didn't matter
If I was alone
But deep down I know
If you were gone
For even a day I wouldn't know
Which way to turn
Cause I'm lost without you
I know it gets hard sometimes
But I could never
Leave your side
No matter what I say
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
I get kind of dark
Let it go too far
I can be obnoxious at times
But try and see my heart
Cause I need you now
So don't let me down
You're the only thing in this world
I would die without
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
'Cause if I wanted to go I would have gone by now
But I really need you near me to
Keep my mind off the edge
If I wanted to leave I would have left by now
But you're, you're the only one that knows me
Better than I know myself
I have to admit, I'm not a huge fan of the lyrics because I see nothing particularly original or inspiring. I also prefer them to be implicit and not written in the first person addressing someone directly when it comes to relationships. But that probably says more about me than the songwriting. Anyway, lyrics tend not to be as important to me as the sound.
For me, the song is all about the groove and the atmosphere it generates. It's a self-reflective one for the headphones, a slow grindy one for the dancefloor, or a tender fucky one for the bedroom. It's quite a big step away from FYE and as a first single, it's a pleasantly surprising choice and one that has me very excited for what else is to come on Trespassing. I'm hooked already.
It had felt like forever since the Moscow concert and during that time, we'd been tapping our fingers in impatience, screaming for even a scrap, a shred, a nano-speck, of anything new. AND WE GOT IT YESTERDAY!!! There was a party atmosphere last night, something I'd missed, with everyone united in excitement and joy at the prospect of a concert. There was a report of an unidentified song during the soundcheck, squeals of excitement then a few bottom lips as the rumour was shot. I luckily managed to follow most of the concert on the stream, including the most important bit. Did I mention that we got to hear a NEW FUCKING SONG?!! I'll get to that part soon but first things first, my playlist of video picks:
This '80s hoodlum Adam is from the roots of his hair-to-toe in black, wearing a vest, a leather gilet, fingerless leather gloves, loose combats and wedge boots. With a big fluffy tail that adds emphasis to every arse wiggle. Which happens quite a lot. I did wonder at the beginning whether he went all Zodiac on us and decided to put on a corset, leaving the top bare. Either way, a considerable amount of skin on show in Adam terms. This look reminds me of The Warriors, given the Thriller shoulderpad treatment and is definitely a big step away from glam.
The set commences with FYE and there seems to be a bit of a false start where Adam misses his cue, joining in a little late. It's not the most precise in terms of pitch but he puts on a great show, hips on fire. It's followed by DTRH which I find a little odd without the trippy aspect and elaborate costumes. I notice that Monte looks like he might be trying for a ZZ Top in the facial hair stakes.
Strut is given a short introduction "No matter what those fuckers say about you, you just gotta keep struttin'!". A little nervous after the last time it was performed, I'm relieved that this one is lively, sassy and full of attitude. TCB makes an entrance in the set and sounds like a fast one with plenty of hilarious dancing throughout. He playfully sits on the edge of the stage at one point, yanking his legs up and down to the music.
"And then I dusted it up with my tail. (Giggle)" Don't you just love Adam for never taking himself too seriously? In a classic arse-wiggling moment, he mocks himself and his fashion choices as he jokes about his tail and how all the blogs will be writing that he wore a duster, which isn't in fashion. This leads up to Aftermath, the arrangement of which is very similar to the one performed on AI with a plucky staccato intro from Monte. It has a lovely crescendo and a sweet, lingering final note. Sleepwalker is next up and is quite a visual spectacle with the lighting and background stars. I guess it's a little reminiscent of the old Broken Open background visuals but not as soft. Cam is noticeably missing on keys but nonetheless, this is the best Sleepwalker for vocals so far. THE BEST. After Monte's solo, get ready for goosebumps galore. That voice, those runs, INFUCKINGCREDIBLE.
The absence of keys is also quite noticeable during IIHY, which sees Adam doing more freestyling on the mic than ever before. He gets what appears to be a jock strap thrown onto the stage as he prepares for Music Again. There's a minor lyric fail and I think he cheats a little in the beginning by getting the audience sing the falsetto parts. We get some ad lib about about a moth/fairy/twink thing before the band intro. When we get to "Tommy Ratcliffe", he talks about fan fic, "Shame on you! That's dirty! That fan fiction is highly inappropriate! I'm offended!" while making sure we know it's mock outrage. I realise we haven't heard MW in ages and I like that this version is a mellower, slower version.
DRUM ROLL...
NEW SONG!!! As soon as Adam tells us he's got a little treat from the next album, everyone loses their collective shit. Everyone in the crowd heard via the stream, everyone on twitter following the feeds, everyone in the videos, every single fucking person. Adam finds it difficult even to get a word in through the Screamflailberting that he knows is happening all around the world. Through the stream, I thought he said he didn't want to see it on YouTube in that same fanfic-reprimanding manner, but it turns out he said he knows he's going to see it there. He goes to explain that the song is about acceptance with the intriguing description about running from the law.
A gentle guitar introduction leads us to the the opening note that reminds me so much of CLYG. With rapt attention we try to listen to and process as much of it as possible. Some handle it by screaming their lungs out to the vexation of others trying to shush them. When we hear him sing, everything else falls away. This is what he means by bringing the focus back to the voice and I adore it. It's the closest to an a cappella I've heard him do and his breathy, soothing, mellifluous voice is painfully, achingly, agonisingly beautiful. The pretty melody is fairly simple, the range not too challenging, no vocal acrobatics, it's all about the emotions evoked by that voice in a song written for that voice. Even without understanding the lyrics, we can feel it's a haunting lament about an enduring sadness, energy and hope slowly draining away. It's so heartbreaking to listen to, we have no choice but to comfort-gorge on the sweetness imparted by that voice. It's like honey, strawberries, gateau, praline, ice cream, chocolate, profiteroles... so addictive I'd end up a champion gurner with no teeth. It's sung so smoothly with breathtaking trills effortlessly eased into that floating voice, topped off by a heart-stopping crescendo with grit providing the necessary light and shade. Stunning. Now breathe.
Here are the lyrics as far as I can make out:
Oh, nowhere left to go
Are we getting closer, closer?
"No," all they know is "No!"
Nights are getting colder, colder
Hey, tears all fall the same
We all feel the rain
We can't change
Everywhere we go we're looking for the sun
Nowhere to grow old we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Scars make us who we are
Hearts and homes are broken open
Far, we could go so far
With our minds wide open, open
Hey, tears all fall the same
We all feel the rain
We can't change
Everywhere we go we're looking for the sun
Nowhere to grow old we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Aaah...
Everywhere we go we're looking for the sun
Nowhere to grow old we're always on the run
They say we'll rot in hell, well I don't think we will
They've branded us enough, outlaws of love
Outlaws of love
Outlaws of love
Outlaws of love
Outlaws of love
The lyrics are uncomplicated and sincere with a strong clear message, making it seem increasingly likely Adam's starting to settle into a more political role for LGBT rights. We are all human, feel the same range of emotions but some of us are demonised simply because we lie outside society's rules over how we ought to love. I'm quite excited by the video possibilities for this song, which already feels quite cinematic. Ronnie and Clyde outlaws on a road trip. With strange costumes.
OK, let's get to the rest of the concert. It all went a bit blurry after the excitement over the new song so the interlude is well-timed to allow us a bit of recovery time. It's funkier than I remember from before, especially towards the end. I hope it's an indication of things to come on the next album. The following song is SFW and just to make sure everyone's still alive and with us, Adam gets the crowd to sing back to him, each bar getting increasingly higher. He must be taking the piss if he thinks we can reach all those notes. Fever is a mischievous one where Adam starts talking to Tommy's arm tattoo. It's filled with lots of riffing, dancing and suggestive mic action.
Monte teases us with the opening riffs from Deep Purple's Smoke on the Water, leading us to believe it's going to be a new cover. It actually leads us to WLL when the skies open in the Adam Storm. This version is much like the one from Moscow with an eerie, trippy instrumental break. To the thrill of the fans and perhaps to distract them from the downpour, Adam's top comes off, leaving him in just a vest, showing even more skin as Monte ends up shredding on his back on the floor. In a brilliant voice, Adam sings that the rain gods are telling us the show's over but we won't go. The band appears a little slow to kick in after the "Baby" moment, maybe a little stunned. A rock WWFM follows with Adam singing "Need a second to DRY". I think his voice runs away from him a little at times. The encore is Purple Haze, again with customised weather lyrics finding their way in.
WOW. What a concert. He said he was going to give us a little treat. He lied. He gave us a fucking storm with the forecast telling us this is just the start. Well I think we all enjoyed getting completely drenched after such a long drought.
