I didn't mean to leave such a long gap between posts. In fact there are tons of half-finished posts that I haven't got round to finishing and publishing yet.
I feel compelled to jot down a few words right now, even if it's just a pic/tweet spam to capture the instinctive reaction. How fucking good was that, eh? What a way to ring in the new year. I'm pretty sure that won over a whole new legion of fans who are busy Googling and getting sucked into this world we've been inhabiting for the last 5+ years. Yes, remember that? Bwhahahahaha!
Anyway, it was good of the BBC to stream it for everyone.
I don't have enough time for a full detailed review of all the notes and everything, but that first song, those first notes, that first little personalised "inside out" embellishment, those sparkly eyes, that cheeky glint, the playfulness, the drama, the swagger, the presence, the fresh face, the big bouncy curled quiff. Oh yes, it's the same but better than ever.
It's like when it's winter and you've been indoors for ages and it's all dark and gloomy and windy and drizzly outside and you've forgotten what it's like go go outside without a big duvet a hat and scarf that covers up your hearing, limiting what you can see, which is all a bit monochrome anyway. Then all of a sudden the sun comes out dazzling and warm and the birds start chirping and the everything's multifaceted in technicolour and great. In fact it's better than great because it's better than how you remember it from before.
Yes, Adam Fucking Lambert somehow always manages to be even better than how you remember him. And it wasn't even that long ago since we last saw him on Helen Fischer.
Here's my playlist:
There are a lot of highlights from tonight - the energy, the huge notes, the guitar solos, the bagpipe rework of We Will Rock You, even the belated confetti shower that should've happened at the first Queenbert meeting with that very same song - but I'll just sum up my overall impression.
They made it look so easy working not only the in-house audience but every one of us glued to our screens. There was joy radiating out of the performers as it's so obvious they they connect with each other and genuinely love what they are doing. And we feel it.
Magnificent.
Here are my tweets from the time, and if you look at the end - well what a start to 2015 I've had, eh?!
The second of Adam's UK TV promo performances of NCOE, this one's for a children's music programme from the Beeb. It makes a very refreshing change to see such a young audience all bopping along to him with much enthusiasm.
It was always one of my wishes to have Adam slay the UK with his charmicide on Graham Norton so I was very happy when this was announced. I did try to get tickets but failed so just had to watch on TV like everyone else. But my, it was great to see him on TV rather than a substandard stream for once.
Adam's hair is high and fabulous, and his face is a bit of a curious hue under those lights but look at what he's wearing! It's like a sprayed patchwork white and grey suit that someone has taken a bite out of. It's also like one of those games where you have to slide everything into position to give you the correct sequence but there's just that final Tetris block out of place that I want to slide over. It's not as flattering as his usual tailoring with quite a long modest cut so there's no satisfaction for the crotch-gazers, and those trousers are way too loose for that anyway! I don't like the clunkiness of those shoes but I prefer them to his blue ones.
I think Adam starts off a bit nervously by the way he flicks his head. His tone isn't very rich but it is steady with lots of lovely rasp to follow. The editor decided to letterbox the performance giving it a cinematic feel, homing in on Adam's expressions and twinkly eyes. It's disappointing for me that this is a shortened version that leaves out all the "Oooh, yeah..." bits and when he lets rip with those vocal acrobatics. I assume it was edited out rather than a version with a different song structure. As far as his performance goes though, it's a strong one where he doesn't put a foot wrong and the band sounds tight. I'm left wanting more though as Adam doesn't get any banter time or manage to fit a word in edgeways on that couch afterwards. I get the feeling he's a bit cautious and eager to please but I'd really like him to relax, let his cheeky side out to play and be bold.
Adam's third return to AI to perform was something that had been on the cards for quite some time and one that I'd really been looking forward to. When Adam's on the Idol stage, he's determined to give us an audiovisual feast, never failing to impress. Who can forget that swirling vortex of WWFM or the dark intimate set of Aftermath? I was very excited about what Adam would bring to the stage this time.
There have been some symmetries and full-circle moments with Adam on AI and this is another example. Not only does Adam physically resemble Elvis and his mannerisms,he mentored for Elvis week and now he performs on the same show as his daughter. Here's the performance:
NEON!!! Who the fuck would've thought that Adam in his sombre black glitterless phase would go for UV-glowing neon? It's in his earrings, on his nails and appears as accents on the band members' outfits. Trust him to make such a strong visual statement. Time to go clubbing! The colour makes him look very tanned. He completes the look with tight leather trousers, gloves and a grey jacket which I wonder if he's personally customised. He also has an evil Bond-villain little finger claw as jewellery. Behind him is a massive visual of Adam's eye. It must be Adam's eye because of the iris markings circling his pupil and the separate dot below it. Not that I'm obsessive or anything. I think overall, the graphics with flashing lights and smoke, along with the zooming in the editing make the video too busy for my liking.
The opening chorus is shortened probably so that the producers can fit more adverts into the allotted time. A fierce Adam prowls the stage, working it with his fun dancing and shoulder-shimmying and engaging with the band. I'm sure he's dying to thrust his crotch around when he sings this song but knows much better. He sings it flawlessly with a powerful and rich rock vocal despite some wobbly jaw moments. The backing singers sound great if a little loud on the high notes, but they guarantee that the sound is never thin. He ends with an unexpected long run, reminiscent of many performances on that stage. He looks like he's having so much fun on stage which in turn makes him an absolute joy to watch. He leaves me with warm fuzzy feeling of pride.
After the end of the song, we see Adam revert to his non-performer persona, lighting up the room with his cherubic smile and modest demeanour. I'm a little disappointed there isn't a short interview seeing as we can't get enough of him saying words, but I really liked the performance. The lasting impression I have is that he has used the Idol stage to re-brand himself from glam rocker to clubber for this Trespassing era, a transition he has made effortlessly with style while remaining true to himself.
THAT FUCKING JACKET!!! That jacket is LOUD. Adam Lambert has a fucking horse on his jacket! Well I didn't expect that one seeing as this era is supposed to be more toned down. Love the bold fashion choice and he looks so fresh. Here are the videos:
I find it very strange that NCOE is referred to as the first single from Trespassing. Are we supposed to have forgotten about BTIKM?
This version of NCOE has a more confident start than the Kimmel performance, and despite having a few expressions of fierceness, it's a smiley energetic affair. It doesn't have some of the vocal acrobatics as some of the previous versions but I feel we get to see Adam at his most relaxed and playful as he dances around.
We know from the clips that Adam also performed Kickin' In, Shady and Trespassing but only have a full(ish) version of Trespassing at the moment:
It's not quite a full version of Trespassing here as something seems to have gone amiss with the editing/recording. With the snare drum, it's most similar in feel to the Kimmel performance. We get lots of close-ups of Adam's cheeky expressions. I find it so endearing that Adam also makes an effort to perform to those outside the studio trying to sneak a peek with their noses up against the glass. It's so considerate and classy of him. I always look forward to that high note of his and it's not as high as the NNN one but it's sustained, powerful and really hits the spot.
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.
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.
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.
The stream wasn't a very good one but it was enough to see that Adam looked beautiful and fresh-faced, skin peachy with minimal makeup, bringing back memories of One. The hair and staging was very reminiscent of ToMT but with softer lighting and not quite as dapper or slick. His clothing was much more casual, hearkening back to some of those old Upright performances. It was an excellent introduction that he had, with Ryan paying tribute to what he'd done for the performance aspect of AI and his songwriting skills.
I'd spent the last few days working on my latest video edit of Aftermath, one of my pitch-perfect favourites and a precursor to this, so my ears were quite attuned to the song. After the rapid new chords of Monte's intro, a shaky and tentative start had me worried. I'm afraid to say that the first "Lost" sounded just that and on an acoustic set there's nothing to hide pitch issues behind. The set was quite darkly lit and intimate, accompanied by a hardly recognisable Isaac and a Tommy with a very big bouffant. There were a few other notes that didn't quite hit the mark but everything came together before the mid-point in the song and the power behind the vocals lifted it. The expressions on Adam's face along with his movements and finger-pointing were just fascinating to watch and the camera loved him. I love those gritty raspy belts which are my favourite timbre of his and they were plentiful towards the end. The finish was a sweet and soothing whisper with Adam looking particularly angelic.
Maybe I'll have more comments to add tomorrow but for now it's bedtime.
What a great time to return when there's so much to celebrate! Thanks for sticking around! I really needed that time off after the exhaustion of Glam Nation.
Here's what I missed in the past month in a very brief summary:
And we've been spoilt rotten in the last couple of days with all the publicity appearances:
The Talk
Adam looks fresh-faced and happy as his disarming charm "Don't let the nail polish fool you!" reminds us why we all fell for him. If his vocabulary "rambunctious", "rudimentary" doesn't quite do it for you then his hero fireman or primal caveman certainly will. This appearance is made of win and it's impossible to keep a straight face as we see the love and excitement pouring out from the fans who are just too cute.
Extra TV - The Grove
Adam looks every bit the rock star that he is. That gilet is so retro-space but also reminds me of Michael Jackson's red Thriller jacket. The dulcet tones as he goes into a very brief a capella line from WWFM are just too painfully short and leave me wanting more.
Ellen
Adam performs an acoustic version of WWFM for the first time on TV, and since I haven't heard his voice for a while, I'm hit by its agonising beauty. It's so velvety and breathy and rich and soothingly mellifluous all at the same time. The start of the arrangement is similar to the Berlin NRJ performance where Monte gently picks the guitar and Adam whispers. Even after hundreds of performances, Adam still finds a way to refresh it for hardcore fans. There are changes in the timing and phrasing with the delayed "What DO you want from me?" making the question more direct and poignant, and much less defensive. The picking changes into a strum with the vocals building up to an unexpected intensity towards the end. The crescendo is stunning. I much prefer it when he stays away from his falsetto for "So DON'T give up". Sometimes this part can sound a little snatched or shouty when he stays in full voice but here the notes are given room to expand, sounding so smooth and full and resonant I just want to eat them up.
One of the annoying things about having no internet the last few days is that I missed being part of a TV event with you all. I've dearly missed the AI days of having Adam regularly on my screen along with the excitement and anticipation that went with it and it seems that the last event that we could all watch together was years ago.
Having watched so many of the Glam Nation videos, it seems strange seeing Adam performing IIHY in the 'wrong' clothes. There's a little voice in my head that's saying he looks overdressed as he's not supposed to be wearing that coat for this number. But then I realise it might be because it's a costume meant for a live audience rather than TV cameras so it looks a bit much under the bright studio lights. We have some white leather gloves as an addition to the outfit and an enormous pompadour. Maybe I'm just a touch disappointed that there's no new outfit to inspect and discuss.
When I first watched this video hours after it aired, I still had to hold my breath as I was nervous. It had been a long time since a TV performance. Audio feeds straight from the mic leave nowhere to hide if your voice is tired or imperfect. My nerves weren't helped by the first 'boots' which sounds a fraction off but I needn't have worried at all. I should've had more confidence as Adam expertly breezes though the performance, voice super-smooth throughout the dancing and with that beautiful velvety-rich grainy texture I love so much. His camera interaction is spot-on and he even has a touch of that endearing lyric fail as there's a lack of 'Life would be a party, it'd be ecstasy'. After all those concert recordings which leave much to be desired in terms of quality, I'd almost forgotten how exceptional his voice is and how he controls it to pitch-perfection. This is a wonderfully pleasant surprise that far Xceeds my Xpectations.
I didn't stay up until stupid o'clock in the morning to watch this as I was too tired. The last two days I've actually had to send myself to bed earlier than usual because I physically couldn't continue using my mouse. My shoulder and arm ache and my hand is starting to claw from spending so much time on my laptop. I woke up to the best surprise knowing that it wasn't all in vain. Adam fucking won an MMVA! Here's all the footage:
He arrives in a classy pimpmobile looking nifty in a dashing suit spiced up with matching leopardskin tie and boots. I so want to stop his tie from peeking out under the button on his suit though. His hair looks new romantic, with soft feathered extensions. He's so poised on the red carpet, speaking with eloquence. I mean, who the fuck else would be talking about how touring is educational?
Blame the scriptwriters but I think the host is rather deluded if she thinks she can give Adam makeup tips and I have to snigger at that one. Girl, Adam was experimenting with makeup way before you were even just a horny twang in your Daddy's thang.
It seems like forever since Adam did a live TV performance in front of a big audience. I think the last time was his return to AI back in April so this is all exciting again. No lasers, but he's silhouetted against a blueish halo of smoke through a backlight. It seems strange to me that he's performing in his red carpet suit and didn't go for a costume change. I'm so used to seeing him sing WWFM in dressed-down gear that the clothes don't seem comfortable enough and he looks too elegantly overdressed. The hair makes him look fierce and the suit lends just a little too much confidence and power to him, taking away that vulnerability.
I give the camerawork and editing a fail as there are too many wide-angle shots and we don't get to see much Adam. We get an idea of the size of the audience though, which is awesome. The sound is fantastic, his voice is strong, the timbre is pleasantly rich and those vocals are absolutely beautifully flawless. I'm surprised to be feeling awestruck once again by how well he manages to sing that, especially straight after three nights of full shows on the trot. Just wow. And I'm so happy he gets some well-deserved pyro at the end.
On collecting the MuchMusic Video Award he seems so excited, enthusiastically swooping down like a plane holding his hands out to the fans before hitting the stage. It's a slightly awkward moment for me when he says he usually doesn't win things. I think the joke falls a little flat as no one really remembers he didn't win. His acceptance speech gets rudely truncated but I'm so grateful he thought to thank his fans first and foremost. No, thank YOU Adam! We fortunately get to find out what else he meant to say in his acceptance speech during an interview after the show. One thing that is bugging me slightly right now though, is how we managed to miss the other award that Adam was nominated for. Was it one that we couldn't vote for? I hope this is one of a long line of awards we can help Adam to win. Right now my arm aches, but it's happily celebrating.
I didn't stay up to watch the Leno stream so I was in for a pleasant surprise this morning. Those trousers! Only Adam. Up top with the black he means business - it's a little TfM or a little Satisfaction, but it's a party downstairs. The jacket seems to be a new one, a little longer than usual and quite plain until we see it has a mohawk at the back. Yes, the jacket has a fucking mohawk! He's definitely working that tribal beasty glam. It's the first time we've seen his hair down since getting his sides razored and it looks a little new wave. I like it and I'm sure it won't be long before I love it.
The feel of this performance is very different to the Ellen one. He's more of a rock star here in his demeanour and his facial expressions. He's replaced those joyful innocent-looking smiles with knowing, mischievous ones and it feels more tailored for a late-night show. Those moves of his are decisive and fabulous. His voice is strong and the mix is great although I think he could be a bit louder during the choruses as we lose much of that live quality in the backing vocals. His voice though, sounds so rich and gorgeous throughout. I'm glad he decided to sing the 'Do-do-do-do-dooo' parts because that and the little bit of freestyle dancing in between the structured choreography shows that he's not taking himself too seriously. It's the slightly dorky fun side which we find so endearing about him. I loved the way that he improvised for the finish in another brilliant performance.
Adam is a bundle of infectious joy in this performance, decked out as a glam hippie in shiny bell-bottoms, reminding me a little of the PTFM look. They would probably be another be another talking point, were it not for the shirt left untucked. The dancing is great throughout and brings a lot of energy onto the stage. The backing track vocals sound a little dissonant at points but he nails the live vocal, which is awesome. It looks like he might have given in to singing some of the 'd-d-d-do' parts despite saying that he wouldn't when we eavesdropped on his rehearsal. Bring on the party!
The interview feels so much more of a happy affair compared to the first time he was on the show. Adam seems so much more confident and the charm is on display as he cheekily sneaks in some smut.
It looks like I don't need to bother streaming this tomorrow as the Beeb have kindly made it available on their website. This performance has a mirrorball and Adam in his AMA suit looks fierce as ever and very much in charge. The sound mix is a little strange, and I think it's because it's a dry feed from Adam's mic. I'm not keen on the set as it looks teenage-bedroom cluttered, the feel of which is at odds with Adam's high-maintenance glam. He lags a little behind the music at times and the vocal is rather straight-up but nonetheless good and held very steady as he dances. Visually, this is one of the best FYEs as we get so many beautiful close-ups of Adam's expressions under stunning lighting and he looks amazing. I'm glad to see that he's managed to tune those expressions just perfectly for the cameras, looking much more natural and less forced than he does in the music video and finding the right level of camera interaction.
I wasn't able to see this on TV as Nickelodeon is a channel I don't receive. I'm just grateful that it was recorded and uploaded for our viewing pleasure. The first view of the set is a nice surprise as everything's so sharp and clear compared to the soft-focus glare of Five or the smoke of GMTV. The faux-laser light beams remind me of the set from the performance on The View with the camera work lending a music video feel to it. We get some beautiful shots as Adam in his AMA get-up plays up to the camera. For once we can hear his voice becoming a tiny bit affected by the dancing, and 'You thought an angel' being a bit on the shaky side, but he finishes strongly with those perfect glory notes. There isn't much improvisation with the vocal and it looks like the big crotch movements were edited out for the younger target audience, but this has to be one of the best visual treats of FYE so far.
What an incredibly enthusiastic welcome Adam received from Finland. The abundant fans formed massive crowds which looked quite overwhelming. It was another affirming moment as we realised the strength and reach of the Adam Lambert Effect. The memory of the AI WWFM wasn't very far away so I didn't really know what to expect for this one. I'd seen some spoilers that he was wearing a purple tie and shook my head at the absurdity of getting so excited over a fucking tie.
The first part of the video is somewhat frustratingly in black and white (and blue) and just goes to show how much the visuals matter. It was exacerbated by the fact that I was trying to look out for the purple tie. It's quite unusual for Adam to be jacketless while sporting his glam up-do and this outfit is quite different to what I've been accustomed to. It's a bold look and he looks but I'm not so keen on the low-slung harem trousers as I keep expecting him to break it down, Hammer time. The glittery shirt has quite unusual detailing on the sleeves and I wonder if they are detachable. The whole band has smartened up with Cam looking gorgeous and Tommy looking a little like a rebellious schoolboy who refuses to iron or tuck his shirt in.
I'm finally put out of the tie mystery misery when the colourful chorus kicks in and I can see the fetching shade of purple. It seems to match the colour of Longineu's drum kit and jazzes up an outfit that's all glittery grey and black, bar the spats. The vocal is pretty much perfect with my favourite part being the coarser tone of the final line. That timbre has the synaesthetic effect of a luxurious praline as Adam demonstrates exactly what it means to possess the X factor.
It would have been good to have had an interview on this early evening show but every time Adam was mentioned as having the pimp spot, it was all very positive. The first shot we have is a soft focus one of his rhinestoned boot moving jerkily to the whip cracks. We see the return of the AMA suit as a dapper Adam begins to sing. The start is a little on the tentative side but he soon gets into his stride, keeping his voice steady as he breaks into his moves. It's a shame the camera work is a bit on the annoying side, dizzying and with some strange angles. This is a commanding performance and everything comes together so well. The vocals are superb, the dancing is tight and he's looking increasingly natural and comfortable on stage giving us an entertaining show.
Adam made appearances on two TV shows while on his return to Germany. He received a lot of airtime on both. The first of these was morning show ARD MorgenMagazin where he was given a longinterview before an acoustic WWFM. This was an exquisite version with beautiful close-ups and melodic variations similar to those on the AI version. The music video playing in the background is a nice touch. He also received a lot of coverage on afternoon show VIVA Live and rather surprisingly, there seemed to be a disproportionate amount of focus on his sexuality. The intro package and the interview both highlighted this. I won't complain though, as it was great to see him receive so much airtime and his charm worked a treat. We also got another stunning acoustic WWFM out of it.
It seems to me that there have been two different marketing strategies on the world promo tour so far. The UK and Japan have received performances of the dancier electro-pop material with glammed-up Adam, whereas everywhere else has had freely-improvising acoustic Adam. I would've thought that FYE would have been pushed in a few more European countries but maybe it's due to budgetary constraints with acoustic sets being cheaper. If that's the case, I wonder if this is an indication of the priority markets targeted. Now that I've seen the bigger productions, I'm very greedy for an acoustic set. I guess I can never have enough.
