3.5.15 The Chart Show Interview, TOH has Deep House tracks

Hi! In case you missed it, "badassalterego" has updated her blog with a recap of the QAL Birmingham concert. As you may recall, she is a British blogger (who had extensive vocal training and performed in operas), and she has written some insightful observations about Adam's voice and vocal technique. Here is the link to her blog:

badassalterego.wordpress.com/

Here is an excerpt from her Birmingham recap -- some of her observations about the performances of "Save Me" and "WWTLF":

"They’re definitely two of Queen’s operatic arias and Adam nailed them; it was so overwhelming I could hardly breathe.

It was awesome in terms of his technical skill and also the way he performed them. Most singers will tell you that singing long, sustained phrases is more difficult than singing a song that has a lot of quick notes in it. You’re more likely to get tense; it takes a lot of mental and physical energy to spin out a long phrase, and you may not be able to breathe where you would naturally want to. Then, you have to be able to fulfil the power ballad requirements of belting out some glory notes at the end, just when you’re tired and would like a rest and a drink.

Adam dealt with these superbly – he has what I would call a “quiet” technique. You don’t see the technical stuff happening, he doesn’t pull his face around to get the notes out, and there aren’t any extraneous movements going on (some singers writhe and twitch terribly; they may think it makes it look as though they’re working hard or being dramatic, but it’s just a distraction to the audience). This leaves him with his voice contained and relaxed, and means he has far more energy to just deliver the songs properly.

Also, these two songs need a really intelligent performer to pull them off; by degrees you have to be sad, bitter, wistful and tormented. You’ve been given a beautiful melody and heartbreaking lyrics, but you have to bring the song to life by giving it the drama it deserves – and that includes drawing the audience in towards you, rather than just assaulting them with the music (many singers are guilty of this – loud notes are boring if you do too many of them). There are also songs that you just need to stand and sing – very few dramatic fireworks are required; it’s all done with your mind, as that’s what makes a convincing performance. The production and lighting were beautiful for both and only enhanced the music.

I don’t know which was more beautiful of the two; both used a huge range of dynamics and colour, from the pure silver tone needed for the last line of Save Me, to the huge, agonising climax of WWTLF. When Adam left the stage for a break, I think everyone in the arena was completely wrung out."

ETA: The whole recap is worth reading. At the end, she talks about how much Adam and the band seem to adore each other. So true -- the joy onstage is lovely to behold.

 

But did you look like this?

www.youtube.com/watch?v=LO6BljtgQLY

#NewBandPrayerCircle

Thanks for posting that.  I love to hear musically knowledgable people rave about Adam.

She said "Hearing live music is always an infinitely better experience than any recording, no matter how perfect the sound definition is. When you are in a space with live music, you’re aware of many things – the movement of air that happens when sound waves are created, the acoustic quality of the concert hall and all the harmonics and overtones created by the voices and instruments. Our ears are infinitely more sensitive than any recording equipment and we can absorb a far broader sound spectrum."

This reminded me that I was holding an open water bottle at my QAL concert and the music made the water sometimes vibrate in the bottle.  Such a strange experience.  Maybe it happens at all concerts, but I haven't been to many and none where I had a water bottle.