2.4.16 Secret Hobart, Tasmania, AU; iHR Melbourne, AU

From Aleks: Warning...long read but very, very good!!  I  miss her.

Aleks ‏@aleks_kv 22s23 seconds ago
My anti-review: an Adam-loving panegyric contradicting him every step of the way aleksandrakv.tumblr.com/

twitter.com/aleks_kv/status/695406837697531904

FEBRUARY 04, 2016 @ 19:07
ADAM LAMBERT - THE ORIGINAL HIGH TOUR

*** My anti-review: an Adam-loving panegyric contradicting him every step of the way

As it happens, the Tour is in full bloom, spreading across the globe from the Orient and farthest South like a cherry blossom that it is and it is not just the pattern on one of Adam’s suits that is the cause for the floral metaphor. I have a feeling that various sprouts, saplings and buds have finally blossomed on this tour, nothing but full crowns and flowers in view. Even though Adam calls it a journey, an emotional one I presume, my little rebellious heart refuses to see it as anything other than a beautiful product of hard work and years of experience; a labor of love, clear vision and determination.

The show has typical three sections and part one includes Evil In The Night, For Your Entertainment, Ghost Town, Runnin’/Chokehold/Sleepwalker medley, Underground, Rumors and Lucy, songs from all three Adam’s albums. They are powerful and just perfect for a meticulously planned attack on your senses from the very start. Such potent overture says a lot about how he wanted this tour to be perceived, since the power of first impressions is a well-known fact. It is designed to blow your mind away and leave you gasping for air, and it does, because behind the whole concept is Adam’s perfectionist mind, determined to leave zero space for mistakes and slip-ups. Perfect sound, band, visual effects; no breaks or breathers, with ruthless pace guaranteeing explosive culmination; the only constant with previous shows is the effortless magnificence of his voice. It took Adam years of touring, solo and with Queen, many a lesson learned along the way, and a great band of musicians, to take these songs on their topmost level, the one he has never reached before, and probably the one he initially had in mind when he created them. On this tour, these songs, and some of them are veterans, have finally lived up to their full potential. It is an accomplishment of epic proportions and an immeasurable joy to watch.

Adam describes this section as ‘’the dark, angsty place dealing with some of the sadness or frustrating parts of life’’. It must be true if he says so and even more so if you focus on the lyrics, but for me, that is not the way I view these songs. It took a particularly pretentious performance of Ghost Town for a TV show in China, where he sat on a bona fide Game Of Thrones replica throne, a totally random, ridiculous and over the top stage prop, which somehow fit perfectly with the mood and visuals of the song for me to realize how exactly I view them. It was like a fantasy come to life on that stage and it suddenly occurred to me that many Adam’s songs fall into that category of fantasy drama. But thankfully, no monster thrones on this tour – he uses other, more subtle props for the film fantasy effect. Once he enters the stage in his designer black and white layered outfit, so futuristic and Sci-Fi, with huge video walls behind him running a perfect visual commentary with rotating chains, skulls and sacred geometry symbols flashing and pulsing in synchronicity with the beat, movie references just keep writing themselves.



Photograph by minnie _Glambert


 It was a relief for me, this realization that even though there are some sad moments in this set of songs, they are not Adele kind of sad or Sam Smith sad, who, let’s face it, are the ultimate Queen and King of sadness – it’s just their thing; but more like Matrix sad, or Blade Runner, or Strange Days sad, with elements of desolation, alienation and desperation. He is just not that kind of artist, and as much as he wants his songs to be relatable, which he has repeated on numerous occasions, and they really are – but not in a sad or angsty way. It is an individual thing, and my case is such that Adam’s more generic songs, the ones I presume are supposed to have a wider appeal as logic would have it, do appeal to me but in other, less whiny ways. And Adam’s very specific songs, the most personal and open ones, like his mission statement Trespassing in particular; then his gay anthem Outlaws Of Love or There I Said It, the song with the most loaded subtext of all his songs, strike to the very core of my straight, womanly heart.

To be more precise, the sadness and darkness displayed in the songs of the first section are not of an obvious, melodramatic kind, but more of a dramatic, cinematic kind. In interest of full disclosure here, they don’t make me sad at all, on the contrary: they lift me up, make me want to shout and sing my heart out, pump-fisting the air and feeding on Adam’s immense energy. He is just too strong and powerful, both physically and vocally, and I presume mentally as well, that I cannot but imagine any angst which manages to creep into his life crumbling into dust and wilting away before his terrifying (but oh so sexy) glare.



It’s a movie scenes galore, the first section, and all the cool films, at that:)

When we talk about Evil in the Night for example, not only a flashy and bombastic opener for the Tour, but also a semi serious contender for single number three from Adam’s latest album, the song has been dismissed as a possible single by some on the grounds of the lyrics like ‘bombs over Broadway and fire in the sky’ being unacceptable; and I understand that viewpoint perfectly, but I need to say in its defense that the song is a four minute movie script if I have ever seen one and absolutely perfect as such. For me, it is a fantasy, a pure fiction in which I enjoy, just as much as For Your Entertainment is a sexual one, or Ghost Town a Hollywood one – needless to say, in reality, I am as far away from kinky sex as I am from superstar angst, but that’s where Adam’s vision and sorcery step in - he brings me in into his fantasy world and makes me live in it for a while, which is exactly what his greatest strength is and what he does so flawlessly on this Tour. He is the wizard magicking me into it.

***

From the world of fantasy, we slip quite seamlessly, thanks to the sultry and brain-orgasmically sexy After Hours into the second section, dealing with the matters of ‘’the heart and finding that love again and discovering what you really want’’, to quote Adam again. It is a marvelous, down tempo section, showcasing his voice beautifully. The set list says After Hours, Outlaws of Love, Whataya Want From Me, Mad World, There I Said It and Another Lonely Night.

As much as I cannot help feeling slight sexual excitement when I hear After Hours, I cannot emotionally connect to WWFM or MW or the peculiar awkwardness of ALN as much as I would love to. I don’t deny that they deal with matters of the heart, like Adam says, just not mine. But, the other three songs do make me feel what Adam wanted, and probably more: the highly personal and very specific Outlaws Of Love and There I Said It in particular. So once again, I fail to identify with ‘identifiable’ songs, and inexplicably connect with deeply personal ones. To return to Adam’s frequent comment that anyone can relate to his songs and find themselves in them - so not true for me. I cannot separate Adam from his songs enough to immerse myself into them and appropriate them emotionally, in a way I always can with other artists. I can listen to a song about a broken relationship and not think about the artist behind it at all. With any other artist but Adam, that is. It has never happened to me with his song. When I listen to his songs, or watch him perform, he is all I can think about – it is an overwhelming tectonic mass of thoughts about how he sang it, why he wrote it, how he felt, what he wore, what happened to him, he, he, he… His presence is just too powerful to be set aside - it is virtually impossible.

So I do relate, just not in the way Adam wants me.

One of the radio hosts by the name of Zach Sang, who does great interviews with musicians, and who did a particularly fine interview with Adam a while ago, usually asks his interviewees whether they are an album or a single person; meaning, if they normally buy just a single they like, or if they go for an entire album. I find this question important for artists like Adam. I am a firm believer that he is such an artist who you cannot understand or fully accept if you don’t listen to everything he has ever done. So, as far as Adam is concerned, I am not a single girl, not even an album girl, at that – I am an entire opus girl. Plus life and philosophy girl, but let’s leave my stalkerish tendencies aside for now. Of course, it also does not mean that I always find Adam’s songs the pinnacle of musical ingenuity, far from it, but it does mean that his special kind of artistry makes my brain and heart cells besotted and enchanted to the point of no return. And it does mean that I love his songs, be they imperfect, or fluffy, or not catchy enough, or too specific, or too generic, or whatever you want to categorize them, I love them because they are his. I love them even when I hate them. (There is only one which I hate:) He doesn’t sing it on this tour).

That is perhaps the reason why a casual fan, or a random listener, is more inclined to enjoy WWFM or MW, because they are in essence beautiful songs about legitimate, universal life situations which Adam sings so poignantly. I on the other hand, react much more strongly to Adam-drenched songs like OOL, or TISI and am much more inclined to project onto them a whole load of meaning from the deepest pits of my fannish heart. Some of them are true, some probably aren’t, but the entire micro-world I attach to them combined with his voice which attracts me like a mermaid song is my ultimate emotional downfall and the ultimate reason behind my obsession. It is with them that I do what he wants me to. It is good he has such a wide range of songs different on so many levels and at the risk of getting crucified for it, I will say he is one of the most diverse artists of today.

Be that as it may, the second section is a vocal masterclass with every song improved by his wonderful band . The utter perfection of the suits he wears during this section and which fit him like a glove does not hurt either. The light effects which hug him adoringly, worshiping his vision and transcending it to a religious experience, are also a little trick he has picked up on his shows with Queen and I don’t mind them at all – it is a very useful trick and I like it when he plays tricks on me. The trickster that he is, he likes to manipulate and I am his willing and fully consensual victim.


Photograph by minnie _Glambert

***

The third part, otherwise known as my favourite part, is a party-time realness! He leaves the best for last, the dance and the fun and the partying. The Light/NCOE medley, Lay Me Down, Let’s Dance, Fever, IIHY, and Trespassing/Another One Bites the Dust medley - I don’t think it matters what I think or feel about each song individually; the whole section is a bonfire of relaxed, confident and brilliant colours, sounds and dance moves. I cannot get over his outfit of wide, gold-laced cargo pants, golden suspenders and jacket - I find it infinitely sexier than the stiff costumy-ness of the first section and the suited perfection of the second. It is the least formal outfit, probably most similar to his regular club-wear, and last but not least, it is how I see him in my mind’s eye. To put it more simply, if he were my personal Ken doll, that’s how I’d dress him. He is like a little glittery soldier, fighting the bad juju, or as Adam would say, fighting the evil, with glitter, glam and guts.

Everything about this section appeals to me. The Light is probably one of my favourite tracks from his last album, the Let’s Dance tribute is a study in perfection in a way that it showcases not only his immense talent, but also his hard-learned sense of measure, pace and interpretation. What makes me the happiest is that he ends the show with Trespassing, his personal mission statement which, oh wonder of wonders, sounds so much more accepted and appreciated today than it did four years ago when it was born. Perhaps it is the fun and joy with which Adam sings it today, with the weight of current album single lifted from it. Together with Adam’s favourite Queen song, which served as an inspiration in its creation, both sharp in their bass line, the staccato beats and stomping rhythm give the necessary big bang to the show’s final explosion. If Adam’s desire is to view the show as a journey, its final destination of fun, dance and sheer happiness where it takes us is a significant part of Adam’s charm and the reason why so many of us are here. He is such an optimistic and joyful person and I love him for it.

I feel like he cannot help it. Even when he talks about individual songs, for example Another Lonely Night, he explains the sad bits about loneliness but always rushes to say that the uplifting chorus will kick in and cheer us up. The same goes for Ghost Town, where he never forgets to say that the melancholia and darkness are chased away by the cheerful whistle. He can’t even let us get sad properly. And the reason: Adam Lambert is such a kind and warm-hearted soul that he could not stand to add any more sadness to this world or anyone’s life. It is like he almost apologizes for singing about less than happy moments of his life, and offering an immediate remedy within a song and the Tour. That is why this final section of the tour with all the genuine happiness and smiles on his face, and all the joy in the perky movements of his long limbs and narrow hips, is the part I can relate to the most - because I am a happy fan of a happy man.


Photograph by minnie _Glambert

***

PS///

There are very few breaks and pauses during the show and not many words exchanged with the audience. I most probably would not even address this situation if it weren’t for a review which singled it out as a flaw and made me grind my teeth in frustration. But, other than it being how I prefer things to flow during his show, I do have a few theories about why that is the case; all of them, of course, based solely on my vivid imagination and astute astral projection:)

I have a feeling that conversation with fans and general public online is something Adam has decided to take an indefinite break from, and that his decision has extended onto this tour. Earlier known to chat with his fans on regular basis, or give his opinion on many subjects, Adam does not do that anymore, or not as often. Perhaps he grew tired of it; perhaps he had a feeling that some fans were more interested in him than his music. It certainly felt like that to me often enough. Infinite questions from fans about his private life seem to have withered down. So, mission accomplished. Let’s focus on the music.
On his previous tours and concerts, he would always chat between the songs, or introduce each song individually. Maybe he wanted to change things up, like he always does. Maybe he wanted an undisturbed flow of songs to keep high levels of excitement running smoothly. Also, it is another thing he maybe picked up during his concerts with Queen - you choose one moment to share your thoughts and don’t spread it beyond it. Or maybe he always hated that bit and decided to finally get rid of it.
Lack of conversation does not equal lack of communication. Adam does not have to introduce his songs for people to know what they are about. An artist does not need to explain his art, it is self-explanatory. You either feel/get it, or you don’t. Accusing an artist who is standing before you spilling his guts in one form or the other of poor communication is inane (which is what one reviewer did). I have always found those little introductions to songs which Adam used to do a bit awkward and superfluous, and even the strained call-and-response interactions are not my cup of tea. Pumping up the crowd is a cheap gimmick to me and I am beyond happy that Adam doesn’t do them on this tour. So much more classy.
Finally, Adam does not need to introduce Let’s Dance as a tribute to Bowie because everybody knows it. And when I say everybody, I literally mean everybody. Same goes for Another One Bites The Dust. If you don’t know whose song that is or why Adam sings it, you are probably at the wrong place. No words necessary.
And as far as Runnin’ is concerned, a beloved fandom song he has never sung live before, the song we thought would forever remain unsung live. He knew how badly we wanted it and he gave it to us. I do not need Adam to say anything in order to understand it for what it is – his gift to us, a token of his love for his loyal fans, the love I feel so strongly on this tour that words are beyond unnecessary. All in all, so much love everywhere:)

That’s it, for now. Love ya, see ya, bye!!!

WOW.. WOW.. what an honor for Adam to actually launch the opening of the new radio station and his song was the first on to be played by the new radio... I agree with Adam, IT IS the best thing ever for him. 

I love his band. I hope he gets to keep all of them for the next album or at least he can work with Peter again. 

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Rae Mills