Adam had no break whatsoever at the end of SMGO in Belfast. Everything in those notes was put there with craft and emotion and precision. Adam knew exactly what to do, even in a moment of such adrenaline-fed excitement. Nothing, vocally, was missed or adapted. Adam was in control of his instrument.
I do remember noticing how he corrected his vocal placement, in a nano-moment, at the end of 'Mad World'; the first performance; on Idol.
I'm intrigued by the way many vocal critics and experts refer to Adam's vibrato. Vibrato is a natural, authentic pulsation . . . much like your heartbeat . . . when a voice is coming from the right place. An exquisite, bell-like, clear voice - will live, and only age as a body ages, when used correctly. Which means that a voice coming from the 'right place' is effortless! I know that seems hard to believe. But it's really true. Breath support isn't effortless; singing on key, to some, isn't effortless. Placing the voice 'in your head' requires letting go, and really being courageous enough to let the voice climb into its place. Vibrato is the underlying foundation of vocal expression; and flows effortlessly in a way that is unique to each vocal instrument. Unlike our hearts, it doesn't really speed up if you're excited. Instead, maybe 'the ring' - an sort of extension 'down-to-up' or 'deep-to-light' may be slightly more pronounced when nervous or excited; but vibrato is vibrato; and a trained voice never manufactures it. It is just there. Like the beating of your heart.
Vocalists often 'sing through' vibrato, which is easy to do when forcing exhalation during the singing or sustaining of notes. Straight tone can enhance mood or feeling; or certainly be more effective in certain genres of music.
There are vocalists who always 'sing at the throat' and force those powerful straight tones; without any vibrato, because they never cultivate their instrument, or let their instrument - their vocal cords - just relax and be; and let a natural tone find its place. They manufacture the tone. This technique forces, pushes and strains. You can hear it in the notes. It may sound like emotion; it may convey real emotion, but it leads to the same problems each of us suffer when we use any muscle group, or any repetitive motion, too often or in the wrong way.
I just know Adam understands his vocal instrument so well. He has always looked at his ability to sing as an abstract of himself. His is an instrument he wants to explore, perfect, strengthen and experiment with - - - but he will not abuse it, nor hurt it, as a process in his learning.
I have studied voice for many years; and this man, half my age, is a vocal genius.
