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Usher albums covers10/12/2023 “True love” evokes the light flutter of “Tilted”’s drum track, but its vocoder vocals and stabs of thorny guitar waft it off in a less seductive direction. Tracks are vacant of that effortless allure, and only occasionally do the audience start swaying along to the music. Its ambition is impressive on paper but on stage the end result is missing something. They are trying new guises, mining territory that previous work only hinted at. The yearning trip hop of “Tears can be so good”, enacted overtures, the Johann Pachelbel-sampling “Full of life,” and the immense behemoth of noise that is the eleven minute “Track 10” (which was much more ferocious and powerful than on record).Ĭritical reception points to the material on the Angels In America-inspired Paranoïa, Angels, True Love not being the absolute strongest in Chris’ discography, especially if you’re not sold on the widescreen storytelling on the 96-minute album. Taking the audience through the majority of the album’s 20 tracks, Chris led the audience through his landscapes these are occasionally peculiar places to visit. Chris’ latest album, Paranoïa, Angels, True Love, is their manifesto for the evening. Christine and the Queens on stage has a theatrical nature that arguably is lost on record. Guitar amps were replaced with statues of angels and lions, a small section of a spiral staircase appeared under dim blue lights, and a series of wooden chairs sat vacant. Trying to connect with the crowd with a sweet shy boy energy, one had to wonder if the sentiment was more for himself than anyone else. “Never give up,” he earnestly sang out on “Breathe”, his hand reaching out between each strummed chord. Like a Bends-era Thom Yorke, his voice resonated with a familiar lilt as he stretched out his syllables. But on a couple of tracks his voice rose impressively above the murmurs of audience conversation. On the likes of closing number “Toothpick” this did happen, turning him into an inoffensive sort of background music. With nothing but an electric guitar accompanying him, there was the potential for his intimacy to be swallowed by the size of the venue and the chattering patrons. Lit with a lone spotlight, the English singer stood and sang with a grateful tone. Eager Rugby fans with eyes glued to the World Cup games were occupying most of the space in the city’s bars, so the packed interior of the Usher Hall felt like something of a respite – at least from the warm weather, if not the bustle of cheers when a try was won by a favoured team.Īudience members filtered into the grand hall as supporting act Rhodes began the night’s music. Thousands of Fringe performers and accompanying visiting tourists now absent from the Scottish capital, the city has something resembling normal capacity (at least before a new cohort of students start arriving next week). On a balmy Friday night at the start of September, Edinburgh has a strange presence – or rather there’s a strange lack of it.
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