Jedi, Pirates, and Sharks... Oh My!

We’ve all heard of “Movie Magic.” It’s the ability a certain scene or film has to significantly resonate with each and every one of us. It’s when cinema impacts our lives in such a way that it stimulates emotions we may not experience on a daily basis. But what is it that specifically makes a moment so “magical?” What is it that brings out our sense of adventure when we see Captain Jack Sparrow fighting with Barbossa? What takes us into the world of Harry Potter before the characters are even shown? What is it about Jaws that evokes our inner Olympian when we want to get out of the water?  The answer to all of those is the one thing that accents cinema and brings it to life… music.  There are hundreds of soundtracks that include the typical popular music, but then there’s classical cinematic music, orchestral music that’s composed specifically for films. These cinematic compositions have defined an era, making their way into mass culture, by embodying audiences into musical practitioners through the spectacle that’s produced.       

            Everyone has different reactions to classical cinematic music, some people will never be the same once they’ve experienced it, while others appreciate the duality the music and film produce but don’t care otherwise. My first encounter with this style happened when I was a little girl, galavanting through Walt Disney World with my family. We stopped outside the Star Wars simulation ride and that’s when it hit me. John Williams’, “Main Theme Song from Star Wars” blasted from hidden speakers, giving the vicinity a completely new atmosphere. The moment the trumpets carried the signature melody, numerous people began faux fighting with imaginary light sabers, running around, and embracing this music that had transformed them from ordinary civilians into Master Jedi. At that point, I had yet to see Star Wars, I hadn’t the faintest clue about Jedi, but I was in awe of the affect the music had on the people around me.

            It’s the transformation people have when listening to the music that places classical cinematic compositions on an invincible level. The songs alone are inspiring, but it’s the initial introduction to the spectacle when the song is united with the film that ensures the audience is taken to a new world every time they hear the composed piece. There’s a trigger the music sets off when watching a movie like Pirates of the Caribbean: Dead Man’s Chest. The orchestra begins at once with staccato notes, trademarking the “He’s a Pirate” melody as the theme for the movies. Once that music is associated with the swash buckling ways of Jack Sparrow a sense of adventure and mystery is embedded into our minds every time we hear it. Wherever we are, we’re automatically teleported to a world where there are no rules, a world where we can live our most outrageous dreams. We’re able to become the fictional characters we’ve envied so much. For those few minutes, the music embodies the audience, allowing us to live in an alternate reality where anything is possible.

            It’s due to cinema that composers such as John Williams are able to reach a vast array of audiences and entrance them with their work. Not everyone is a fan of classical music, but when classical becomes cinematic, it reaches out to people who would have never listened to the compositions otherwise. When Williams’ wrote the “Indiana Jones Theme Song” his work presented itself to an entirely new audience. The movie was a box office hit and shown in numerous countries. By writing for specific films, the music is networked through countless types of media that help solidify it into cultural history. The theme songs from Jaws, Star Wars, Indiana Jones, Pirates of the Caribbean, and Lord of the Rings can be heard anywhere from the radio, to advertisements, to movie collages, to rides. The music not only defines the era in which it came but also continues to impact popular culture to this day. It’s timeless.

            This classical style demonstrates how music can truly touch people. It’s the reason I was eager to join concert band in middle school, and the reason I play these famous compositions to this day. The same sense of emotion and adventure are instilled whether you’re the artist or the audience. The music itself reminds us of the importance of classical cinematic productions. Every time someone hums the theme song from Jaws while we’re in the water, or we use the “Imperial March” as our parents ring tone, we iterate the impact these songs have fastened in our hearts and minds. Without the great musical cinematic works of Klaus Badelt (Pirates of the Caribbean), and John Williams (E.T., Star Wars, Jaws, Harry Potter), our culture would lack the epic-ness their compositions have contrived. 

That Island Feel

What makes a musical genre stand out? Is it the rhythm, the lyrics, or is it the way people react to it? It can be difficult to correctly identify what differentiates a style of music. Numerous factors need to be taken into consideration, and many times an artist or song can be categorized into multiple areas such as Taylor Swift balancing the line between country and contemporary pop. But there are certain varieties of music that produce a sound so unique it enables listeners to automatically recognize not only the genre, but where it originated as well. Raggae has always displayed this unique quality. As Bob Marley once said, “Many people know it, but can’t play it because it’s not a know, it’s a feel.” This feeling is created by Raggae’s use of traditional instruments and tactics that are altered in such a way, an authentic rhythm is produced that embodies the audience in associating the music with its origin.

   Arising in the 1960’s in Kingston, Jamaica, Reggae is known as a type of “ragged” dance music, established in the midst of poverty. It incorporates outside elements such as Ska, as well as African and Caribbean practices, and is often thought of as the forebear to American rap and hip-hop. It’s better recognized by the 4/4 timing, and unique assemblage of drums, bass, guitar, and vocals.

One of the most unique aspects of reggae is the use of the guitar and bass. From the moment a song begins, the prominent sound of the bass sets the rhythm. Typically musicians of other genres and musical communities rely on the guitar to produce a melody while the bass accompanies in the background. However, in reggae, the guitar is left to play simple chords while the bass takes over. In UB40’s song, “Red, Red Wine” the listener can hear the distinct difference between the two instruments. The bass dominates a deep melody while the guitar plays the same chords repeatedly throughout the entire song. It’s the melody created by reversing the roles of the guitar and bass that prevailingly give reggae that “island feel.”

However there are also additional distinguishing aesthetics. Another aspect of reggae is the use of drums in accentuating the third beat. There’s typically three common beats used to compose the rhythm, the one step, rockers, and steppers. In Bob Marley & The Wailers, “Roots, Rock, Reggae” the drums clearly enunciate the third beat, giving the song that reggae “feel” when combined with the bass and guitar.

Vocals also play a part in discerning reggae as well as associating it with Jamaica. It’s evident artists keep a sound natural. They don’t try to alter or strain their voice in any way. There’s a specific simple, rhythmic pattern to their tone when singing. The sound sometimes borders between talking and singing, but it’s strictly affiliated with the sound of reggae.

 When the reggae developed, artists such as Little Roy and Bob Marley would incorporate the traditions of the local religion into their lyrics to express their beliefs. Apart from religion, it’s evident that many reggae songs are notably associated with the ideas of love and peace. To this day, Bob Marley’s, “One Love” remains popular, with his powerful message of accepting each other and praying for those who do us wrong.

Yet, despite the message some artists try to send with the mellow, hypnotizing rhythms of reggae, not everyone will appreciate the originality and culture behind the genre. Some people are opposed to the fact that reggae isn’t the music they’ve grown up with, the sound is simply too different for their taste. However, part of the reason reggae is so incandescent is the fact that even if someone doesn’t necessarily like the style, it’s impossible not to identify the genre and associate it with Jamaica. It’s clearly signified with an image.

The greatest element of raggae is that reiterates that saying, “If it ain’t broke, don’t fix it.” The genre has remained true to its basic roots with the dominant bass, rhythmic drum beats and meaningful lyrics for decades. Many contemporary pop artists such as Colbie Calliat and Estelle have created reggae renditions of songs. But unlike most adaptions, these musicians didn’t alter reggae to fit their style; they altered their style to comply with reggae. It’s the defining characteristics of the genre that make it so captivating and different. It’s the fact that if anyone were driving down the road and a song like, “Could you be Loved” came on the radio, as listeners we’re automatically transferred to the islands, and reminded of the soothing feel Bob Marley so famously describes. 

Keeping an Eye on Attraction

With the odds of making it as a rock star being around one in ten thousand, it’s vital that promising bands make themselves stand out. They need to have some sort of X-factor, something that makes people want to listen. Most will look for some musical evolution, while others prefer to focus on how well they can perform. On a warm summer’s night at the Irish Wolf Pub, the local band, Eye on Attraction, gives the Scranton, PA music scene a glimpse into what it takes to be a rock band. Lively, and energetic to a T, the group successfully highlights their musical talent but more importantly proves how personality and presence can make a band in a small town.

            Eye on Attraction originally started as a trio in 2010, with members Mike Trischetta (guitar, bass), Andrew Merkle (drums, lyrics), and Joe Terry (vocals, bass, guitar). The group has been known for their diverse style, and flamboyant personality. In 2011, they added a new lead vocalist, Zach Graham, who not only fit well into the group’s persona, but also added to their musical versatility with his distinct sound.

            Upon arrival, the Irish Wolf pub doesn’t seem the ideal place for a band performance. Its small stage, dim lighting, and limited seating give the illusion of a somewhat full house with only ten to fifteen people present. The space leaves little room to maneuver, and amplifies the already blaring music from the speakers.

As Eye on Attraction sets up, they don’t waste any time in giving the audience a faint taste of what’s to come. Zach tests the microphone by making sporadic noises, interrupting the then casual, toned-down atmosphere in the bar. There’s pleasantness about the band as they ready themselves, they don’t seem nervous or worried but rather excited to make an appearance.

            As they take the stage, it’s obvious they want to make an impression. First giving off a vintage vibe, their attire consisted of everything from open vests, t-shirts, to skinny jeans with bandanas and scarves to accent. Zach, Andrew, and Joe take off their shirts leaving them with only jeans and their instruments. The members of the other local bands playing that night (Days in Transit, 3 to Breathe, and Cause of Affliction) gather around the stage for support, while other Scrantonians sit near-by, drinking, and left to wonder what kind of performance the group was about to give in their half-naked state.

            The attentiveness and energy in the room goes from zero to sixty as soon as Eye on Attraction begins to play. With most bands performing in a repetitive, distant manner, the audience can’t ignore this group’s vigor. Zach took the lead, distinguishing the band from other local acts with his identifiable voice. His higher pitch and smooth tone, unique from other vocal leads would almost seem fit for a punk- rock band, but instead, accessorized Eye on Attraction’s progressive/eclectic rock sound. He draws the crowd in with his presence, flaunting the free-spirited nature of the band by expressing the music in movement and conviction.

            Despite all their energy it was clear the members aren’t just jamming out, and putting on an entertaining show; they’re musicians. They know every move they make. From Mike’s solid guitar solo, to the entire band quieting as Zach sang the lyrics, “Is this real or just a dream.”  Their energy and aptitude never dwindle. Eye on Attraction knows what it takes to capture an audience’s attention.

Not only do they know the songs inside and out, they don’t simply give rehearsed, monotonous performances. Refreshing from numerous bands who give bland shows, Mike, Andrew, Zach, and Joe give their viewers an experience. Zach has people in the audience help him sing parts of the song, as he rollicks around the stage. Andrew throws his head back as he meticulously slams on the drums, and Joe could almost be an act of his own. He brings out the bass, rhythmically moving his hands in familiar patterns to him, head banging, and jumping around.  

As the band plays “16 Queens,” a youthful song about fairies, Joe utilizes the small venue. He jumps off stage running to the back of the room, whipping his hair. He embodies his music, and mesmerizes the audience. Even the most obstinate on-looker couldn’t help but tap his foot to the beat. Joe radiated energy and constantly kept the audience on their toes, making them wonder what he would do next. His passion enraptures everyone as he stands on the bar then runs outside and plays on the street. One couldn’t help but stare and smile at his convivial persona. As Joe runs back inside from his second outing, Zach conducts the band, standing in front of them like a true composer. It’s obvious the band itself is a maestro, devotedly controlling the audience’s reactions with their every move.

As they finish their last song of the night, after an hour of performing, they now have everyone’s attention. The remnants of their sound and energy linger in the atmosphere as they receive applause. Some of the most renowned rock bands, who sell out stadiums, don’t necessarily give performances like these young men. They rely on backdrops and lights to entertain, but the same can’t be said for this local band. They know they have to make an impact if they want to be remembered.  It’s evident these young musicians show promise with their music and lyrics, but what really sets them apart, and makes them a unique act in such a humdrum community is their personality. They get on stage and show their true selves, unearthing the youth in all who experience an Eye on Attraction performance. 

Check out the band at Eye on Attraction!

The Rock of Opera

We typically think of country, rap, folk, techno, or alternative rock when it comes to genres of music. Most of these adapt with time and “the popular” by incorporating tidbits of one genre into another, but overall there’s a distinct sound to each. It’s rare for a genre of music to combine with one completely adverse to it, but Pink Floyd’s release of their re-mastered Live in Moscow, reminds us of one style of music that did something spectacular for culture. First appearing in the 1970’s, Rock Opera not only hybridized the two completely different genres, rock and opera, but allowed artists to tell dramatic, meaningful narratives while reaching an array of audiences.

            It’s debatable who originated the concept of rock opera. Stories of conception range from Bruce Cockburn and William Hawkins altering their album, Christopher’s Movie Matinee, to a friend of The Who, using the term to describe a comedy tape. Despite the deliberation, The Who is noted for releasing, Tommy, the very first rock opera. Unlike normal genres, rock opera tells a narrative throughout a sequence of songs using rock music as opposed to classical. Unique from opera, the songs aren’t necessarily written to be performed as productions, which is why the genre is often confused with concept albums.

            The music in a rock opera is enough to set it apart from other genres in that it’s more dramatic. The Who was already an established rock band, and although there are similarities between the sounds of their previous albums and Tommy, there’s also an audible difference. The music created in Tommy can tell a story by itself. The overture of the album sounds more like the introduction to a rock musical, with hints of The Who’s classic sound sporadically incorporated throughout. The melodic variation of ranges and speed build anticipation and give listeners an insight into the highs and lows of the story they’re about to be told.

            Although the music alone gives a basic idea of what’s to come, the words and messages behind them are arguably the most important part of the genre. Not only is there a story unfolding, but in some cases the artist could be trying to divulge a deeper meaning. Tommy brings light to a blind, deaf, and dumb boy who rises to fame as a leader of a messianic movement then falls just as quickly. If we strip the story down, it deals with the rise and fall of fame and how quickly it can be attained and lost. The concept is particularly common in the music industry with one hit wonders.

            Conversely, Jesus Christ Superstar is loosely based on the passion of Christ. It brings the audience’s attention to the beliefs of God and allows them to see the story in a new form. Considering we live in an age where more children can identify Ronald McDonald than Jesus, the rock opera shines light on religion. It brings Jesus into a new century and portrays him as this cool, personable man, and gives society an entirely new concept for a rock star.

            Apart from music and lyrics, one of the most unique characteristics of rock opera is the fact it can be produced into theatrical performances. Both Tommy, and Jesus Christ Superstar were originally produced as rock opera albums, but due to their popularity were adapted into plays and movies. By transforming these albums into productions, the original message the artist meant to convey is deepened. There’s a sense of liveness that the audience is able to experience by visualizing the story. They can empathize with the actor’s emotions, allowing them to experience the rock opera more profoundly.

            Many artists including, David Bowie, Pink Floyd and Genesis, followed in the footsteps of The Who in creating rock operas. The depth and adaptability enables them to reach entirely new audiences of various ages and interests based on the message, meaning, or sheer enjoyment of the album. More importantly, rock opera evolved music by demonstrating how future artists might combine unlikely genres or practices of music to create a cultural phenomenon that can be appreciated by the masses.  

Check out the rock operas below! 

Tommy

Jesus Christ Superstar "I Don't Know How to Love Him"

The Making of a Legend

Legends never die. We’re reminded of this every time the remnants of great artists like Buddy Holly, Janis Joplin, and Bob Dylan continue to influence our culture. Most performers aspire to make an impact like those of the greats, but in a world where fame can be so easily attained, it’s far more difficult to achieve such stature. One must have finesse, a willingness to push the boundaries so much that society won’t know whether to accept or reject him. Few musicians are able to denote the sentiment of their generation in an era. Even less do so in a single performance, but one artist, who went by the name Jimmy James, did the near impossible. In 1967, he made his debut reappearance in America after attaining fame in the UK. It was during his performance of “Wild Thing”, at the Monterey Pop Festival, that a formerly known Jimmy James revolutionized American culture by innovating the electric guitar, and channeling the mantra “Sex, drugs and Rock n’ Roll,” transforming him into the legendary Jimi Hendrix.

America had heard rumors of the Jimi Hendrix Experience but until the Monterey Pop Festival no one quite understood the entity who was Jimi Hendrix. It’s apparent from his stage presence as he introduces the last song that he embodies his generation in looks and mannerisms alone. From his gypsy inspired style to his sedated persona, the sixties were notorious for hippies, drugs, living free and dying hard and Jimi covered it all. He was infamous for his drug use and even alludes to his partying ways before he shocks the audience with the last performance of the night. He generates cheers from the crowd as he claims he’s not out of his mind, but may have been the previous night. Hendrix’s drug usage reflected the time, but oddly enough, may have also prompted his novelty performances.

The rumors from the UK spoke of a man who revolutionized the electric guitar. Hendrix had pushed the limits. He’s noted for developing the infamous “fuzz” effect, as well as experimenting with distortion, but it wasn’t just what he played, it’s how he played. He was known for playing with his teeth, behind his back and most notoriously for sacrificing his guitar at the end of performances. But until the Monterey Pop Festival no one had ever captured Hendrix on video.

With his performance being filmed, finishing the night with the previously recorded “Wild Thing” secured his place in cultural history by further exhibiting his talent as a musician. Originally covered by The Troggs, “Wild Thing” takes a more profound meaning with Hendrix’s rendition. The song is no longer about being in love with someone, but rather something, the one thing that would enable him to revolutionize music, his guitar. One of the most captivating parts of Jimi Hendrix’s performance, at the festival, is the bond with his instrument. His passion for playing unerringly turns him into a “wild thing.”

He has an inexplicable connection distinctive from any other artist who’s ever played. From the moment he lifts his guitar, he’s on an evidential high. As the spotlight sets on him, he gives the audience a taste of his new assemblage. His “fuzz” effect rings out among the crowd, as the new contemporary sounds of distortion fill the venue, the audience watches Hendrix maneuver his body to accentuate his playing. He thrusts his hips as the static roars from the amps.

There’s an undeniable sexuality Hendrix contrives on stage. His entire performance symbolizes a sexual bond that he builds throughout the song. He’s not just connecting with his guitar, but connecting with the audience using his music as a medium. He wants the audience to climax, and everything he does leads to the ultimate ending. Straddling his guitar, still embodying the music, he erotically pumps lighter fluid on the guitars surface and sacrifices it in the name of love. As the flames grow, Hendrix embraces the moment, watching the fire burn he picks up the flaming guitar and smashes it on stage until it breaks. At that moment, Jimi Hendrix proves that Rock n’ Roll isn’t a genre of music, it’s a lifestyle. A lifestyle he lives and embraces to the fullest.

As the camera spanned the audience, everyone looked completely stunned by Hendrix’s performance of “Wild Thing.” Most people stood in shock, debating his sanity. Little did they know they had just witnessed one of the most vital breakthrough performances in history. The fact that Hendrix didn’t improvise or languish while performing is what made such an impact. He didn’t hold back. He returned from the UK in full force and gave us a new take on music while establishing himself as a novelty. Decades later, musicians are still synthesizing Hendrix’s practice.

Had Jimi Hendrix not come along, someone would have eventually discovered new ways to innovate the electric guitar, but no one would have had the same impact on culture. To this day, Hendrix remains in a class of his own when it comes to wailing out a song. His guitar playing was art, whether it’s because he made a statement as one of the first black men to play music typically associated with white males, or because it was a marvel to watch Jimi’s self-destructive behavior enact through his performances. He didn’t have an alter-ego. He was a rock star, and lived the life he portrayed onstage. 

Get Hendrix-ed

Life's "Little Hell"

Many of us would do anything to feel a sense of salvation when we experience a little Hell in our lives. It could be as simple as solace, empathy, or hope during our times of turmoil, and for those of us who have been waiting for an album for that sense of identification, the wait is over. With the release of City and Colour’s fourth album, Little Hell, Dallas Green explicates the various struggles the universe provides, and it’s through his songwriting, unique voice, and collaboration that he continues to authenticate himself as an artist yet reveal the deeper discourses of living.

Starting his career with the post-hardcore rock band Alexisonfire, Green set out to produce a solo acoustic project known as City of Colour. Four albums later, Little Hell, maintains what could be considered Green’s true image as an artist. As the soul writer, composer, and vocalist for the album, he sings of different trials and tribulations present in the world. His sound is much different than that of Alexisonfire. The mood throughout his entire album is very melodic and calming as compared to the scream-o/rock combination he was once accustomed.  

It’s evident from the very beginning with, “We Found Each Other in the Dark” that Green is a poet. He sings of finding someone in the most abject conditions, and living thereafter. But whether it’s his writing of, “Natural Disasters” telling the tale of broken homes caused by natural disasters and the economy, “O’Sister” with having to witness someone’s depression and downfall, or “Northern Wind” a classic love song of how someone should make us feel, he captures the many evanescent pains of the heart.

Although the text of his lyrics is enough to apprehend anyone’s attention, it’s the different aesthetics Green uses that discerns his music from others. There’s a warm, almost vintage sound throughout the album that’s created by recording on an analog tape as opposed to using high-tech computerized systems. It’s a simple method that establishes a specific mood for the album but also accentuates Green’s unique falsetto voice. It’s this particular sound that helps keep his authenticity but also bewitches listeners into wanting more.

The combination of Green’s voice and method of recording on analog tape is enough to give his album an entirely new sound, but the originality of Little Hell doesn’t stop there. He values the idea of simplicity. After all, City of Colour is an acoustic project, and he reminds us of that with songs like “Silver and Gold” and “Northern Wind” which includes the accompaniment of Cellist Anna Jarvis but still focuses on guitar with minimal harmony in the background. The lucidness of the songs, like in many cases, allows the listeners to appreciate the artist’s talent as a musician and focus on the message. With most of his songs, Green is simple yet powerful with his lyrics that include everything from losing yourself along your journey, to warfare, to abandoned love, and love yet to be found. These concepts are major conflicts in everyone’s lives, yet he portrays them so simply, revealing how they can be the most devastating.

Of course, it’s not necessary to keep songs simple in order to establish a greater meaning. Green should be credited for his ability as a composer. “Fragile Bird” uses a collaboration of electronic guitar, drums (Nick Skalkos), and Misha Bower’s harmony to produce an edgy song describing a dysfunctional relationship.

It’s difficult to determine if Green meant to direct certain tracks at specific people with songs such as, “Weightless” where he sings of someone who carried his world then picked up and left, or if he wrote about general “Little Hells” he knew the majority shared. But with the mix of different sounds that range from a simple acoustic “We Found Each Other in the Dark” to more of the Indie rock like “O’ Sister” he’s able to expand his fan base, and establish an iconic sound that can be associated entirely with him. The calming tone of the album can be compared with a number of genres including: Indie Rock, Alternative, or even Pop/Rock, and it’s the diversity of the songs that enables City of Colour to reach a variety of audiences.

With artists constantly being influenced by one another’s work, and numerous alternative rock musicians on the rise, it would seem like a daunting task to produce an inimitable album. Yet, Green has managed to differentiate himself as a musician, indefinitely solidifying himself as an artist with his exclusive vocals and acoustic grandeur. At the same time, it’s his discernible characteristics that also make him one of many. His music is recognizable like that of John Mayer, and his voice distinguishable like that of Norah Jones. What makes Dallas Green’s acoustic project, City of Colour, and particularly Little Hell, stand out is his transformation as an artist. It’s his ability to adapt to a different genre and in doing so give listener’s a different medium as well as provide an authenticity into Dallas Green. In a world where images are altered by production and money, it’s refreshing when an artist has the audacity to do something different. 

Check out more! -> City and Colour

The Elegance of Simplicity

In a world where bigger is better, it's easy to give over -the- top performances praise for capturing the audience's attention or shocking the critic. Whether it’s Garth Brooks bringing larger than life stadium concerts to country, or Lady Gaga giving a disturbing end to her performance at an award show, artists have constantly tried new techniques from pyrotechnics to extreme costumes with hopes of making their performance “the best”. However, ever since one artist sky-rocketed to stardom she's captivated audiences with simply her voice and soulful lyrics, not only making her a sensation but setting her apart from the rest. Adele consistently proves less is more. Her musical performance of "Someone Like You" at Royal Albert Hall demonstrates how Adele embodies the audience with her simple presence and creates a liveness unlike any other.

Much like her performance style, the set for Adele’s concert at Royal Albert Hall is simple. The only background is a wall of lamp shades which light up or dim depending on the song. For "Someone Like You,” the lights are dimmed, and a spot light is shown on her and the pianist. The simple spotlight sets the mood for the song, creating this feeling of isolation and loneliness with the audience. It exemplifies her presence as a powerhouse singer but also establishes a certain relationship with the audience by creating this feeling that it’s only her and them.

Although the staging can play a major role in a successful performance, how the song is performed is even more important. The simplicity of the song from her album, 21, makes it unique because there’s no need to change the arrangement for a live performance. It’s her writing that’s captured her fans. Although, Adele relies on her voice to get her message across while a gentle piano accompaniment plays the same chords over and over, it’s the way she performs the song that accentuates her words.

Adele may sound the same both live and on her album, but seeing her perform “Someone Like You” at Royal Albert Hall brings the song to life. It’s her relationship with the song that makes it so enticing to viewers and listeners. Having written the song for a man who had moved on while she stayed in love, the emotion in her voice and small gestures she composes while singing make the performance enrapturing. The audience is drawn to her as she asks them to sing part of the song, creating a relationship, a liveness, a shared moment between everyone in the room who’s ever had a broken heart.

 It’s Adele’s unpretentious presence that enables the audience’s embodiment as well. She doesn’t make any grand gestures. When the camera zooms in on her, it’s clear she’s not just going through the motions of singing a rehearsed song, but singing to someone. It’s more than a performance, it’s personal. There’s a tacit understanding between her and the audience as the camera shows people swaying, and singing along with her, some crying, and some simply savoring the moment. It’s the understanding that we’re all united by shared emotions. The worst feeling in the world is a broken heart, and she captures that with simplicity. When it comes to love, she knows people only need one thing, to know they’re not alone. She strips that concept down to a basic level that everyone can relate. At the end of the song her voice breaks a little, and she starts to cry, causing a standing ovation from the crowd. It’s then that the audience realizes, when she sings “Someone Like You” she’s not a super star, she’s every person who’s ever been hurt by someone, she’s you and she’s me.

 Some may argue that Adele lacks creativity with her performance, but her simplicity is what gives her song “Someone Like You” a greater meaning, and what also establishes her eloquence as an artist. She’s made it clear with numerous interviews that she’s never wanted to be famous. She simply writes what she feels and somehow speaks to everyone with her soulful music which revisits meaningful experiences. By performing any other way, she wouldn’t be Adele. It’s her lyrics and classic elegance that sets her apart from other artists by being able to give a powerful performance in a minimalist fashion. 

Watch it! "Someone Like You" performed at Royal Albert Hall