Better than having it all is having enough. British singer Ellie Goulding has not conquered the world as Katy Perry (a past Tour matte) or Lady Gaga; their biggest hit, "Lights,” reached a point south of No. 1. Their performance Portland on Tuesday night came at the Arlene Schnitzer Concert Hall, not the Fashion Center.
But there is no freedom in a career burnishing platinum level , and Goulding 's show was the kind of ecstasy effort unchoreographed peers, locked in an arms race style reinvention to Madonna have too many costume changes to play.
Being 20 feet away from fame requires stardom, of course, and Goulding - who played with a four-piece band and three backup singers in a dazzling stage - drew a large youth groups, women who cheered so hard for cuts of early albums like " writer " and " This Love (Will Be Your Downfall) " as their new material for the yA - friendly soundtrack of " divergent “.
Goulding Calling a Serena van der Woodsen blonde portrait sells shirts at $ 30 a pop star is complicated : their sonic DNA is much indebted to EDM and house, and its heavy blow sprint through the third series end Schnitzer led the audience in what must have been delirious first place .
( . Not tell Symphony) Goulding you opened and closed the set with the energy of neon, stepping carefully the medium with ballads and intimate moments: he played "Guns and Horses” by itself, parading on stage with a huge guitar white’s finger -
Deftly picked. Elsewhere, she hit a drum and triggered samples; Goulding does not have to prove he can do more than sing, but it was nice to see. His voice is his fiercest weapon: soprano sandpaper, instantly recognizable, even cutting the diva only briefly heavier mixture squiggling theater.
As Robyn and Lorde , Goulding is a new kind of artist, a reallocation of a pop way to fit their own progressive goals . (Your competitors are either male DJs or acts of cheese synth -pop as Foster the People: Playing field is open) His references are spacious and admirably risky: a connection to pop tradition, covered Elton John's " Your Song " -
A part of life of its catalog - only a few minutes before banging away on his drum as a fragment of MIA " Bad Girls "party, and she was so effective mode songwriter as she was urging " Go! " before a rave break.
For mothers who sing with their daughters, Molly should be a free performance Goulding has been a relief. Your shimmying belly dancer and nude, atop a pair of undulating “MC Hammer pants , " was more about the exuberance and comfort on stage of sexual provocation stomach. She saved "Lights” to the end, re- imagining the dubstep anthem with a conclusion that is stuck in slow motion on live instruments. The distance between Skrillex and Black Sabbath (or Sir Elton) is not so long, it; will not be the last bridge built Goulding.
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