7.1.17 QAL Seattle + TWO FUX is iTunes Hot Track
Jul 1, 2017 0:49:29 GMT -5
Post by Q3 on Jul 1, 2017 0:49:29 GMT -5
Tonight: Queen + Adam Lambert in Seattle
World clock: link
Audio streams:
mixlr.com/itsmekathk/
mixlr.com/sandyrk/
mixlr.com/germanhacemusica/
Location: Seattle, WA
Venue: KeyArena
Capacity: around 16,200 with the Queen end stage and guitar-walkway
Status: Tickets available, mostly single seats and partial view seats
KeyArena (formerly Washington State Pavilion, Washington State Coliseum and Seattle Center Coliseum) is a multi-purpose arena in Seattle. It is located north of downtown in the 74-acre (300,000 m2) entertainment complex known as Seattle Center, the site of the 1962 World's Fair, the Century 21 Exposition. It is used for entertainment purposes, such as concerts, ice shows, circuses, and sporting events.
A word of caution: The KeyArena has pretty terrible acoustics. It is an old, dated venue. It is very likely that the audio stream(s) and videos from this venue will not be great. Keep this in mind when you hear broadcasts and recordings from this venue. LiveNation and Pearl Jam have joined with some investors to develop a plan to improve the acoustics at this venue as part of a $564 million renovation plan. More info Unfortunately, this is still on the drawing board. In the meantime, Seattle is probably the largest market in the U.S. without a decent large concert venue, but thankfully, Queen’s music should far OK in this venue. Much of it was built for old arenas – just like this venue. Note: The Tacoma Dome, located 34 miles south of Seattle, is a spectacular venue with a wooden dome and some of the best large venue acoustics in the world.
Adam Lambert Isn't Here to Replace Freddie Mercury.
He's a Queen Frontman for the 21st Century.
On the 40th anniversary of the earth-shattering News of the World, Lambert contributes to the rock band's legacy while moving forward with his own.
Getty Gabe Ginsberg, Paul Natkin
By Hilary Hughes
Jun 30, 2017
When I mention that Adam Lambert—who's touring with Queen as its frontman, and has been since 2012—can step up to the microphone he inherited from Freddie Mercury without breaking a sweat, he laughs. Lambert, like Mercury before him, has a flair for the dramatic under the heat of the spotlight, and that extends to his wardrobe: A bold leather jacket is his showman's staple, be it studded, printed, covered in zippers, or, lately, star-spangled. For this jaunt, he favors a silver one striped with shocks of red that match the current shade of his hair; he will likely break it out for a number of the 21 shows he'll play in the next 30 days, and will sweat his ass off for every single one of them.
"Well, I sweat. I sweat a whole lot."
It's a deflection, this joke at his own expense, and another parallel between the 35-year-old American Idol alum and the mustachioed tenor, who died in 1991 at the age of 45. As Mercury did in Queen's "Bohemian Rhapsody"-belting heyday, Lambert roars through some of the 20th century's most adored and vocally taxing verses with infuriating ease, and he gives everything he can until all that's left is a ringing in the ears of a stunned crowd and enough perspiration soaking his collar to cause concern.
"I'm drenched and a hot mess by the end of the first 20," he says. "But hey. It's worth it."
Filling Mercury's void, singing Mercury's songs, and doing right by Mercury's legacy is a responsibility and a challenge and a destiny all at once.
Lambert is also a good sport, as this topic—of filling Mercury's void, singing Mercury's songs, and doing right by Mercury's legacy—is inescapable, a responsibility and a challenge and a destiny all at once. The singer's name hit household status in 2009 thanks to his second-place finish in the eighth season of Idol, and did so, fatefully enough, with Queen's support. The season finale featured Lambert and his rival, Kris Allen, belting out "We Are the Champions" alongside May and Taylor; though Allen would be dubbed that season's victor, Lambert's thunderous vibratto was a perfect fit for both the cinematic song selection and Queen's discography at large.
youtu.be/q6DAcA3RZDY
Suited for the throes of classic rock, show tunes, and Top 40-friendly pop, his voice was the millennial heir apparent of Mercury's, and he floored May and Taylor to the point where they would go on to appoint Lambert a semi-permanent fixture in this late chapter of Queen's epic. He not only had to live up to May and Taylor's expectations, but those of multiple generations of fans—and the Olympian standards set by the late, great Mercury, a rock and LGBTQ icon Lambert sought to learn from and pay tribute to in every measure.
"The way that I navigated that initial intimidation, I said, 'What was his intention with the song?'" says Lambert of his internal dialogue with Mercury's legacy. "'What did he want the audience to feel, and what story was he trying to tell?' As long as I focus on that, it usually lands. I have to avoid listening to the records too much. I don't want to imitate, copy, or mimic; I think that would be sort of tacky, and it'd be sort of disrespectful to the fans. I'm not here to do an impersonation. I'm here to make sure these songs are still heard, to keep the songs in a live space."
"I don't want to imitate, copy, or mimic," Lambert says. "I'm not here to do an impersonation. I'm here to make sure these songs are still heard, to keep the songs in a live space."
Beyond that, the memory of Mercury's indomitable stage presence shapes both Lambert's performance of the material and his psychic connection to it. Of the concert footage he's pored over, Lambert singles out Mercury's "spirit" as an influence that's swayed more than his vocal affectations.
youtu.be/cHTalNt_TAw
"There's a concert in Montreal where he's wearing little, itty-bitty white shorts, no shoes, and he's marching around on that stage having the best time, doing exactly whatever he pleases in every moment," he says. "There's something so inspiring about that. He was truly a rock star that way, in that he did whatever the fuck he wanted. He didn't really care if people liked it or not. He was unapologetic. He was so ballsy! I always aspire to be in that mindset. There were moments in my life that tried to prevent me from being there, but when I get onstage with Queen, I feel like I get full permission to let it all out."
For Lambert, the timeliness of this tour—which celebrates the upcoming 40th anniversary of News of the World, Queen's sixth (and best-selling) album—breathes an urgency into the rousing anthems of the record that strike a necessary, current chord in 2017. News of the World boasts "We Will Rock You" and "We Are the Champions" as its singles, and these defiant, triumphant "calls to arms," as Lambert refers to them, offer motivational benefits to those who look to live music for an escape from the crushing emotional blows of our world gone mad. As happy as he, May, and Taylor are to be revamping their set list to anchor it on News of the World, Queen's output, on the whole, is a stimulant for those downtrodden by—or addicted to—scrolling through the list of atrocities and scandals were greeted with as soon as we glance at a screen.
Getty Christopher Polk
"People, universally, are craving empowerment," he says. "That's what I love the most about Queen's catalog: They have these incredible songs that are all very strong and infectious that way. I've always liked Queen's music because it's timeless—the melodies, the ideas in their songs. They almost always exclusively write about the human experience. They don't write about rich people, poor people; they don't write about any particular color, sexuality, or gender. It's the most universal songwriting I've encountered. I think that's why they've become so legendary. There's something really beautiful about how their music can bring people together."
If touring with Queen has offered Lambert a masterclass in musical enlightenment and dosing the audience with as much aural hope as they can handle, his new single, "Two Fux," attempts to put that hard-earned knowledge to use. Lambert is an active, vocal member of the LGBTQ community, and recently spoke at the Resist March that took place over Pride weekend in Los Angeles. He tends to "shy away from politics because they're so divisive," but Lambert's speech was passionate and pointed in its criticisms of the HeWhoCannot amed administration those within it who champion hateful, homophobic, xenophobic, racist, and sexist rhetoric.
youtu.be/VwTZEWI3wvw
"Two Fux" is airy, effervescent, and a showcase for the nosebleed-inducing heights his falsetto can scale; it also serves as the conflation of Queen's influence and Lambert's own experiences and perspective. In a break from their touring routine, "Two Fux" is getting worked into Queen's live show, and May and Taylor happily lend their talents and their stage to its debut.
"The song really ties into all of what we're talking about—Pride, the world we live in, being inspired by a spirit like Freddie Mercury," he says. "It's very empowering. It's an exciting song. I'm thrilled that Brian and Roger enjoyed the song as much as they did when I played it for them, and that they're interested in performing it with me. I'm very honored that they agreed to do that."
Five years into this, Lambert's challenges have changed, and he finds himself in a more "organic" place: Now that he's long since proven he's worthy of the seemingly impossible task at hand, he's able to relax a bit in this surreal, singular place he's carved out for himself—a pop star in his own right who's been invited to help write the legend of another. It's enough to leave him crumbling under pressure, but it's no sweat, really. He can handle it, as it's all in a day's work—with or without the leather jacket.
Link: www.esquire.com/entertainment/music/a56046/adam-lambert-queen-interview-two-fux/
*****
TWO FUX is an iTunes Hot Track!!
The “clean” version – a clip
Billboard FUX Up!!!
Adam Lambert Stands His Ground on Glam-Rock Single, 'Two Fux'
OUT caught up with 35-year-old Glambert to discuss his defiant new guitar-pop anthem.
By Justin Moran
Fri, 2017-06-30 11:10
"If you think that what I do and how I live's too much, I don't really really give two fux," Adam Lambert asserts on his new single, aptly titled, "Two Fux." The defiant guitar-pop anthem, co-written by Ferras, Sarah Hudson, Big Taste and Trey Campbell, sees 35-year-old Glambert oozing with newfound self-confidence, as he admits "people think that I'm from Mars" before shrugging the assumption off with a cool, "Whatever."
Lambert's new music has developed tremendously from 2015's The Original High, both sonically and lyrically, abandoning the narrative of wanting more and honing the realization that he's enough as is. On the album's dramatic opener, he repeats the grim line, "My heart is a ghost town," above Max Martin's euro-pop production—a far cry from today's empowered "Two Fux," drenched in '70s glam production. "No one gets me like myself," he says now with aplomb.
Currently on an international tour with Queen, Lambert's gone from American Idol to queer rock icon, filling frontman Freddie Mercury's shoes each night with his own powerhouse vocals and newly magnetic fire-orange hair. Flanked by drummer Roger Taylor and guitarist Brian May, he wails classic hits—"We Will Rock You" and "Another One Bites the Dust"—slipping in his own original material, as well, including "Two Fux," which nearly sounds like a lost Queen song.
OUT caught up with Lambert this week to discuss creating his new single, defying the status quo and revisiting his glam-rock roots.
OUT: Lyrically, how did “Two Fux” come about?
Adam Lambert: This song was an idea that started with Sarah Hudson and Ferras, who are two dear friends of mine. I’ve known them for years and we’ve written together a handful of times. This is the first time something has solidified for us, where I was like, “This is it. Let’s put this out.” It’s great because every time we get in the studio, it’s all laughter and ridiculousness. We have a lot of fun together.
Ferras is a queer songwriter and Sarah Hudson is a known LGBTQ ally. Why were they important to work with this time around?
I went about things differently this time. Not to say my last process was negative at all, because I love The Original High and I loved working with Max Martin. But I got back from Australia last year after doing X-Factor and was feeling very creative, and just started talking to some songwriter friends of mine. Sarah [Hudson] and Ferras were two, and I was just like, “You know what, let’s do this for fun—no pressure.” It was very casual and nonofficial, and there was something really nice about that. It lent that kind of energy to the project—very matter-of-fact, very much a reflection of where I’m at, right now.
How does “Two Fux” speak to where you’re at mentally?
“Two Fux,” to me, kind of sums it up. I’ve been writing a lot in the past about chasing the original high—I was longing for something that was out of reach. And now with this project, I’m at a place in my life where I’m like, “You know what, no—I’m cool.” I’m just going to do my shit and not really make any apologies for it—not really try to be such a people pleaser. I think everyone has these upswings and downswings in their life where they’re trying to figure out where they’re at, and right now I’m at a place of feeling a lot more self-assured.
What in your life has led to this new state of mind?
The age has something to do with it. I’ve seen cycles—things come and go, trends happen, movements start. There’s this amazing movement, right now, that has been going on with trans visibility and gender fluidity, and all these things that we’ve been aware of, but the fact that they’re being pushed out to the mainstream and being really addressed—it’s very liberating. I feel like there’s a narrative and a conversation happening about things I’ve always felt strongly about. People are tuning into something that’s very exciting and I feel like I may have a voice in that conversation.
Why is “Two Fux” a strong introduction to the larger project you’re working on?
It’s basically a mission statement. That chorus, saying, if you think what I do and how I live is too much, I don’t really give two fucks. You know, the world we’re living in right now is a little scary. There’s a lot of hatred out there and a lot of negativity. Our country’s politically and socially divided. And to be able to put out a song that addresses everything, saying, “Look, you may not like me, but I’m not going to let that take me down. I’m not going to let that ruin my day. I’m going to do me.” I think people want some of those self-strengths. It makes me feel good to listen to it, and hopefully it makes others feel good. It’s not taking itself too serious—the lyrics are ridiculous and silly, and I think it’ll give people a reason to smile.
You’ve already performed it live on tour with Queen. How has that been?
It's been great. I had the opportunity to play Brian [May] and Roger [Taylor] some of the stuff I'm working on, right now, when we started tour rehearsals two weeks back. Brian immediately called me after I sent him "Two Fux" over email and he said, "I can't get it out of my head. I listened to it once and it's stuck already." I said, "That's a good sign, don't you think?" We started talking about it and decided to play it on the road. The song has a sort of glam sensibility to it, so it's something that was not a big stretch for the band to adapt to.
Do you consider Queen close mentors through the album-making process?
I'm inspired by them and always love their opinions on things, but this song was pretty much done and dusted by the time I played it for them. This is my project and I love being an honorary guest of the band, and I get to go on tour with them and sing the songs that have made them iconic. But I need to have my projects for my creativity, too. In the spirit of Queen, that's how they've created their music. A lot of their songs were written by individual members—Freddie wrote a bunch of great hits, Ryan's written a bunch of them, Roger and John, too. I think they totally understand that drive to have their own creative voice, as well.
How do you think "Two Fux" relates to your greater discography?
I would think that for a fan, they might be excited because a lot of these influences on my new project are going back to my roots a little bit more. I've done lots of sonic experimentation—Trespassing was really this electro-punk kind of pop, and The Original High was this dark, European pop sound. This new project sort of leans back into the glam-rock thing that I identified with from the get-go. There's a lot of '90s influence on it, a lot of '80s and '70s. My icons are people like Freddie Mercury, Prince and George Michael—these are artists I started listening to again towards the end of last year to break the cycle of listening to what was trendy or Top 40. I got a little fried on the sounds everybody was using, so I went back to why I wanted to make music in the first place. It feels full circle—it feels like my take on modern rock.
Link: www.out.com/music/2017/6/30/adam-lambert-stands-his-ground-glam-rock-single-two-fux?utm_source=OUTFB&utm_medium=ORG
"Two Fux" by Adam Lambert - Single Review
After more than a year away from the music scene, glam god Adam Lambert has finally returned with a revitalized mix of theater and pop to calm his eager fans.
Following the release of his critically-acclaimed third studio album The Original High in 2015, which yielded radio hit "Ghost Town", and one-off single "Welcome to the Show" featuring Laleh, the former American Idol runner-up now presents the confident, prideful and magical "Two Fux". Built around a message of throwing a middle finger up to haters and living life exactly how one chooses, the defiant anthem thankfully shines a light on the artist's soaring vocal performance and contagious sass with exciting end results.
"Two Fux", co-written with Katy Perry record label signee Ferras, shows a return to form for Lambert. After taking a straightforward synth-pop approach with his previous project, the new Queen frontman takes a few steps back, revisiting the drama and theatrics that elevated his debut album to the progressive, operatic quality of rock's past. While it's still unclear whether the new single is a taste of Lambert's upcoming fourth album, or just a buzz track to support his current Freddie Mercury-filling tour role, the song is proof that the artist is taking back control of his career.
As Lambert gets a bit autobiographical, alluding that he might suffer from both ADD and OCD, he appears to just be enjoying getting high off life and putting faith in his tarot cards to find a path forward. While the verses come off as poetry needing to be interpreted, the rebellious message on the chorus is heard loud and clear. "If you think that, what I do and how I live's too much, I don't really really give two fux," he boldly belts. "If you think that, what I say and what I give ain't love, I don't really really give two fux."
Though fans are desperately hoping "Two Fux" is indication that a brand new album from Lambert is fast approaching, the melodramatic style, elevated vocal delivery and electric guitar interlude point towards the pop/rock effort serving as a glamorized side project to energize and appease, dropping possible hints at future direction throughout. It's evident that the "Whataya Want From Me" crooner has been deeply influenced by his time with Queen. That influence has resulted in his most authentic work to date.
Upon first listen, the new single may come off a bit disjointed to some. While Lambert should be commended for allowing "Two Fux" to stand out from the crowded pop radio field, it may stand out too much to make a mainstream impact. But, with the empowering, worry-free lyrical content, perhaps Lambert has had enough with trying to conform or contain his joyous, over-the-top personality into a tiny box. The artist has released another captivating hit. If it is indeed a lead album single, it's his second strongest yet.
Link: www.albumconfessions.com/2017/06/two-fux-by-adam-lambert-single-review.html