Anoche Alison Moyet cantó en el Royal Albert Hall de Londres y triunfó, incluimos una crítica del "Evening Standard" en inglés.
Last night Alison Moyet performed at the Royal Albert Hall in London and it was a great success, we're including a review from "Evening Standard".
Much as she still bristles at being pigeonholed as an Eighties act, Alison Moyet seems to have finally come to terms with herself. Accompanied only by two synthesiser players she could hardly have been more Eighties if she’d challenged the audience at Trivial Pursuit. Moreover, she drenched her set in solo and Yazoo hits up to 1994, extensively showcased last year’s The Minutes album, but played nothing from the 19 years in between.
For all that, though, this was no nostalgia trip. Moyet offered a mix of whopping electro ballads, up-tempo dance and a duet with her daughter Caitlin on Mountain Man’s Animal Tracks, which could have been toe-curling; instead it was a cross-generational, shared-genes joy.
Moyet’s fabulous voice remains as powerful as a hunting horn, yet supremely tender (Adele has cannily picked up that particular baton) and she still chilled the blood on Winter Kills. Happily, she’s finally stopped pretending to be a torch singer so we were spared That Ole Devil Called Love and Love Letters. As she must know now, the keyboards-only format suits her voice like no other.
Her reluctance to obviously surrender to the past meant tinkering with it. Love Resurrection remained as delightfully filthy as ever, but Ordinary Girl and Is This Love? were slowed down and both blossomed, while Only You was given a twinkling new arrangement, chiefly, I suspect, to keep her interested.
The stately Minutes songs were unquestionably 21st century. Apple Kisses and A Place To Stay were Bond themes in waiting, while Changeling’s throb didn’t suggest grandma at the disco. She’s never been better.
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