SONG FOR THE MOMENT: JOHN LEGEND-PREACH

5/5

Practice What He Preach.

Tears are being shed all the way through the Academy's auditorium. There's not a dry eye in the house at the Oscars this year as these two sing together. But we aren't talking about this year's close coupling of pop turned movie megastar Lady Gaga and 'A Star Is Born' star and director Bradley Cooper's 'Shallow', as "Ha...woah, oh, oh" soaring as that is. But a much deeper cut almost amazingly a half decade back in 2015. Before #OscarsSoWhite. Before Trump. But echoing pain from the past that still needs healing to this very day as you read this. Collaborating for then the third official time ('The Rain' came after) after the classic collection 'Be's' beautiful 'They Say' and the sheer power of 'The Believer' off that and 'The Dreamer' album, greatest conscious rapper of all time Common and the legacy making by the record like his last name himself, John Legend and the strongest choir in unison with G.O.O.D. Music brought 'Glory' to the Oscars and the most inspirational figure of peace Martin Luther King Jr's message from 'Selma'. Stars like the King himself David Oyelowo, Coretta's Carmen Ejogo and even Captain Kirk, Chris Pine were streaming with emotion that night.

Fast forward to this New Year and following the fun of bringing a classic Christmas record under our tree this year with old and his own standards like the Nat King Cole and Bublé best in 'A Legendary Christmas', John wakes up in the middle of the night with his dear wife Chrissy Teigen sleeping by his side. He hears an electricity buzzing out side in his reverie and walks out of his room and straight into the middle of the open night where he sees a solitary door aglow waiting for him to walk through. Which he does right into a Basketball gym that belongs to the high-school team the Birmingham Patriots. He sees a light, flashing from another doorway and before he can register what is happening as he wakes up kids emerge from it, running and screaming. "Every day I wake and/Everything is broken/Turnin' off my phone just to get out of bed/Get home every evening/And history's repeating/Turning off my phone 'cause it's hurting my chest". And so begins the start of the song and vivid visual that evokes the same struggle in John Legend's powerful 'Preach'. A song arguably as important, to this time relevant and even more incendiary in its incentive for a movement to march than his 'Glory' with Common. But with the man in the mirror reflecting the world call to action of the bridge that closes this millennial generation gap of, "And heaven knows I'm not helpless, yeah/But what can I do?/I can't see the use in me crying/If I'm not even tryna make the change I wanna see," Legend furthering more than his does more than just give us the song in a career of 'Ordinary People' relatable classics and 'All Of Me' wedding first dances with much more meaning. Leaving us with a collective conscious lump in our throats John shows us that it's about more than he, us or the music. Whilst at the same time showing us he is one of the most important and influential artists of our time and the closest thing we have this generation to the coming change of a Sam Cooke. So far his 'Practice What You Preach' crowdfunder has raised almost $19,000 of its 55 thou dollar target just weeks after this videos release. And he is also working on a documentary series with the family of Trayvon Martin. Another young life lost way too early and unbelievably now so long, but still so fresh ago that this song is dedicated to.

"I can't sit and hope/I Can't just sit and pray, that/I can find a love, when/All I see is pain
Falling to my knees/And though I do believe/I can't just preach, baby, preach/Whoa, oh/I can't just preach, baby, preach," John sings with everything he's got in the middle of this same night as the blue and red flashing lights of a police car cruises behind him, stalking his steps as like a pastor he lets out the full force of his ad-libs to show the fight in him pushing through the pain. It's an iconic visual and moment in a video as real as it harrowingly gets. As the next day this is the same cop car that in broad daylight pulls over two young black men who comply fully. From dropping the keys out the window to walking backwards towards the guns drawn with their hands up. Meanwhile nearby a young white man looking anxious and distraught is sitting in his own car undisturbed with a black bag riding passenger. John then sings from the pulpit in church at a memorial for the same young man. The same young man who was pulled over and then shot down by the police whilst all his peacefully protesting friend can possibly do is watch with a camera phone and record another injustice that the courts will end up swiping away with no application to the truth. Meanwhile whilst this happens and yet another grieving mother shaking a chain-link like prison bar fence is having her child taken away by border control. The young white boy in the other car takes his black bag to the same school that belongs to the Patriots. The bag does not contain gym gear. It contains an assault rifle. Emphasis on the word, "assault". And after the running and the screaming. All we are left with is motionless bodies. Some look like they are merely sitting down. Others asleep at lunch. And then of it wasn't clear as day then the ones lying all around the school as still as the life they once had will move you to your core. And as John dressed in Church regalia and a crowd in protest piercing us with their pupils as they look to us through the fourth wall is met by another of police in riot control gear to their peaceful stand behind God, all the tears are replaced with gas. As this protest is taken apart by billy clubs and violence. And the image of John's clergyman being cuffed and put in the place of the same cop car is all we're left with. A somber and sobering note of "no justice, no peace" that we all wish in reality we could make sense of as the guilty go free and the innocent trying to make change remain in chains. Hate cures nothing. Love is the only way. And as this all comes to a head the angel wings of the fallen kid from another police shooting looks to what we all should in something higher. Sitting uptop the very same cop car. "All I hear is voices/Everybody's talking/Nothing real is happening, 'cause nothing is new/Now when all is tragic/And I just feel sedated/Why do I feel numb? Is that all I can do?" After all. We can't just preach. TIM DAVID HARVEY.

REVIEW: MAGGIE ROGERS-HEARD IT IN A PAST LIFE

5/5

Maggie's Farm

Grammy ready. You may say it's too February early to call it, but if the reinvention of an electric and eclectic Joni Mitchell on 'Heard It In A Past Life' isn't the album of the year already (it's the only thing this writer listens to right now after being Spotify shuffled to it randomly after listening to Leon Bridges' same sun soaked evoking latest. The one side I love to streaming). Then its author Maggie Rogers is for sure the best new artist of the 2019 she has January begun with the first big release of the year, like 'Captain Marvel' will do next week in the blockbuster movie world. And if she isn't then it's because 'don't call her a newcomer', she's been here for years. Working away at her art with her inspired indie albums, like 2012's 'The Echo' and the beautiful 'Blood Ballet' reply. And of course the influence of the illuminated 'Now That The Light Is Fading' epic EP two years back and it's definitive 'Dog Days' single that has shone on all of this 'Past Life'. But there's no dog days to be had anymore for Maggie. Rogers has already shown Pharrell 'Alaska' (a song about the National Outdoor Leadership School's homaged in the video. Wrote in just 15 minutes. But sometimes the best songs just pure and simple are) during a study session masterclass at New York University (one her 'Echo' album-recorded at home in a makeshift broom closet studio-got her. With an enrollment for the Clive Davis Institute of Recorded Music). And the Neptune's producer speechless like those who just keep repeating the word, "wow" was moved to what looked like tears for her as cool as cold snow in your palms track. Singing "you and I/There's air in-between" like serenity. His face to our fourth wall reaction said it all. It's no wonder he didn't sign her right there on the spot. Although you can hear his beat influence on the catchy, foot stepping single 'On + Off', that like it's video really explores the studio space (cowbell word to SNL that she has already love performance owned like the Blue Oyster Cult or her showstoppers on Ellen and Kimmel). But it's like he said to her in awe, amazed response, "I have no notes for that. Because you're doing your own thing." Instead she charted her own path through this social media powered industry "everyone's got a record, deal with it" wilderness. And wowed us all like the art of dance she brings to said songs visual. Like all her vivid videos or iconic album art. She told music N.E.R.D. Williams she has synesthesia, perceiving more than one sense at once. Which allows her to see music through colour. And not in the corny 'Empire' way of Terrence Howard's Lucious Lyon but in perfect symmetry intune of being in an in sync, synergy with sound. And oh how it shows.

Brixton baby to Lana Del Rey's Brooklyn one, it's no wonder this star singer from the other side of Maryland's Miles River in Easton (the true America) who has gone more than viral now has an academy of A-List artist friends in her corner today. Bringing out Great Brit, national Kate Bush treasure, Florence...yes that Florence from the Machine out for her London show. And the ecstatic crowd in witness of a legend were still in awe of a legacy making one to be. You can hear her influence and a whole spectrum of sound on this genre encompassing classic that crosses over like this digital age truly has for an artist who grew up on the neo-soul of Badu and Ms. Hill, between Vivaldi harp practice breaks...from age seven! Who never really respected dance music until she couldn't stop doing so in Belgium's house. Incorporating all that into her fresher than tomorrow sound that at times sounds like banjos and folk like Carole King and at others, the royal new school of the likes of Lorde. She references Stevie...the wonder that is Fleetwood Mac's Nicks with her "come out of the darkness" plea on the renaissance singers 'Retrogade', whilst singing through the perplexed pain, "Oh, here I am, settling at your house/Broken blinds keep the light comin' out/And I am just the shape I'm in/Oh, here I am, settling, crying out." But she probably moves to Motown too. Maggie Rogers cites the likes of Patti Smith and Björk as her inspirations and the mix of the two can be even seen in the soundscape of her aforementioned artistic videos. There's the sun kissed California looking empty backyard pool come skate park of 'Give A Little', with the chemistry camaraderie of all her friends that feels like a young loves American dream as she leads the chorus of the new America, millennial, National Anthem, "And if you give a little, get a little/Maybe we could get to know each other/Give a little, get a little, give a little/And if you give a little, get a little/Maybe we could learn to love each other/Give a little, get a little, give a little." Trust us soon you'll be singing it in unity unison together.

'Fallingwater' is this young 24 year old artist at her 7 days a week, 12 months a 365 working days year creative peak however. Perfect on the piano like the part title track and deepest cut of out of this realm introspection, 'Past Life', this yearning to learning ballad (like the "I've been sleeping/Barely dreaming/Through one year and one half/Found another/Called him my lover/Helped me get my old self back" of the ignited 'Burning') sees our singer in red dance in the desert until the sand of time healing turn into an emotional downpour of blue. As the break change to dancing in the joy offers the hand of the best music video your Vevo has seen in YouTube years. Forget the Instagram age. This is real iconography for the modern mainstreams music canvas. Yet again showing her perfect steps in time to the poetic art that is dance, in all its 'Blood Ballet' to modern day Gambino gambit moves. This is America's future. And like the Childish one...it's hope amongst all the hell. I used to say there were no young idols left in modern music to help carry that torch, but when I look at her and Donald Glover, oh how wrong I was. And then out of the darkness of 'Now That The Light Is Fading', the breakup to make-up, hurt to heart filled ode of leaving the 'Light On' is truly 'Give A Little' anthemic like enlightening. "Oh, I couldn't stop it/Tried to slow it all down/Crying in the bathroom/Had to figure it out/With everyone around me saying/"You must be so happy now"/Oh, if you keep reaching out/Then I'll keep coming back/And if you're gone for good/Then I'm okay with that/If you leave the light on/I will leave the light on" she muses between a music video that's a U.S. road trip of self discovery and a alive live one (and what a real voice live) from French revolutionary music outlet L'Blogotheque. The program that from Lianne La Havas walking the streets of Paris with her guitar, to Ben Harper and blues legend Charlie Musselwhite visiting a shop that puts those very strings together is redefining the art of regular studios music videos with their own productions, have come together with Rogers and her fans and friends on a solitary dark, to all inviting to sing-a-long light of a cosy Parisian bar in an outstanding one-take. Maybe their best of all the beautiful creative collaborations yet. Which just goes to show how contagious Rogers's exuberance and enthusiasm really is. And the warmth literal glow of this video and it's artist in all her honesty and beauty of strength over vulnerability is exactly what we need as she falls in the dark and is trust caught by a group in network support, for a time where we are all kept at a social media scrolling arms length from each other. And Maggie does more than give a little in her lyrics lamenting love in times of tweeted anxiety confusion, swiping...no scratching away for something real. "I remember way back, late night, throwback/Sitting on the front lawn talking/When I lost it, oh, I lost it/I remember you were saying you would come back, come back/Found me on the front porch like that/But you waited, so I got wasted" she sings on the outstanding by dark 'Overnight'. Before cutting into 'The Knife' of "insight torques its way in me/A bad collision without sympathy." But it's the closer 'Back In My Body' where her forlorn fading feelings of the one she loves are stripped bare for the perfect power cut as she fires up how she feels, "I was stopped in London, oh, I was awakening/I was/I was o'er in Paris when I almost ran away/Two times round the block before I decided to stay/Puffed along a cigarette that went and made me sick/Spent another day pretending I was over it." Putting down her thoughts like the last stub in the ashtray for the final flame of the hottest album of the first quarter. It's special to see in a Spotify age where beautifully you have access to almost all music, but brutally that leaves most artists craft cherry picked track by track, that we already have a complete, classic album already that we guarantee will play on constant repeat all calender. Reminding of us in the Trump time of the real America we feel in love with like a dream back in the sixties days of our Mamas and Papas. Maggie Rogers by our centuries version of that decade will be legendary like Jack Kerouac's muse Maggie Cassidy. This cohesive collection is the makings of a classic. Especially the singles and our personal standout, 'Say It', were creatively in her songwriting craft she makes "I cannot fall in love with you. I cannot feel this way so soon" sound like "how can I". The first track we were shuffled too that we've had on constant repeat like Natalie Prass' 'Lost' found from 'The Future and the Past' last year. And now this 'Past Life' is something to be heard, here, now. Despite everything it's been through the American dream is still alive in Rogers. If you thought no artist today could move you in such a way. Maggie may. TIM DAVID HARVEY.

On Repeat: 'Alaska', 'Say It', 'Light On'.

REVIEW: JOHN LEGEND-A LEGENDARY CHRISTMAS

4/5

Legend Of The Fall.

Tis the season to cuddle up by the chestnuts roasting on an open fire with the one you Chrissy Teigen this Christmas. As you wrap the last of your presents to put under the tree you decorated on that first night like a partridge in a pear one. Picture the scene whether you're in the festive spirit yet. Or still all Scrooged out on the ghosts of a past, last Christmas carol you gave your heart like the very next day (Rest Peacefully gorgeous George). It's almost like a hallmark card here in this household Legend. Like 'The Christmas Chronicle' of the new greatest Santa showman Kurt Russell and the perfect red cape and boot fitting Mrs. Claus, Goldie Hawn. But here 'A Legendary Christmas' and it's Bublé like televised special of love in the family home (and the reunion reprise of The Stephens Family all back together after all these 2004 years for the brandy warm classic, 'It Don't Have To Change') could even chill Netflix's 'Springsteen On Broadway' show live from New York City right now...yeah I said it Boss! No I'm not bitter because I couldn't make a ticket in Manhattan...honest. But this Christmas cake slice of New York, Rat Pack nostalgia with a sherry dash of Nat King Cole and so much more is the perfect Christmas offering like actress Zooey Deschanel's She & Him Christmas album, the one from R&B luminary Tank, his G.O.O.D. Music man Kanye West's 'Christmas In Harlem' collaboration, or even the 'A Murray Christmas' Netflix special reunion between Sofia Coppola and her 'Lost In Translation' cult legend, big in more than just Japan, Bill Murray. Produced by Lucy Pearl and Tony, Toni, Tone powerhouse Raphael Saadiq too (who really took it back to the good old Motown and rock and roll days with his 'The Way I See It' and 'Stone Rollin'' solo double act), so this is the Christmas of legends. After a terrible term of a couple of years where we lost Prince's, Kings of the world's like Ali and Ziggy's and in return just got a Trump. For at least tonight war is over...if you want it.

Good tidings dear John brings. So get your whole family round the piano before you leave the milk and cookies out for Santa. And don't forget the carrot for Rudolph. The king of R&B kings gives us a cracker as you're in for a yuletide treat with all the turkey and tinsel trimmings. Home for the holidays and live from the Legend living room, for the picture perfect family. Seriously have you seen how cute and exactly like them this couples kids are? Bestill our collective hearts. Coming out the 'Darkness and Light' of his last album, John Stephens' sixth signature is something special as he gets us lifted again like '04. 'Coming Home' like the emotion 'Once Again' of his tribute track to soldiers returning from the frontlines which even struck a chord with this writer when he was living in the cold of Canada a million miles away from the heart of home a decade ago (even that is absolutely nothing compared to those whose service we should pray thanks for now and New Year forever more). The 'All Of Me' singer give us all of him as he now has more than a stocking filler to put next to his classic, career high iconic track and every new married couples first dance since it's 2013 engagement. This album covering Christmas standards and his own new recorded traditions will play for December 25th's to come. But right now as everyone is tweeting Christmas Eve Eve like Phoebe from 'Friends' this is one for your scotch tape and gift tag playlist as you rip off the plastic seal like kids all that wrapping on Christmas morning and see that Santa hat wearing profile on white snow. Like the face you make when you're taking everyones Christmas money. But with good cheer. Here's to the man whose festive feeling, mood music should run like putting Santa's hat in with your whites. Because you best believe this will wash like all those dishes you might find easier to scrub come Boxing Day as you're still singing along into the scourer. The 'Evolver' legend really is evolving like that step away from the piano, Andre 3000 'Green Light' for go classic, game changer which might have even set this very album off back in the day, or his old soul 'Wake Up' collaboration with Jimmy Fallon show and rap band of legends The Roots planting more than a seed of Philadelphia soul. Forget 'Love In The Future'. This is life how it used to be and how we wish come true it still could be right about now.

Signed, sealed and delivered down your chimney like the big fella (no not Shaq! But you should see what that Claus brings kids in gifts each and every year) Legend even brings another to the party in the harmonica of Stevie Wonder as the new most wholesoman man in crossover old soul and pop music brings us a new wonder version of 'What Christmas Means To Me' (or more like him). And keeping it Detroit spinning in Motown with a good King Cole, Rat Pack like twist, John dusts off the legend of the ultimate one Marvin Gaye's 'Purple Snowflakes' left on Berry Gordy's cutting room floor for around 30 years as the First African American EGOT winner (Emmy, Grammy, Oscar, Tony people) reaches for a higher power with the God himself. He even goes into The Jackson's family home for 'Give Love On Christmas Day', before giving more soul power to the 'Please Come Home For Christmas' this lovesick writer was shamefully singing last Christmas, one made 90's famous with Jon Bon Jovi playing MTV video house with the supermodel of supermodels Cindy Crawford. But it's when he carries on timeless tradition for the likes of the ringing 'Silver Bells' or the Nat King roasting of chestnuts on 'The Christmas Song' that this record of 'Christmas Is Here' or 'Merry Christmas Baby' gets classic. But like the 'Have Yourself A Merry Little Christmas' duet with Esperanza Spalding and it's wholesome for the holidays Vevo video with beautiful imagery where Legend even makes ugly sweaters look stylish as GQ F, you haven't heard anything yet on a man who could make this music his new calling card everytime you're writing one come the advent of December. I just want to see him drive home for Christmas and cover 'Silent Night' aswell as Miley Cyrus did for her Murray Christmas. But like 'No Place Like Home' this 'Legendary Christmas' really comes into its own when Legend writes his own dedications with his velvet vocal range below the part in the card that says something saccharine about a Merry Christmas and all the best for 2019. You'll throw another log on the fire and let this family album snow from 'Bring Me Love' to 'Waiting For Christmas'. The inneudo bow laced (c'mon listen to any song about Mommy kissing Santa Claus and see that there is more than one hidden message here) 'Wrap Me Up In Your Love' might just be a new, modern day Christmas classic above the album. Whilst the Saadiq assisted 'Merry, Merry Christmas' is the perfect closer to play us out over the holidays behind the family piano. But speaking of top to toe in tailbacks and red lights all around it's the grand gesture of 'By Christmas Eve' and it's loving lyrics of, "Just hang up the Christmas lights, and I'll do the rest tonight/Just tell the kids I'm coming, I swear that I'll be running/And under the Christmas tree, together yet we will be I promise/I'm gonna walk, if I have to run/I'll stand on the highway and stop someone/I'll cross the deserts and oceans, a river that's frozen/I'll follow the stars just to find where you are/You can count on me/Make a wish, close your eyes, and believe/I'll be home, home, home, home, home by Christmas Eve" that really leaves a lasting impression come the night before, where not even mice of all critters are stirring. All is calm, all is bright. Drop the needle on the record as it scratches that spirits itch and raise your cup of egg nog and drink like the late, great Bernie Mac "before it goes bad". To you and yours happy holidays. A Merry Christmas and a legendary New Year. TIM DAVID HARVEY.

Cracking Tracks: Just take your partner by the hand under the miseltoe and let it play.

REVIEW: SPRINGSTEEN ON BROADWAY

4/5

The Boss Of Broadway.

Trust me. The same guy who two years back spent the best part of an evening from 7pm in an online queue to book a ticket to get in another queue to line-up outside Waterstones in London to meet Bruce Springsteen and get a signed copy of his autobiography 'Born To Run'. Unable to move from my position or page no matter who called. Only to realize that the tickets went two minutes after seven and were already making the rounds on eBay (these things were free...no wonder they call you guys "scalpers") for hundreds and thousands, but no ice cream. And that I should have online sleeping bag got in the queue hours before not actually at seven (Homer Simpson). The same guy who a year before was in yet another queue underneath the Top Of The Rock in New York City for a chance to get tickets to see him on The Jimmy Fallon show for a Late Night with NBC in NYC. Only for the man in charge to count heads all the way to me and then put his arm out in front of my chest like the law of sods and declare, "no more tickets". Only for me to then wait on standby with a group of people talking to some guy and his girl for the best part of a fruitless hour, only for a woman to whisper politely in the squealing (to be fair I would too) girls ear, "I have one spare if you'd like". Really?! I mean should I take her guy for a slice? What are we supposed to do? Only (oh it gets better) to then, pizza in hand walk back to my hotel across from Madison Square Garden (shout-out to the John Hughes aesthetic of the perfect Hotel Pennsylvania) and see that Times Square was cornered off with construction tape, thinking, "sod this for a day in New York! I'll take a detour" (probably ironically via the road of the Walter Kerr Theatre). Only to get back to my 'Home Alone' decor room to switch on the news and see that U2 played a surprise, free gig featuring no other but who? Yep...Bruce Springsteen. So it would come as no surprise that this same Englishman would go all the way to New York to see 'Springsteen On Broadway' and without thinking (I seem to do a lot of that) pick the one time the Boss was taking a week off. But save your chortles. It wouldn't have mattered. As attempting to fly back for a night in N.Y. whilst chasing the King in L.A., the cheapest tickets after the lottery you know I would have lost to that girl were going for seven and a half thousand American (scalpers!). Seven and a half grand?! What is Bruce going to walk me to my seat?! Trust me to try the one week I wasn't remortgaging the house I don't even own. I can't complain though. Thanks to a lovely lady I got to see Springsteen tour the whole stream of 'The River' and even perform 'Santa Claus Is Comin' To Town' (Merry Christmas to you and yours) in the height of a rainy British Summer two years ago. Not to mention I had my own New York Bruce moment almost a decade gone when me and my boy broke the bank to watch Springsteen play with Jon Stewart, Jerry Seinfeld and Tony Bennett people. Actually on Broadway. A night that raised money for wounded soldiers. So those damn scalpers didn't get all our dollars. A vindication after my first Boss experience in London's Hyde Park was ruined by some guy who was singing along (ain't nothing wrong with that but I'm taking like the tonest of tone death pub singing) and doing the guitar bits (yep) on the loudest volume, right down my ear that he may as well have been kissing the lobe (so...what you doing later?! Fancy a pizza?). So I've had my perfect Springsteen in New York moment for a night we shouldn't have even been at. And when way back then Bruce auctioned his signed acoustic guitar off to the rich and famous elite in the crowd who was in the bleachers shouting 20 dollars? Trust me.

We all have our Springsteen story (you only have to ask an Uber driver trust me. It's beautiful) and that's my boring several. But no stories are greater than the ones the best Boss you've ever had (sorry Ryan) tells. And this is what 'Springsteen On Broadway' is all about. Don't worry Bruce isn't getting his acting on. He too as real as it gets for all that play pretend. Even though his cameo in 'High Fidelity' is award worthy. At this point the Oscars would and should probably do a category for all that. But you know the man whose already won one for the 'Streets Of Philadelphia' and fought for one with 'The Wrestler' is going to get a Tony like Danza in the dark for this. And now all of you with even worse luck than me can join me in buying the soundtrack and watching it on Netflix whilst I cry into my ice cream like Bridget Jones. Now who's the one singing along badly? But what else are you going to do alone this winter apart from wrap up in your warmest and snuggle up on the sofa with a duvet ("Ross we're 33. We're not women") when baby it's cold outside and it all gets Netflix and chilly? Hey it's not just writer that's got jokes. And trust me Bruce's are better thankfully. As the American songbook legend proves he's more than a songwriter and all singing storyteller as he stops between tunes and tunes up to crack a few punchlines to his prose. Like back a decade ago on that night with Tony, when the Tony award go getter described this high experience of love he had with a young lady in a park in his youth that felt akin to a fever dream. His stage fright performance with the wrong kind of substance, shall me say not as punctuated as this. "Ah baby. I'm so out of it I have no idea what I'm doing right now" the Boss confesses. To which his muse muses in replying, "I know! (like Monica's Courtney Cox from his iconic 'Dancing' video) you've been eating grass for the last half hour"! There's more gags of this reflective reflex here (even if everytime he mentions the man downstairs he also beats his right side of his chest to put emphasis on where love and making it really come from), which we won't spoil like your dinner if we get anymore down and dirty. Because this stage show and soundtrack accompaniment is something to be seen and heard for the first time like I only wish (*sniff*) I could have live in New York like Saturday night. But now we're all off Broadway on this theatrical (born to) run we can see why one man and a guitar sold out every night in the busiest, most famous city in the world for a full year (minus the week I went) and grossed over a billion dollars (Dr. Evil finger to the lips).

But this nuanced narrative is no joke as the worn blue jeans symbol of the boot-cut worked for American dream mines the depths of depression and secrets of family for a weary heart still hungry in the famine for substance today. This may not be the one, two, three, FOUR Springsteen stadium shouting ask of, "is anybody really alive out there". Although like his arena wrecking ball assaults he punches the clock in almost three hours of runtime. But this utterly intimate theatrical setting of a guitar, stool and workman's set is the closest thing you'll get to Bruce and the rock God he is save jumping over the fence of his ranch like this young man did to the King Elvis Presley, as he stormed the gates of Graceland like the Las Vegas Killers inspired by his heartland music in honoured homage. The portrait he paints with just six strings is poetry, pure and unflinching like the road he's lead in this life off E Street. This is a real Jersey boy staged on Broadway. Forget 'Big Boy's Don't Cry'. They raw reveal every evoking emotion. And the Boss himself talks about how he invented all that 'Jersey Shore' s### too as he gets lude, rude, crude and f###### funny. On a candid affair lifted from the pages of his inspired memoir 'Born To Run' as this theatrical runs showstopping Playbill. One that makes his previous classic VH1 Storytellers segment look like a pamphlet in spine to spine comparison. The rock legend rolls out all his legacy making classics. Like the aforementioned 'Born' or 'Dancing In The Dark'. The 'Tougher Than The Test'/'Brilliant Disguise', 'Tunnel Of Love' duo duet with perfect partner Patti (please let's reunite Julliard classmates and classic 'A Most Violent Year' co-stars Oscar Isaac and Jessica Chastain, the best actor and actress in the game today to play these two). Songs for his mum and dad with soul jerking and bone deep devotion. 'Thunder Road' for Clarence with an inspired interlude that haunts like the Big Man's sax ringing through a Freehold night. 'The Ghost Of Tom Joad' and all the spirits of the lessons of yesterday past that still try to 'Christmas Carol' warn us of the war coming and all we should pay heed to today for a better tomorrow. And of course the original, acoustic realization of what the patriotic 'Born In The U.S.A.' is really all about and what all that means to the wider world from our own picket fences, front lawns. Yes in this Trumped up age of unsocial media and an even less connected sense of humanity right now we need the Boss like the man who shouted that out his car when he drove past Bruce a few weeks after 9/11 (that lead Springsteen to come out of his almost decade drought and come back for the city on his back from the ashes with 'The Rising' (also brought back here) and the rest is second wind, real icon making symbolism and history) to put us to rights. But this night is more personal than political, like it is close quarter vigil, intimate than stadium arcadium. Less wave your cell phones in the air like you just don't care about anyone else's view (thankfully). More that reaching, if you will, human touch. As naked emotionally as the register his high notes really sing and hit on the out of 'Limbo' soundtrack 'Lift Me Up' (an underrated gem in his underrated for its versatility songbook). This is really about Bruce and us. As we travel together on this adventure like companions or roadside warriors as the song this writer wrote in devotion to his hero outside his family, 'Another Round For Me And The Boy From New Jersey'. Sure the songs are what has made him. Even if a refreshingly more relaxed and even swearing like a sailor, Bruce calls B.S. on his songs about working and driving. Since he never held a driving license back then and hasn't held down a Dolly Parton 9 'till 5, Monday 'till Friday 'till now. But it's all the talk between that makes this and makes the scoured the earth, sought after 'Springsteen On Broadway' so much more than just another live show and gig on his ever extended E Street run of a road trip. All of his heart and soul, personally personified on one backstreet stage just left of Times Square, but in his and our shared reality a million miles away from all that earth, electrical entertainment core neon glow. This is the big draw to the core of the Big Apple until the ball drops like Dick Clark on the last day of the calender. This is just the ticket. If only we could have got one. Well...now in your own home you have a front row seat. TIM DAVID HARVEY.

REVIEW: JEFF GOLDBLUM & THE MILDRED SNITZER ORCHESTRA: THE CAPITOL STUDIOS SESSIONS

4/5

Life Finds A Key.

Who's better? This writer started an impromptu, this one or that one, movie star debate game on a wet afternoon in Starbucks yesterday. Pacino or Dr Niro? Stallone or Schwarzenegger? Tom Hanks or Denzel Washington? Julia Roberts or Sandra Bullock? Bill Murray or Jeff Goldblum? Etc, etc. People got involved. Customers. Baristas. It got fun. It got heated. And oh just for the record if of interest. It goes Pacino, Stallone, Hanks (just), Roberts (yeah I've seen 'Gravity', but put the brilliant Bullock in 'Notting Hill's or 'Pretty Woman' and it just ain't the same) and how you gonna even ask me that? Murray or Goldblum? Santori times or "must go faster"? That would be like a mother or father being asked to choose their favourite child (it probably wasn't me). And I couldn't tell you which etcetera was better...sorry. But point is like Michael Jackson or Prince there are no two actors like the oddball beautiful Bill and Jeff. And this year's vocal 'Isle Of Dogs' co-barks are no two the same. These marvellous misfits who in middle-age have found their perfect place in cult legend and iconic popularity are two of the fact that in their own individual inspirations they are each one of a kind. But still these canine character friends share more than a bone and an affinity for the weird and wonderful like they do Wes Anderson. As a matter of fact like Scarlett Johansson or Will Smith before them they've both made music and as of right now cut their own jazz albums. And who else to bring this great genre back to cool, laid back, trumpet blaring life than Jeff? He brings-like he does with everything he does-that effortless, personified 'je ne sais quoi', which we should just fittingly term...'Goldblum'. You know what it is.

The Goldblum standard is here and it glitters like lounge lights on your glass of whiskey, or the sequins of your loves dress. It's little surprise this renaissance man of his own time has made music like this behind the keys. Jeff is jazz. Behind the notes. On his own random tangent that is part of a much grander scheme that all just works in its own wonder of a way. This man's music is no great secret any more either like fellow modern day legend Morgan Freeman's blues bar in New Orleans (which you know this writer is going to try and hit up when he visits Louisiana next week during his tour of the United States). You could imagine him hosting a night like this in his own place every night of the week he wasn't wining and dining with the finest of friends. Ever since appearing on U.K. chatty talk show host Graham Norton's Friday night show in London, backing up soul sensation Gregory Porter on piano so good the 'Nat King Cole And Me' great had to keep up with him, we've wondered and wished upon an album. And now it's here. As in linking up with Mildred Snitzer's outstanding orchestra for some sessions in the La, La, Land, city of stars, L.A.'s iconic Capitol Studios, Goldblum glows. Giving us something even more stunning than the skyscraping concerts some artists do on the top of this Record buildings peak after recording and cutting their own album. And when the offbeat flirt brings a Hollywood host of his famous friends to the end of his piano to play with, this man ad-libs and talks up the in Hollywood heaven crowd in something so rhythmic we even think he could sing over that perfect playing. But he saves that all for the best of the best. As Jeff being Jeff knows and shows that even though he is the center stage it ain't all about him. And in covering some of the greatest standards with his own timeless signature. Jazz is back with Jeff who never left like it was all meant to be. Life really does find a way.

Haharawrahah! Only his iconic 'Jurassic Park' laugh that has turned into everything from a memes and gifs to an incredible YouTube song (that if isn't what plays (with him on piano may I add) for the first dance on my wedding day then frankly I haven't found my one, true love) is missing in this deluxe evening edition delight. Something as legendary as his Astley, Rick rolled, 'Take On Me' take on the turn around vine. His packaged lunchbox table slap. The fact that he's classically said, "must go faster" in two iconic, blockbuster movies. C'mon! You know which ones, "thank you very much". Or that iconic, shirt open Dr. Ian Malcolm pose that has turned into a box changing pop viynl, works of great Instagram renaissance art and a "must go faster" hallmark headlined, valentine's card for one of the ex Mrs. Tim Harvey's. Not to forget a larger than life sized statue that for a day in London dwarfed the Big Smile's legendary Tower Bridge. But fear not his version of his "in 'Jurassic Park', scary in the dark" made-up lyrics to the John Williams classic theme is here like being scared you're going to be eaten. In instantly recognisable, its own legend, sing-a-long glory, ad-libbed (as good as his off-script, improvised, cheque paying 'Ragnarok' riffs in 'Thor' three) with Sarah Silverman. Yes that's right. Sarah Silverman. The comedian whose just got her own star on the Hollywood Walk of Fame and is actually an amazing actress if you didn't know (see her serve herself in 'Battle Of The Sexes'...no I mean really see it). Who according to Jeff that night (and some lady she coincidentally met in the lavatory) has a look of Amy Winehouse about her. Here getting her Tony Bennett and Lady Gaga on with Jeff, cheek-to-cheek with the hilarious, classic off the cuff, linked up rendition of 'Me And My Shadow' and the inspired interlude introduction beforehand. Where he mid-song even enquires about the safety of leaving butter (I can't believe it) out the fridge overnight for the sake of spreadable softness. I'm with you on that one Jeff (can I call you Jeff?)...butter side down. That's the stuff of dreams that speaks to me right there. Never since Beethoven have we witnessed classical compositions such as this...and the funny thing is, you think I'm joking. Gentlemanly flirting up a storm for show with Haaayley Reeeinhart for Nina Simone's simmering 'My Baby Just Cares For Me' too, everyone's favourite has it all. Icon Imelda May smouldering on the warm 'Come On-A-My House' and the 'Straighten Up And Fly Right' standard. Whilst the collar smart Goldblum loosens up and takes off his cool as he lets loose like his GQ styled tie. His keys are Alicia accomplished for all the songs in the key of Mr. "Life Finds A Way'. From the off Broadway, timeless magic of New York in the fall with, 'Nostalgia In Times Square'. All the way to the exotic evoking 'Canteloupe Island', via a 'Caravan' of love. Reworking knockout classics like 'Don't Mess With Mister T' perfectly and 'Gee Baby (Ain't I Good To You)' (YES!) perfectly this is something we're glad entered his mind. Jeff gives us something that makes our wish come true of wanting to know what it feels like to be free. This man is the definition of that with his definitive career path. He even lights up the darkness of Dinah Washington's 'This Bitter Earth' (how Max Richter gives this even more shadow for 'Shutter Island' and the haunting 'Handmaid's Tale' break Elizabeth Moss video, walking around the lonely late night streets of Toronto is tortured testament to the songs bruised beauty) like only he can or have right to do without sacrificing the songs soul. Because all joking and fondness aside this is real music and artistry with every intention from Jeff. Who joins dudes with the same name like Bridges in bridging the Hollywood gap between movies and music. Showing true showmen and the greatest of them (oh hey Hugh) can do both seamlessly and perfectly. This refreshing sip of jazz bar beauty may be the best thing you've heard this year since, "did you hear Jeff Goldblum makes jazz music? Imagine if he made an album"! Your welcome. And we're not worthy Grandmaster maestro. Must go again. TIM DAVID HARVEY.

On Repeat: 'My Baby Just Cares For Me', 'Me And My Shadow', 'Nostalgia Of New York'.

PLAYLIST REVIEW: RM-MONO

4/5

Mono's Tones.

Whoopi Goldberg literally just gave BTS the very shirt off her back. The K-Pop sensation that have even made Psy's 'Gangnam' last season's style are in London on the BBC's Friday night talk show hosted by the hilarious and heartfelt Graham Norton. And everyone in attendance are screaming in a One Direction unison that points to the nostalgia of the first time four fabulous lads from Liverpool graced the stage of the Ed Sullivan show. These 'Idols' have just performed their big hit with showstopping chereography. Without needing superstar guest feature queen Nicki Minaj. And now they're all on the couch with 'Gone Girl's' Rosamund Pike and more of Hollywood's elite. Talking so much in near perfect translation that there isn't even time for Norton's sought after, popular red-chair flipping segment. Because nobody wants to see this squad walk. Everyone is in their gang, in soldier march, army unison. As Harry Connick Jr. syly snaps a selfie. Whilst 'Fifty Shades Of Grey' leading man heartthrob Jamie Dornan asks if he can be a new member of the group as Jimin is at home resting off a dance related injury. There may not be seven of them tonight, but there's a billion served worldwide for what may just become the best boy band of all-time. Giving both style and more substance to the fast food world of pop music in this Spotify digital age. Fan boys and girls across the globe want these guys album for real. There's a reason they are more than the best boy band since the Backstreet Boys and it has nothing to do with just how good they look or sing. These guys are on the cover of TIME right now. And they even spoke at the United Nations. You ever seen Justin Bieber do that?! It's because their genuine and sincere 'Love Yourself' message from the album of the same name is more like a movement that has given them this legion of real world followers. Watching and mimicking their every move like a dance, far more than the tomorrow too late, too gone, Twitter trending age. 'Sister Act' legend Goldberg was so moved by this chorus she unbuttoned her shirt that matched the beauty of the boys kimono's and handed it to the grateful recipients. Explaining that the piece of clothing-her own design-was all about movement and people. Giving it in heartfelt thanks to all the joy these boys are bringing to the world. Because after all the only way to erase pain is with joy. The only way to turn hate is with love. Which she saw in these young men in this very moment she became the newest member of the BTS army.

Bang Tan Boys leader RM may just be the most famous face in the world right now. The leading man of everything entertainment. Don't believe us? Just watch! It was once Bruno Mars uptown, but now it's this young soul from Seoul. Not new Los Angeles Lakers franchise superstar King LeBron James. Or Hollywood and 'Atlanta' movie and music star Donald Glover AKA Childish Gambino. Because this is more than America. Dreams aren't just made in California anymore. They belong just as Far East as they do in the wild west. And whether it be the neon temple culture of Japan, from the modern all the way back to the traditional. Or the 'Crazy Rich Asian' money of China and this year's biggest movie. Their influence is as present as it is correct. It's not all about the United States. For every comic-book there's manga. For ever Pixar, anime from studios like Ghibli. And now this young man and his squad are waving the flag for South Korea in a country that gives us hit movies Hollywood has no need or even right to remake. Like the zombie horror whose drama could actually move you to tears in 'Train To Busan' (and it's amazing animated prequel 'Seoul Station'). Or ones that could take on both 'Atomic Blonde' and 'John Wick' combined in 'The Villainess' (there's your crossover right there). Meaning so much for a country who has so much against it. From their neighbours in the oppressing North. To the suicide rates in the South. Especially amongst youngsters and especially amongst young males that has reached epidemic levels of more than a national concern. We all tragically remember what happened at the end of last year to the late, great Jonghyun of Shinee. This is for him. My friend. And everyone we have lost to depression. RM and BTS teaching and telling the soul of their native South Korea and every boy and girl around the world to love themselves and keep doing so is exactly what this world falling to negativity like a Trump tweet needs right now and forever more. These are the most powerful men in the world. More than entertainment. As they have the right to practice what they preach in a political arena. But this isn't that. No politics as usual. This is all about the personal. And helping the public regain purpose in their private lives. Without shame or blame. Showing joy comes with pain. Something beautiful comes out of struggle. And light comes out of the shadows. Showing we can all rise from the trap of the four walls of our mind. Or the thoughts of the world in kind. You can call him artist. You can call him idol.

But don't point fingers. The reserved, but most outspoken leader of BTS-especially on a global PR scale-may have billions screaming his initials with BTS, but sometimes he goes it alone. And this former 'Rap Monster' RM follows his first name self-titled mixtape with a new collection he calls a playlist like fellow rapper from Canada, Drake's 'More Life's and all that Spotify streaming 'Passionfruit'. This 'Mono' music (with white paper, pencil scrawled, 'If You're Reading This It's Too Late' like artwork) and it's seven seal tracks, sinning in regards to the middle of the night awake, headphones on, electro-pop, atmospheric dream, are a whole different tone than BTS' candy coated chart collection. Yet from artistic videos to poetic interludes and messages not so subtely hidden, these beautiful boys have always hinted towards this depth of character and lyrical dexterity. Truly facing himself as the man in the mirror of the whole world watching, RM bares to us his most personal and profound project yet. Alongside American greats like capital lyricist, Washington's Wale he professed his skills as a true hip-hop star on his first tape. But this playlist punctuates not only his pain, but his power drawn from all that and all ours too as he encompasses us all. If anyone doubted BTS or K-Pop wasn't real music with real feeling then they won't now. From South Korea to Japan and the rest of this former MTV generation planet. This is real music like O.D. Harry Styles' solo songwriting album people couldn't believe was him like it wasn't butter. The 'mono.' opener 'Tokyo' is the new anthem for the metropolis of the Far East and the neon illuminated world like Harajuku fashion. Bathed in bright light, big city loneliness like people watching at the crossing of Shibuya's iconic Starbucks. Singing, "Life is a word that sometimes you cannot say/And ash is a thing that someday we all should be/When tomorrow comes/How different it's going to be/Why do love and hate sound just the same to me?" And even in Korean none of the hurt or humility in RM's words are lost in translation. Especially when he collaborates with English synth duo big in Japan and all of Asia, Honne for his hometown 'Seoul' and it's lavishing lyrical video. Mapping the city streets of the South Korean capital to Honne's unmistakable produced sound. From the skyscrapers of a bright day, to the twinkling lights loneliness of night. As R.M. seeing love and hate as the same, mirrors 'I love you so' light and dark "I love you Seoul/I hate you Seoul" musings to a video that's camera work turns the city upside down on itself for 'Tron' like neon time lapse tunnels, to tableaus of sea sky beautiful blue. "This city's harmony, it’s so familiar to me" he laments over this legendary landscape. That all comes to a parked car, convenience store head as our narrator, staying up on a late night drive way past seven or eleven tells us he's leaving like he's living. Surprised? Dont be. Besides 'Everythingoes' like he says on the electronic, euphoric standout he warns with wisdom behind the Maxwell and Musiq Soulchild styled, titled tracks. Whilst trying to reassure us amongst our troubles and struggles, 'uhGood'. And then woefully waving a ''badbye' to a lost love he wishes would "kill (him) softly" like a timeless Fugees song. But there's light in the phoenix rise, "We gotta dance in the rain/Dance in the pain" of the night is darkest before the dawn 'Moonchild'. Like the young man he was watching from his window as he told the United Nations in his stirring speech. But on his windows pain all you have to do is hear and see the closer 'Forever Rain' on his glass pane to feel his so emphatically and empathetically. Hiding under his umbrella, whilst people are minding theirs. Screaming out his hurt, "When it rains I/Get a little feeling that I do have a friend/Keeps knocking on my windows/Asks me if I’m doing well/And I answer, I’m still a hostage of life/I don’t live because I can’t die/But I’m chained to something". In all its depth of darkness, but influential introspection for a modern world, head down, lost in their phones. Like under the umbrella of a scrolling downpour. Accompanied by the amazing, beautiful, black and white animation on a 'The House Of Small Cubes' heartbreaking scale for the music video. Which may win no Oscars, but could sure use a Grammy. If these guys get ignored at the next ceremony than the industry really doesn't know music like that ignorant drivel they said about women this year that doesn't even bare repeating. This is the most substance pop has had since Sia put on a blonde wig, turned around and sung to the chandeliers. And that ruling Australian wasn't American too. RM is clearly a man still dreaming awake, whilst we are in R.E.M. like 'Everybody Hurts'. Wishing he could sleep off the pain. But in this 'Mono' mood there's honest beauty in his vulnerability. Flesh and blood turning hurt into art. And baring his soul he shows so much heart in return over these beats. Now doesn't that sound like love to yourselves? TIM DAVID HARVEY.

On Repeat: 'Seoul', 'Tokyo', 'Forever Rain'.

REVIEW: CHRIS(TINE) & THE QUEENS-CHRIS

4/5

J'Adore Chris.

Seamlessly blending native French and our own English in the same sentences of the same lines of the same hook gives Chris(tine) and her Queens one of the greatest gifts in modern pop music. Like the ability to see Sia's pain in how she instrumentally pitches her voice. Or how Taylor Swift can turn a broken heart into a hit record. But even from a Japanese Breakfast to a London Underground there is no electro, experimental synth-pop quite like Christine and the Queens. Hearing Héloïse Letissier levitate and translate between music like she did 808 samples of Kanye West's 'Heartless' interpolated with Christophe's 'Les Paradis Perdus' is as pleasant a surprise as seeing the iron lady of the Eiffel Tower in a golden Paris night light up like a thousand flashbulbs that will end up taking that same picture. But this pansexual 30 year old from Nantes, France is mixing nothing up as she truly finds herself in 'Chris'. The formidable follow-up to the beautiful breakthrough, 'Chaleur Humaine' sees the gender fluid artist crop her locks, slick them back and scrawl out the 'tine' in her name to just be Chris and the Queens. Leaving the only confusion being to whether some of the lyrics to lead, lead strong single 'Girlfriend' are French or "pardon my French". But Chris saves the swearing for in Spanish in a world and time were we have gone from having international fans sing along to songs from the Beatles in perfect English, without translation. To us lost in singing the foreign phrases from international artists like uber famous, South Korean boy band BTS in the same word for word. And like Cash or King Cole making albums in different languages for different countries, the queens' 'Chris' gives us a French and English version of the same record. In a today where language like gender constructs just don't matter.

We've waited a long time to hear from something just like this. And going back to the future in the 80's synth of her 'Girlfriend', Chris sings and swings on a wrecking ball, "I'm gone in a flick, but back in a second/With salted skin, rash for no reason/Boys are loading their arms, girls gasp with envy/F-f-for whom are they mimicking endlessly?/Same old sadness in small lumps on my jaw/For lusting after is the usual freak show/May your girl come, birdie die under this spur/F-f-f-fingers angrily sunk on the jugular, then girlfriend" for all the pop princesses to take note. "Touché" indeed. This album also contains '5 Dollars'. No not some money back in the form of honest Abe, but another stellar single that goes for the scores, singing, "You’re eager and unashamed/I grieve by dying every night baby/Prove them wrong when you get 5 dollars" and dressing up another classic visual for the S&M inspired music video. But forget a safe word, things get real personal and worth more on 'Doesn't Matter (Voleur de Soleil)' with lasting lines like, "Lingering on when they kiss/Leaning towards this abyss/And of lately the only people I can stare/Are the unraveled ones with their hands laying bare" and the potently powerful, "Rage as a fabric, through and through/Like that gaze they used to do/'Cause the suicidal thoughts that are still in my head/Give her that awful side-smile when I lay in bed" showing so much substance beneath the synth style. As Chris takes depression and anger to personal task. Whilst the French 'La Marcheuse' gives even deeper meaning, singing, "J’vais marcher très longtemps/Et je m’en vais trouver les poings qui redessinent/J’vais chercher éhontément/Les coups portés sur moi/La violence facile". Even lost in translation you hear and feel every emotion as it gets into the blood in your blue veins.

Yet for those about to ask Google, we'll save the breath that does the effort of just keying it in as those lyrics mean, "I'm going to walk all the time/And I'm going to force the aggressive looks/I always go in front/I'm waiting to find/Easy violence" and literally so much more. There's depth to the decadence and mainstream defiance as Chris(tine) and the Queens show us that popular music need not be the bubblegum saccharine of those who would rather live their lives for mainstream acceptance, rather than their own individual stance, head and shoulders (word to the shampoo). As a matter of fact the only artist that stands a frame above this is the 'Masseducation' of miss St. Vincent. But with this soaring sophomore, statement album after a definitive debut, when these queens hit trip we'll know whether they become shooting stars sky-rocketing before they flame out. Or legends of music that will forever be timeless. Tracks like the outstanding opener in LCD Soundsystem like electro-funk reply, 'Comme Si' and the domestic violence cautionary tale of 'The Walker' further this notion. Whilst 'Goya Soda' fizzes and pops like ring pulls on shaken cans. But the worn word to the wise of 'Damn (What Must A Woman Do)' brings pure heartbreak over heart strings, pitching, "Let me mourn/The one that corrupted all/How cold she doesn't call, no calls, no calls/Just like before/I'm worn out but I want some more/Naked with opened door/Encore, encore". Stronger than the sweet soul of 'Humaine' and toned up with Cameo and Michael Jackson 'Dangerous' influences from 'What's-Her-Face' to 'Feels So Good'. There are sharper edges here like 'Make Some Sense' to the bolder 'The Stranger' in an album full of instant classics that become as readily recognisable as something you've heard for years by the second chorus. The raw pansexual energy, lust and sweat of this set is stunning. And much more freeing with purity in equality. As this queen of hearts becomes Chris, not only are we given one of the greatest albums of the year, but also one of the most defiant of the decade and most meaningful of her moment in the mainstream. An explosion of feminism, masculinity, sexuality and vulnerability that will touch you body and soul, skin to skin. Feel it. TIM DAVID HARVEY.

On Repeat: 'Girlfriend', 'Comme Si', La Marcheuse'.