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But it’s the stomp-and-clap hook of “Can I Get It” that feels most unsettling. The Errol Garner-sampling “All Night Parking” is a sumptuous paean to the intoxication of a new relationship. Unlike her previous records, which can be wearisome in excess (all that sadness is a lot to take in, even if it is gorgeously sung), 30 is more diverse in its psychological palette. They’re disquietingly intimate glimpses into the life of a famously private person. Verses are interspersed with teary voice notes she recorded with Angelo at her therapist’s suggestion. Adele admits that “mama’s got a lot to learn” in that low register of hers, like smoke pluming from a lit cigarette perched on an ashtray. It is an unlikely lullaby, a near seven-minute concoction of Seventies groove and heady string arrangements with top notes of R&B. “My Little Love” is the most potent example of that goal. And then devastation.Īdele said she recorded 30 with a hope that it might help her nine-year-old son Angelo understand her divorce from his dad.
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Elsewhere, she laments that “I am my own worst enemy/ Right now I truly hate being me.” She takes a different approach to fellow expert of heartache Taylor Swift who instead wraps real-life details such as a “red scarf” around her songs like a bow in a gift to her fans – but the effect on the listener is the same: emotional connection. “I can’t get no relief, I’m so tired of myself/ I swear I’m dead in the eyes,” she sings on the aptly titled “Cry Your Heart Out”. Adele opening her Notes app at 3am mid-anxiety attack and jotting down whatever comes to mind. They projected human emotions onto the natural world – a shallow valley, a shelter in the rain, the river running nearby where she grew up. Earlier songs spoke in platitudes and broad strokes. Adele has always been forthright – every bad feeling you’ve felt, she has confessed to feeling too – but there is a new immediacy here. Now she’s back and ruminating on divorce – and the start of something new. Across 19, 21 and 25, Adele has demonstrated a knack for explaining our feelings to us. We feel what she feels, and her songs make it clear she feels what we feel too. It’s certainly why 10 million people tuned in to watch her recent sit-down with Oprah. It’s why we got all choked up when she choked up during her 2011 Brits performance. Despite it all – the Grammys, the millions, the mansions – Adele is still the same woman from north London. She’s called Beverly Hills home for years now, but her snack of choice is still a pack of soggy Walkers Ready Salted swimming in Worcestershire sauce.
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She is crass and prone to throwing her head back in an open-throated cackle. In the rare glimpses we do get, we see a celebrity who doesn’t care much for celebrity. The answer perhaps lies in her endearing online presence – no matter how small that presence might be. There’s something else about Adele that makes her so endearing, something that preternatural vocal cords alone can’t explain. But there are many great vocalists out there who don’t attract the same mass adoration. It yawns into unexpected shapes and makes intonation fun. It’s epic without resorting to showy, melismatic affectations. Adele possesses that perfectly imperfect voice, gargantuan and frail all at once. Grounded in pathos, they tend to be handsomely crafted ballads about love and its various agonies – but it’s her vocals that sell them. It’s an alchemy she has honed over 15 years and just three records. She gathers pain – hers and ours – and spins it into songs that go diamond or platinum. Ever since she was discovered aged 18 on Myspace in 2006, the Tottenham-born singer has made weepy, diaristic soul music her métier. No one makes heartbreak as relatable as Adele. Tottenham-born singer releases her first album in six years (Simon Emmett)