ARTS & POP CULTURE

WEDNESDAY, JANUARY 18, 2023 tuftsdaily.com

adele’s Vegas residency is sensational

by Ryan Fairfield

Arts Editor

Adele is a pop superstar with immense vocal talent, charisma and the ability to captivate an audience with her profound performances. After almost a year of delays, Adele finally began her Vegas residency at The Colosseum at Caesars Palace in Las Vegas, which she had postponed only 24 hours before the first show. The shows were initially scheduled to occur between January 2022 and April 2022 but were delayed until November 2022 through March 2023, with Adele claiming the show was not ready because it had “no soul in it” and felt disconnected. The artist claimed that postponing the shows was the right decision, and anyone who was lucky enough to attend one of her stellar performances at the Colosseum will likely agree with that statement.

With a 15,700-square-foot stage and more than 4,300 seats, the Colosseum feels large yet intimate, which is a feature Adele worked to take advantage of. Prior to the start of the show, the stage feels small, with just a white piano and LED screens blocking the majority of the stage to create the shape of an “A.” Adele explained early in her show that as she moves through the setlist, the stage grows and the minimalist setup turns into an immersive spectacle.

To the surprise of no one, Adele chose to open with her Grammy-winning hit, “Hello” (2015). As the piano began to play, the 34-year-old artist took the stage, illuminated by the lights behind her. When she belted the first chorus, the black screens across the stage suddenly illuminated, and the venue was greeted with crystal-clear footage of Adele. There was a sense of pride and joy plastered on her face and an enchanting energy that left the audience cheering for many minutes after the conclusion of the first song.

Sticking with the simplicity of piano ballads, Adele continued with “Easy on Me” (2021). She stood in the center of the stage with a simple green backdrop courtesy of the massive screens; her voice was enthralling, with every note sounding better than the last. After the lead singles from “25” (2015) and “30” (2021), she chose to return to her youth with two songs from “21” (2011): “Turning Tables” and “Take it All.”

The bridge of “Turning Tables” left the audience speechless, before they erupted in applause and cheers as she tackled the final chorus, all while the screens allowed the audience to see every ounce of emotion on her face. “Take it All” marked the introduction of Adele’s three backup singers who perfectly complemented her vocals throughout the show and helped elevate each performance they accompanied.

Returning to “30,” Adele’s performance of “I Drink Wine” was the first time the stage began to grow, with some of the screens receding and a chandelier made of wine glasses descending from the ceiling. It was at that moment that the show became a spectacle.

Those who have watched interviews with Adele or who have had the pleasure of attending one of her concerts know that the Tottenham-born singer is known for her fiery, comedic persona, which she brought out at Caesar’s. From cracking jokes, swearing in her iconic accent and little personal anecdotes, Adele connected with the audience, making them cry, laugh and everything in between.

Adele is aware that a majority of her songs have to do with heartbreak and made it a point to include a couple of her upbeat songs to get the audience on their feet. Before moving into the upbeat trifecta of “Water Under the Bridge” (2015), “Send My Love to Your New Lover” (2015) and “Oh My God” (2021), Adele spoke to the crowd and said, “This may be a seated theater, but this is not a seated show. So, if you want to get up now and dance, now’s your chance.” The audience instantly rose from their seats dancing and clapping alongside Adele, with many younger audience members and Adele herself mimicking the Megan Thee Stallion “Body” dance, which someone made a viral trend after they synched it up to “Water Under the Bridge.” With “Oh My God,” the screens played the music video alongside Adele’s performance, making it feel like you were watching an IMAX version of the video.

After about 12 minutes of dancing to her lively, cheerful songs, Adele moved into a remarkable performance of “One and Only” (2011) accompanied by a full band and her incredible backup singers before taking a break to chat with the audience and give out some gifts. With a T-shirt gun in hand, Adele began firing shirts up into the highest mezzanine of the venue. Each shirt was signed, had a handwritten note with it, and 50 dollars to — in the words of Adele herself — “get a Christmas drink on [her.]” The moment was wholesome and proved just how much love Adele has for her fans.

The laughter after the T-shirt gun tangent soon subsided as Adele sat down on the edge of the stage to sing “Don’t You Remember” (2011). The entire performance of this song was breathtaking, with Adele belting every note and capturing the raw pain and anger the song is all about. Doing a complete 180, Adele brought the audience to their feet once again with “Rumour Has It” (2011), a performance that was filled with sass and the best kind of diva energy.

One of the benefits of seeing a show at the Colosseum is that the roughly 110-foot-wide and 34-foot-tall screens make the experience immersive on a level not seen at many other shows. Adele used these to her advantage and her attention to detail and use of the screens were most notable during “Skyfall” (2012), her Oscar-winning song for the James Bond film of the same name, and “Hometown Glory” (2008).

During “Skyfall,” which was the best performance of the night vocally, the screens played clips from the opening credits of the film and clips of Adele herself. As she approached the first chorus, a clip of a dragon setting fire to the screen at the back of the stage played before engulfing the whole screen in fiery images. As the fire blazed on the screen, the screen rose up revealing a full orchestra that was previously hidden behind it. It was a dramatic, sensational moment and perhaps the second-best moment of her residency. “Hometown Glory” similarly featured aesthetic clips of London projected over the orchestra, creating yet another immersive experience.

Without a doubt, the best performance of Adele’s residency was “Set Fire to the Rain” (2011). The song began with the screens completely covering the stage while a video of a raging storm played on them. As the song progressed, the screens retreated to show water falling like rain behind Adele and her white piano. When the song reached the second verse, the piano began to catch on fire, starting small at first before engulfing the piano entirely and spreading to the stage behind her, creating a wall of fire. While belting the last chorus, Adele sang “I set fire to the rain,” perfectly synchronized to bursts of flames behind her. The intense performance was the most memorable, not just because of the flames, but the power of Adele’s voice.

The remainder of the show featured many of Adele’s most popular songs and the most intricate set designs. While singing “When We Were Young” (2015), Adele walked through the crowd before confetti of Polaroids of herself at various ages in her life rained from the ceiling. During “Hold On” (2021), lanterns descended over the crowd and pulsed in sync with the music. “Someone Like You” (2011) featured the screens displaying live footage of the crowd, likely Adele’s way of thanking her audience and saying that she will,“never find someone like” her fans. The second to last song, “Rumour Has It,” once again had the audience up from their seats and dancing, with a surprise twist of the piano coming apart in a cloud of smoke while white confetti, meant to resemble dust, spewed at the audience.

Concluding with her full band, orchestra, pianist and backup singers, Adele performed “Love Is A Game” (2021), the final track on her most recent album, “30.” The performance had the perfect ending, especially when it was paired with the artist disappearing in a cloud of pink confetti at the end of the song.

There is no denying Adele is a once-in-a-lifetime vocalist, but her Colosseum residency proves that she is also an exemplary performer. Her residency is not a concert or promotional tool for her latest albumw but rather a spectacle that tells the story of her life as an artist, featuring songs from all of her albums. Adele is graceful and witty, inspiring and candid, magnificent and unmatched. With a crowd ranging from age 9 to over 70, it is clear her music has touched the lives of a wide range of people — a true testament to her talent.

Adele is pictured performing at The Colosseum at Caesars Palace in Las Vegas.

COURTESY RYAN FAIRFIELD

by Nate Hall

Arts Editor

The setting: the remote Irish island of Inisherin. The year: 1923, near the end of the Irish Civil War. This may not seem like the most exciting backdrop for a film. But Martin McDonagh’s “The Banshees of Inisherin” (2022) is more than meets the eye and certainly worth a watch.

McDonagh began his career as a playwright but has proven himself to be a skilled film director and screenwriter as well. He entered the filmmaking world with “In Bruges” (2008) and struck gold with “Three Billboards Outside Ebbing, Missouri” (2017); he reunited with the stars of his first film, Colin Farrell and Brendan Gleeson, for his latest project. His works are known for their witty dialogue, down-to-earth characters and dark comedy, and “Banshees” is no exception.

The island of Inisherin is fictional — you won’t find it on a map — but McDonagh’s craftsmanship and attention to detail make it feel so real. Life in Inisherin is rural and undemanding; some residents don’t even pay attention to the war that’s happening on the mainland. Instead, the central conflict of the story is the relationship between its main characters, Colm (Gleeson) and Pádraic (Farrell), who spend every afternoon drinking together at the local pub. One day, Colm suddenly decides to end their friendship, telling Pádraic “I just don’t like you no more.” Colm is eager for a change of pace and would rather compose music on his fiddle than waste his hours away with his tiresome friend.

Colm gives Pádraic an unusual ultimatum: every time Pádraic tries to speak to him, Colm will cut off one of his own fingers. Despite Colm’s warnings, Pádraic just can’t stay away from his lifelong friend, and Colm eventually follows through on his promise, hurling a severed finger at Pádraic’s cottage door. As his relationship with Colm deteriorates, Pádraic confides in his sister Siobhan (Kerry Condon), hapless local boy Dominic (Barry Keoghan) and his beloved pet donkey Jenny.

Before Colm gives his dire ultimatum, “Banshees” feels like a comedy with compelling characters and sharp dialogue. Remarkably, the film’s underlying humor doesn’t get lost even as the story takes several dark turns. Farrell gives one of his best performances in this film as the over-eager Pádraic, desperate to find meaning in his life after being shunned by his best friend. Gleeson’s Colm is more of a mystery, a melancholy artist who says just as much in his silences as he does with his words. Condon gives a quietly brilliant performance as Pádraic’s sister Siobhan, who dreams of leaving Inisherin, and Keoghan’s Dominic, an outcast who befriends Pádraic, has some of the funniest lines in the film. A small but crucial role, the titular “banshee” is Mrs. McCormick (Sheila Flitton), a shadowy local widow who foresees death on the idyllic island.

McDonagh’s direction and writing elevate the cast’s performances, making a story that would otherwise seem ridiculous feel so grounded in reality. The beauty of “Banshees” is that it tells a universal story about friendship and loneliness that could exist in any time or place (albeit without the severed fingers). What makes the story so unique is the way it candidly explores toxic masculinity and male friendship: Colm doesn’t see the damage he’s doing to himself or his friend, and Pádraic is willing to go to great lengths to maintain their relationship, even if it means putting others at risk.

Although the film’s leisurely pace and thick Irish accents may not entertain everyone, it’s hard not to appreciate the world McDonagh has created in “Banshees.” The stunning backdrop of Inisherin is enhanced by excellent costumes and production design, and composer Carter Burwell, a frequent collaborator of McDonagh’s, transports audiences to another world with a plucky, unmistakably Irish score.

“Banshees,” which came out in theaters in October, made its streaming debut on HBO Max last month. The film won Best Motion Picture — Musical or Comedy, Best Actor — Musical or Comedy (for Farrell) and Best Screenplay at last week’s Golden Globe Awards, and is gaining steam as awards season continues.

In one of the film’s best scenes, Pádraic confronts Colm at the pub, telling him, “You used to be nice.” In response, Colm says nice people don’t stand the test of time the way artists and musicians do; he wants to accomplish something that people will remember him for decades later. Although there’s no way of knowing whether Colm’s music had the lasting impact he hoped for, McDonagh’s “Banshees” is sure to be remembered for years to come.

The title card for “The Banshees of Inisherin” (2022) is pictured.

VIA WIKIMEDIA COMMONS

seasonal smash: Christmas songs rewrite spotify and Billboard records

by Jack Clohisy

Arts Editor

As Billboard has loosened the reins on its rules over recurrent songs on its Hot 100 list over the past decade, there has been a resurgence of Christmas music dominating the charts. In addition, as the magazine started counting streaming services toward chart points in 2012, older music, specifically holiday hits, has seen great success because of such chart modifications.

Though released back in 1994, it wasn’t until 2019 that Mariah Carey’s hit “All I Want for Christmas Is You” went to No. 1. Every holiday season since, the hit has regained its No. 1 status, spending a combined 12 weeks at the top of the charts. However, Carey is not the only artist to reap the rewards of chart rule adjustments over the past 10 years. Other seasonal hits have been experiencing a renaissance of chart power, and with the added impact of streaming services such as Spotify, songs that are nearly 70 years old are taking up top spots in the United States and breaking records on Spotify. As of now, the 20 songs that received the most single-day streaming totals on Spotify comprise nearly every decade from the 1950s to the 2020s (excluding just the 1970s and 2000s), mostly thanks to Christmas music:

•1950s: “Jingle Bell Rock” (1957), “Rockin’ Around the Christmas Tree” (1958) •1960s: “It’s the Most Wonderful Time of the Year” (1963) •1980s: “Last Christmas” (1984) •1990s: “All I Want for Christmas Is You” (1994) •2010s: Michael Buble’s “It’s Beginning to Look a Lot Like Christmas” (2011), “Santa Tell Me” (2014) •2020s: “drivers license” (2021), “good 4 u” (2021), “Girls Want Girls” (2021), “Easy on Me” (2021), “As It Was” (2022), “Anti-Hero” (2022), “Lavender Haze” (2022), “Snow on the Beach” (2022), “Maroon” (2022), “You’re On Your Own, Kid” (2022), “Midnight Rain” (2022), “Shakira: Bzrp Music Sessions, Vol. 53” (2023), “Flowers” (2023)

As expected, Carey holds the record for the most single-day streams, as her holiday staple amassed over 21 million streams on Dec. 24, 2022. Adele ranks at No. 2 overall with the highest-ranking non-holiday song “Easy on Me” (2021), which achieved over 20 million streams.

Fourteen artists account for these 20 songs, highlighting the sheer range of artists present on the list. Taylor Swift and Olivia Rodrigo are the only two artists with multiple songs in the top 20 with six and two, respectively. It’s notable to mention that the oldest seven tracks in the top 20 are holiday hits, cementing their seasonal recurrence.

So, what does this all mean?

It is unusual for non-holiday tracks to reenter the Hot 100, with the most common exceptions being the death of prominent artists (e.g. Whitney Houston, Prince) and Super Bowl performances (e.g. Lady Gaga). With the seasonal recurrence of holiday hits, there is the potential for major and long-standing chart records to fall. As we move further into the streaming era that started in the early to mid-2010s, the dominance of platforms like Apple Music and Spotify translates to the charts.

Since Carey’s “All I Want for Christmas Is You” has averaged roughly three weeks at No. 1 each season since 2019, she could break the record for most weeks at the summit, which is currently held by Lil Nas X’s “Old Town Road” (2019) featuring Billy Ray Cyrus at 19 cumulative weeks. Carey is no stranger to this record, however, as her duet with Boyz II Men, “One Sweet Day” (1995), held the record for 23 years at 16 weeks (it was tied in 2017 by Luis Fonsi and Daddy Yankee’s “Despacito” featuring Justin Bieber). That would be an incredible feat by the veteran artist, and for her to achieve it, she would need just eight more weeks at the top. In addition, Carey’s grand total of weeks at the top of the Hot 100 across all of her hits would increase to 99, the most for any artist.

As the holiday seasons come and go, it will be interesting to see which hits withstand the test of time and which ones will fade off. If one thing’s for certain, it’s that Mariah Carey will soon reclaim a record no one ever thought she would, and that speaks to her ability to craft timeless classics.Mariah Carey is pictured.