Jessie Ware - Live In Sydney

This is going to be a short review because there are only so many ways you can say - she looked glamorous, sounded brilliant and made amazing use of back-lighting. It's strange how seeing an artist live can completely change your opinion of them and their music. I've always liked Jessie Ware and included Devotion on my best albums of 2012 list but I thought of her as a niche diva. The kinda sophisticated lady you play when you're trying to impress someone or slightly buzzed at 3am. In my mind, she was the second-coming of Sade. Which is a great compliment but an indication that her music might not be best fit for an intimate venue - located above a gay bar, no less.

But Jessie proved me wrong. Her one hour set was positively dripping in sass. She took the odd moment to indulge her jazzy, low-key diva leanings but most of the show was funk-heavy and had the crowd shuffling as much as you can in a room squeezed full of hipsters. From the very first song, a soulful and earthy rendition of "Devotion", it was instantly apparent that the Brit's voice is an instrument of rare quality. She sounded immaculate and gave the material a warmth missing from her album. "Still Love Me" sounded like a different track altogether and "No To Love" was a goosebump-inducing showstopper.

As much I loved those moments, the highlights - for me - were the upbeat songs. "Sweet Talk" is such a slinky anthem. It reminds me of something a Prince protegee might have recorded in the '80s. Equally amazing was "Running" - surely one of the most underrated anthems of 2012. That was a television advertisement away from being massive. And let's not forget my favourite Jessie song, "Wildest Moments". It was worth a trip to the Beresford just to hear that triumphant tune. The rising star promised to return to Australia soon with a bigger show. I'll be there, front and centre.

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Leona Lewis In Good Song Shocker

I don't have a lot of time for Leona Lewis. She is a gifted vocalist but her complete and utter lack of charisma makes her a terrible pop star. Apart from curing insomnia and making bookish girls feel better about themselves, the X Factor winner has struggled to carve out her own niche. There was a time when I thought she might turn it around - "Collide" is an amazing dance record - but Glassheart turned out to be more of the same rubbish - albeit with a couple of exceptions. As I mentioned in my review, the title track is a triumph and "Lovebird" is the closest Leona will ever get to recapturing her "Bleeding Love" glory.

Penned by Bonnie McKee and Dr. Luke, "Lovebird" is one of the prettiest mid-tempo ballads you will hear in 2012. This is an example of playing to Leona's strengths (ie. her voice) without aging her 20 years with tired production. I love the soaring chorus and stupid, metaphor-stretching lyrics. It will be interesting to see how this does on the charts. A couple of years ago, "Lovebird" would have been massive but Leona is pretty much obsolete now - so who knows? The video (below) is an even cheaper version of Kylie's "I Believe In You", so I don't know - or care - if that will help or hinder her.

Get ready to power grab for your life!

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A*M*E* & The Best Debut Single Of 2012

A couple of months ago Idolator asked me to pull together a list of women on the cusp of pop stardom and the inclusion of A*M*E (pronounced Amy) felt like a no-brainer. The 17-year-old Sierra Leone-born, South London-based diva already has an army of die-hard fans thanks to killer buzz singles like "Find A Boy" and "City Lights" but even I wasn't expecting her official debut to be this good. In fact, it's no exaggeration to call "Play The Game Boy" one of 2012's best singles. After dabbling in '90s beats and Minaj-lite hip-hop, A*M*E turns to the '80s and leaves the rest of the game in her wake.

It's hard to describe what sets this tune apart from other '80s-inspired electro-offerings. I could write about the fabulous Pointer Sisters vibe or A*M*E's ridiculously cute rap but that wouldn't do the song justice. "Play The Game Boy" captures lightning in a jar. The teenager brings a fresh perspective to the genre - much like Robyn did on her seminal 2005 album. It shouldn't work but it does and I'm grateful. The same goes for the colourful video which plays like a cross between Mimi's "Up Out My Face" and the latest from your K-Pop fave. Watch in awe (below) as A*M*E lays the foundation for a gigantic 2013.

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Bat For Lashes Returns With Laura

Bat For Lashes is probably my favourite clinically depressed indie-pop diva. Two Suns is still my preferred choice of listening material when I'm in a mood - so basically every day this year - and I have no hestitation ranking that album's lead single as one of the best pop songs of all time. And while her new single "Laura" doesn't quite reach the ominous heights of "Daniel", it's a hauntingly beautiful piece of music. The first taste of Natasha Khan's (her real name) third album is a grim piano ballad with typically poetic/depressing lyrics and the kind of emotion-packed vocal that rips your heart right out of your chest. I have to admit, I was hoping for more "Daniel"-esque twisted synth-pop this time around but "Laura" is pretty much perfect. There's not a lot to say about the video. It's sad, arty and stars an old tranny. That's a thumbs up from me then. If this is any indication of The Haunted Man (check out a taste of the slightly disturbing cover art above), the album going to be a down-tempo affair best-suited to late-night listening. Bring it on.

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Jessie Ware's Finest Moment

I'm extremely wary of over-hyped English pop divas. For every Ellie Goulding there are ten Little Boots and watching the wannabes crash and burn isn't as much fun as it used to be. The current queen of the British pop scene is a sultry singer called Jessie Ware. All the usual suspects are hailing her as the next big thing but until now her biggest hit - the rather dire "110%" - landed at a Róisín Murphy-tastic #61. So is she any good? Jessie reminds me of a less neurotic Marina & The Diamonds crossed with that crazy-looking chick from Swing Out Sister. Which is a compliment. I think.

Her voice is sublime and she has a great image but the music has been a bit hit and miss for me. I loved the Sade-lite of "Running" but the aforementioned "110%" was the most self-conscious pop experiment of 2012. Happily, she has another winner on her hands with "Wildest Moments". This soft and delicate ballad is the pretty brunette's most appealing single to date. It's also her most commercial. I can imagine this on the radio, connecting with moody teenagers and bored housewives alike. The lyrics are ring true and the production is gorgeous. I even love the video (below). It couldn't be more simple but it works. If Jessie keeps delivering tunes like this, I'm well and truly on board.

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Stooshe Claim The Girlband Throne

Well over a year ago I wrote a post about a British girlband called Stooshe. At the time they were a relatively unknown viral sensation due to an explicit song called "Fuck Me". They continued on their merry way and finally had their long-deserved commercial breakthrough when "Fuck Me" was re-released as "Love Me" in March - complete with a cameo by Travie McCoy. It became a top 5 hit and the lovely ladies are now officially the next big thing. Instead of crumbling under the expectation, they have raised the bar even higher. "Black Heart" is the cutest Motown throwback I've heard in a very long time. I'm completely obsessed with this flawless gem. Everything about it is perfection. Beautifully understated production, killer vocals and one of the best videos of 2012 (below). Even the remixes are amazing! Forget about The Saturdays and those flop Korean girlbands The Prophet is always ranting about. Stooshe is the only bunch of babes you need to have on your radar!

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Cosmo Jarvis - Brilliant New Song & Mesmerising Penis

Cosmo's breakthrough sea shanty "Gay Pirates" was one of last year's best singles. The Brit's experimental approach to music and dark sense of humour, expressed mainly through his twisted videos, established him as one of the rising stars of the alt-pop music scene. Well, the 22-year-old is back with the first taste of his third album and it's another gem. I interviewed Cosmo late last year and he said he was going to steer away from the quirky rap-rock material that drew the critics' wrath on his next opus and he appears to have kept his word. "Love This" sounds like something Jason Mraz would sing if he actually had an opinion. At first listen it's rather gentle, radio-friendly pop-rock but the typically razor-sharp lyrics have Cosmo's sticky fingers all over them. And then there's the video. I'm sorry but I'm mesmerised by the singer's swinging cock. This is like watching the men's 100 metres at the Olympics but at a lower speed! Listen to the pop pioneer's future JJJ hit below.

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Alison Moyet - Is This Love?

Twitter is so amazing. Yesterday I was skimming through my timeline at lunch and saw a typically eccentric tweet from '80s pop star Alison Moyet. Her largely non-sensical ramblings always put a smile on my face and I felt compelled to celebrate her unique brand of crazy with a tweet. Before too long, I was chatting with the iconic diva about booze (turns out she's not a drunk), La Toya (she never went down on her) and tea that tastes like bong water (ask XO London - my local Woolies doesn't stock it).

Alison was a delight and I spent most of the afternoon listening to her Greatest Hits - shamefully all the Moyet magic I have on my iPod. That album is a good listen, beginning to end, but I keep coming back to 1986's "Is This Love?" The Dave Stewart-produced anthem is a perfect piece of synthpop and that glorious chorus still packs a punch. It also brings back a lot of happy memories. My mum was obsessed with the song and even stole Alison's perm from the video. Speaking of which, they really don't make 'em like this anymore.

Why is my new BFF dressed like an extra from Cell Block H? Who came up with the stunning choreography? What's with the wind machine? Brace yourself for the visual splendor of "Is This Love?" below.

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Rebecca Ferguson's Sydney Showcase

I really didn't know what to make of Rebecca Ferguson's debut album when it was released late last year. There was no denying the magnificence of her husky voice but I thought the 2010 X Factor runner-up didn't quite have the material to do her vocal prowess justice. But Heaven has grown on me a lot since then and, after seeing the 25-year-old belt out half the album at the Beresford last night, the penny finally dropped. Rebecca is a superstar. I still think she could do with better material but this girl has something in spades that Leona Lewis and the other pretenders lack. Soul.

After a passionate introduction from Sony head-honcho Denis Handlin, the seductress that corrupted a fifth of One Direction took the stage with her impressive four-piece band. "Glitter & Gold", one of the stand-out tracks on her album, sounded even better live. Rebecca's voice oozed emotion as she made her way through the bittersweet lyrics. This has to be a future single! Next up was "Too Good To Lose" (above), which recently stiffed at #186 on the UK charts. Bec's performance was flawless but this is probably the worst song on Heaven. What were they thinking?

After that came "Shoulder To Shoulder", which is easily my favourite cut from the album. The glamorous mother-of-two gave me chills with her smoky vocals and heartfelt lyrics. Anyone who dismisses Rebecca as another Mother's Day artist needs to download this anthem and take a seat. "Nothing's Real But Love" is just as lovely live as it is on record. I'm so happy to see the song leaping up Australian iTunes. The down-to-earth diva - her casual banter between numbers was adorable - then closed the showcase with "Teach Me How To Be Loved", which she described as the most personal track on Heaven. It's a little gem and showcases Rebecca's potential as a songwriter. I love the sentiment and she injects it with so much heartache. Don't be put off by the X Factor tag. This woman is the real deal.

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Jessie J - Live In Sydney

Last September I asked the million dollar question: How do you solve a problem like Jessie J? Well, six months have passed and I'm still no closer to finding the answer. Last night's gig only served to underline everything that's wrong - and right - about one of pop music's most frustrating artists. The 23-year-old Brit has talent to burn and a pocketful of killer tunes. Unfortunately, she's also prone to over-singing even the most basic lyric and has an Adele-sized chip on her shoulder that grates everyone except the most deluded loyal heartbeat. Speaking of the diva's militant fan army, five and a half thousand of them squeezed into a sold-out Hordern Pavillion to see their icon in action and, if their non-stop crying and screaming was any indication, they had the time of their lives. I wish I could say the same.

Jessie J was almost unrecognisable when she strutted on stage. Looking more like Loose-era Nelly Furtado than the bob-wearing tom-boy of her videos, she burst into a vocally flawless rendition of "Who's Laughing Now". Her band was tight and she seemed a lot less awkward than during her recent award show performances. The high standard continued with a funk-heavy version of "Rainbow" and a reggae-tastic interpretation of "Stand Up", which she mashed with Bob Marley's "One Love". Album fave "Casualty Of Love" was followed by a heartbeat-rousing take on her brilliant top 10 hit "Nobody's Perfect". By this stage I was about shed my apprehensions and join the hyperventilating tweens around me but it was mostly downhill from here.

The remainder of the show was very ballad heavy. "Abracadabra", "L.O.V.E." and "Mama Knows Best" were all excuses for Jessie to practice her vocal scales. Most women don't wail like this during childbirth. It's so off-putting and unnecessary. We all know she can sing. All that trilling just makes her sound insane. The perfect example of how she can ruin excellent material with this annoying approach was "Who You Are", which is actually a beautiful song. Unfortunately, all I heard was frantic screaming and a five minute lecture about loving yourself and not giving into haters. We get it, Jessie. Kids hated you at school. But you're rich and famous now - move on! Happily, the encore was great. "Do It Like A Dude" is such a hot mess and bringing a fan on stage to share vocal duties on "Price Tag" was really cute. She saved "Domino" for last and that already hot track sounded ten times better live. I really want to like this chick. Can she please just get over herself and stop shouting?

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Estelle Finally Has An Amazing Song

And it flopped like everything else she has ever released. Seriously, what is it with this poor bitch? With the exception of the Kanye West-assisted "American Boy", Estelle can't give her shit away. Usually that's because the diva's music is dire middle-of-the-road R&B but "Back To Love" is an absolute anthem. I fucking adore this song. The Jerry 'Wonder' Duplessis-produced (he did Shakira's "Hips Don't Lie and Keri Hilson's amazing "All The Boys") gem covers unusual ground - lyrically and musically.

It's written from the perspective of someone that struggled through a break-up and finally got their groove back. Think of it as an unusually mature memo to an ex saying hey, I'm alright. The production is a breath of fresh air too. I love that it's upbeat and extremely catchy without sounding like a Taio Cruz demo. If only Estelle pursued this kind of material more often she wouldn't be a one hit wonder. We all know she's talented but "All Of Me" is such an uneven bore. I like the next single ("Wonderful Life") but apart from that it's a cure for insomnia.

Anyway, none of that matters at the moment. Just check out her one great contribution to popular music below and get ready to fall in love.

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Rita Ora Makes Rihanna Even More Redundant

Damn. Rita Ora just hammered another nail into the dusty coffin that currently doubles as Rihanna's career. The new and improved Roc Nation poster girl picks up where RiRi left off - you know, when she was still popular - on her UK debut "R.I.P.". The Tinie Tempah-assisted club-banger is a surefire smash with its laser-like synths and epic chorus. While I like her US debut "Party And Bullshit",I think this suits the Kosovo-born beauty's voice better and is distinctly more chart-friendly. It has to be said that Jay Z really likes his divas to have a nasal voice and bad attitude. This is the kind of turbo-charged pop tune that his now obsolete Barbadian cash-cow should be making instead of slow jams about getting her pussy eaten. Is it too late to scrap "Party And Bullshit" in the US and go with this instead? The sooner Rita takes the Roc Nation throne the better. Listen to "R.I.P." below.

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Emeli Sandé Delivers Another Gem

With the exception of Lana Del Rey's exquisite debut album, great new pop music has been hard to find in 2012. But the year's second standout album is only a week away if the three singles from Emeli Sandé's highly-anticipated "Our Version Of Events" are anything to go by. "Heaven" didn't exactly rock my world but "Daddy" is a modern pop classic and I'm head-over-heels in love with "Next To Me". The Scottish diva's third solo release is something of a departure from her previous efforts. It's a pared-back affair dripping in Gospel and heartfelt sentiment that sounds completely out of place on the radio. And I mean that as a compliment.

I'm not sure if "Next To Me" was written about a lover or a religious figure (I suspect the latter) but it's beautiful, pure and joyous - three adjectives I can't remember ever using to describe a pop song before. I'm glad that Emeli is showing off those powerful pipes and recording music that some would describe as uncommercial. I know some people were disappointed by the ballad-heavy album sampler doing the rounds but if the rest of "Our Version Of Events" is anything like this, Queen Del Rey has some stiff competition on her hands. Check out the cheap and cheerful video below.

"Next To Me" is available to download from Australian iTunes now.

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All Hail The Return Of K-Lo!

It's hard to type when you're crying, shaking and masturbating but I'll do my best. My beloved orange goddess is back! Naturally, I'm talking about the former first lady of AATW - the divine Kelly Llorenna. A woman that has clocked up more dance hits (and hours at the tanning salon) than all of your faves put together! This is literally the most exciting thing to happen to me since McDonalds brought back shaker-fries. But where to start? In late 2010 I spoke to the eternally youthful English beauty about her latest project - a band called Freak Asylum. She already had an alter-ego picked out (Lola Leethal) and a video treatment at the ready but almost a year passed and nothing happened. That is until now.

The UK's hottest new band has finally dropped their debut single and it's an absolute winner. "You Better Leave" is a glorious shot of '80s-tinged synth-pop complete with Starship-tastic guitars and the kind of chorus that gets lodged in your head after one listen and refuses to leave. I know that K-Lo gets a bad rap but put your prejudice aside because this is genuinely awesome. And I haven't even started on the video, which features Kelly is various states of undress - her tangerine skin glowing like gold against her PVC fuck-me-boots. It's more than I can handle. Now where can I download this smash before I break YouTube by pressing replay too often?

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Cosmo Jarvis - Sydney Showcase

A rooftop in Neutral Bay is probably the last place I ever expected to hear Cosmo Jarvis belt out "Gay Pirates" but that's what happened on Monday night when he performed a six-song showcase for assorted industry types. Like many people, that quirky anthem was my introduction to the scarily talented 22-year-old but since then I've become a huge fan and was excited about his Sydney debut. It got off to a somewhat unconventional start when the Brit played around with his guitar and spent a couple of minutes sorting out the sound settings before launching into the awesome "Sure As Hell Not Jesus" but those tics, which became more prevalent through the show, are part of Cosmo's raw charm. After a note-perfect rendition of that underrated gem, he moved onto "She Doesn't Mind" - one of my favourites from his excellent sophomore album "Is The World Strange Or Am I Strange?" That song never fails to put a smile on my face with its amusing lyrics and unexpected sweetness.

Next up was a new track called "Train Downtown", which Cosmo explained was set in the future - "not 1000 years but maybe 800". It turned out to be a typically idiosyncratic take on human relationships that rang true for me. I can't wait to hear a studio version. Before moving on to his current single "My Day" (below), the singer/director explained that he usually performs the song with a five-piece band but it still sounded great with the trio present. This guy not only has a deceptively strong voice, he's also an extremely accomplished musician. As he proved by picking up a mandolin to sing "Gay Pirates". I interviewed Cosmo earlier in the day - stay tuned for that - and he confided that he's sick to death of singing his tale of gay love on the high seas but it still gets me every time. He closed with "Blame It On Me", which is perhaps the album's weakest moment but I'm not complaining. Cosmo is the real deal and destined for huge things. Get on board now.

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Sophie Ellis-Bextor - Live In Sydney

Sophie Ellis-Bextor is one of the last of the great originals. While every other diva with a gay following has hopped from trend to trend, the high-cheekboned goddess has stayed true to the refined and distinctly English dance-pop sound that brought her to fame in 2000 as the voice of Spiller's "Groovejet". That, unfortunately, comes with its own set of disadvantages - like having no hits - but it also explains her fiercely loyal fanbase. And gives the beautiful Brit's music a timeless quality that sets her apart. I've been a big fan of Sophie's since the early days and turned into something of a super-stan during the criminally underrated "Shoot From The Hip" era ("Nowhere Without You" is one of my all-time favourite songs). That enthusiasm has wavered somewhat since then but news of her Australian tour of gay nightclubs inspired me to revisit her recent material and after last night's half-hour set, I'm well and truly back on the SEB bandwagon.
The 32-year-old glamour puss pranced onto the tiny Home nightclub stage shortly after one a.m. in a sequined dress and instantly charmed the adoring crowd by saying how happy she was to be back in Australia after a 9 year break. It seemed appropriate then that she kick off with the lead single from her debut album - a Cher cover, no less! - and belted out a slinky rendition of "Take Me Home" (below). Her voice was surprisingly strong and her complete and utter inability to dance allows her to interact with the crowd while singing. So there were a lot of waves and high fives to go around. Next up was "Music Gets The Best Of Me" (has it really been 9 years since that gem conquered radio?), which was followed by last year's #165 UK smash "Not Giving Up On Love". It speaks volumes for Sophie's popularity in the gay community that everyone knew the words and sang along as if it were an "Only Girl (In The World)"-sized hit.
Hearing 2009's epic "Heartbreak (Make Me A Dancer)" live was something of a spiritual experience for me, as was her ridiculously camp version of Baccara's "Yes Sir, I Can Boogie". The chic songbird even swung her hips around in an endearing attempt at choreography! It was fun but unnecessary. I was completely mesmerised by her glamorous presence - there really is something otherworldly about her exquisite angles and luminous skin. A sing-a-long version of "Get Over You" reminded me how much I love her debut and she then brought it right back to the beginning with a glorious take on "Groovejet (If This Ain't Love)". After promising to come back to our shores soon and shaking hands with most of the front row, SEB belted out her signature tune "Murder On The Dancefloor". Time hasn't wearied the brilliance of that song or its composer. Sophie is a veritable pop treasure and deserves better than just being big in Russia. She makes the music world an infinitely classier place and for that I thank her and promise to keep importing her singles and albums from random locations in Eastern Europe.

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