f Shania Twain’s legends slot feels strangely timely given the amount of pop-country currently in the UK singles chart, you could say the same thing about Avril Lavigne’s performance, which seems a little like a legends slot in all but name.
“Here’s to never growing up,” Lavigne sings, as well she might: after briefly dabbling with a more mature sound – moody Christian rock – on 2019’s Head Above Water, she clearly realised which way the wind was blowing and leaned back into her original mall-rat teen-punk persona.
In another example of this year’s weird scheduling choices, she’s on the Other stage at the same time Janelle Monáe is on the Pyramid: the latter plays to a sparse audience, while there’s so many people crammed into the Other stage that stewards are forced to close one entrance to stop anyone else turning up. Inside the audience are, asLavigne professes to enjoy singing along to at the top of her lungs would put it, packt like sardines in a crushd tin box.
Her voice sounds great, though for someone who evidently had such an impact on people’s lives, she’s a coolly professional rather than wildly engaging stage presence. It scarcely matters. Anyone who wasn’t under her spell in the early 00s might be startled at how robust her songs sound 20 years on. They’re exceptionally well written, and moreover there doesn’t seem to be much of a drop off in musical quality when the set veers away from her first two albums into her more recent oeuvre.
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