Adele - 30

The US sales are immense but the UK market is truly dead. next year without Adele and ABBA in Q4 it's gonna collapse entirely 🥴
 
I also feel that people have started turning against her. I'm hearing lots of chatter, but less worship. perhaps it's a good thing for her, I think this God complex thing everyone projects on Adele has probably been a problem for her. Unleash the artiste!

the final thing I will say is that her voice sounds exquisite on this record, but at that ITV show it sounded super tired. like, giving me reduced vocal range, scratchy 99/01 Mariahisms.
 
I think younger people are probably tiring of her, but I don’t think older people are.
 
Jark said:
The US sales are immense but the UK market is truly dead. next year without Adele and ABBA in Q4 it's gonna collapse entirely 🥴
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Maybe she isn’t quite fun (for Europe!) enough this time around?
 
Jark said:
I also feel that people have started turning against her. I'm hearing lots of chatter, but less worship. perhaps it's a good thing for her, I think this God complex thing everyone projects on Adele has probably been a problem for her. Unleash the artiste!

the final thing I will say is that her voice sounds exquisite on this record, but at that ITV show it sounded super tired. like, giving me reduced vocal range, scratchy 99/01 Mariahisms.
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There's definitely less goodwill this time around. The reaction to the single was telling enough and I think did the album a disservice. It was going to be massive whatever happened, so taking a chance with the first release from it would have been a bolder move.

She had problems with her voice last time out resulting in the cancellation of those 2 (TWO!) gigs at Wembley STADIUM.
 
I think when an artist reaches these stratospheric levels this will always happen - they get so big and 'everywhere' that they become divisive. The lead single didn't have that 'Hello' statement about it, but the fact that its hung around at the top tells me people grew to like it and kept playing it?

I have not listened to the ALBAM in full yet but the reviews and people that have listened to it have said its more experimental and progressive, so a lot of people will be disappointing there isn't an album of Hello's or Someone Like You's but I think she's made the right decision with this ALBAM. Judging by the ITV Audience With reaction there seemed to be huge good will still. I can see the comments on facebook articles she's very decisive though, but I expected that.
 
She's never going to go properly interesting or progressive until the sales drop off. Obviously we're seeing the start of that now, but with the state of the market I suspect she'll still face pressure for more of the same next time around.

Perhaps the OCC will just tinker with the ratios to make streaming count for more 'sales'. In fact that HAS changed since the peak of Sheeran's '÷', hasn't it?
 
I don't think it's fair to imply she's on a Westlife style churn of cynically doing the same old shit until the world tires of it. I think she just makes the music she wants to make, and the music she likes to make is bluesy RnB/Soul stuff.

I think she's more likely to be a Sade type who manages to retain a dedicated fanbase by taking long breaks but never dramatically evolving her sound.
 
Finally listened to this at the weekend. So samey, so dreary, very difficult to tell one track from the other. The songs are dull, boring, too long and over produced. It seems like she's trying too hard to do too much with her voice in each song and sometimes even a single line in a song. Her best songs from the past are fundamentally very simple. 6 years to serve up this? I'm enjoying the Brits starting to turn on her.

Also, I wish she would stfu about her divorce. You're not the first person to get divorced love and you've spent this "tough time" not even having to work. You chose to marry that ugly prick 15 years your elder. While we're on it, I'm pretty sure her son will be able to get over it considering he lives the life of luxury and wont have to work a day in his life.
 
Nowoco said:
Finally listened to this at the weekend. So samey, so dreary, very difficult to tell one track from the other.
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the first 8 songs are all dramatically different from each other! what on earth are you talking about?
 
Nowoco said:
Also, I wish she would stfu about her divorce. You're not the first person to get divorced love and you've spent this "tough time" not even having to work. You chose to marry that ugly prick 15 years your elder. While we're on it, I'm pretty sure her son will be able to get over it considering he lives the life of luxury and wont have to work a day in his life.
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although perhaps no surprise that even the slightest semblance of nuance might be lost on somebody with this worldview 😇
 
Jark said:
the first 8 songs are all dramatically different from each other! what on earth are you talking about?
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It's push to say any two Adele songs are "dramatically different". Nothing stood out and I couldnt remember much about any of them or was in a rush to hear them again. It was just one long dreary haze. This was absolutely not a problem on 19 or 21.

I like My Little Love, that's about it.
 
Tisch said:
It's true, rich people don't have feelings! :o
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It's not that, its that she says this album is her way of explaining her divorce to her son. Funny because I've read there are millions of divorces every year but most parents would simply sit their child down, if at all, and explain it to them privately. Not do it through the medium of the biggest record of the year.

I liked Adele but this version, magazine photoshoots, Oprah interviews, sound bites every day, arrogance, Miss Hollywood, omnipresent is irritating as hell and her music isnt backing it up. I thought 25 was utterly forgettable too.
 
I don't love everything but I've decided this album is MUCH better than 25. I'd probably say


21
30
19
25
 
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Rita said:
That looks very impressive, but I am well out of touch with sales figures these days. Is that still amazing in this climate?
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yes very

people are mostly comparing to Adele's other releases, which is a bit unfair. By today's standards they are incredible stats. As KC said, they would be big numbers at any time in history. Her own benchmarks are just so high.
 
VoR said:
I think she's more likely to be a Sade type who manages to retain a dedicated fanbase by taking long breaks but never dramatically evolving her sound.
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I'd find that so frustrating. She's ended up as big as she is because of the occasional curveballs in things like Rolling In The Deep. If she just carries on doing dreary fucking ballads for the rest of her life I'd be very disappointed. Oh My God is basically the only thing worth listening to on this one that isn't the same old shit.
 
Penelope said:
I'd find that so frustrating. She's ended up as big as she is because of the occasional curveballs in things like Rolling In The Deep. If she just carries on doing dreary fucking ballads for the rest of her life I'd be very disappointed. Oh My God is basically the only thing worth listening to on this one that isn't the same old shit.
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To be fair, that was my first reaction too, but on further listening and seeing a couple of live versions, the “classic soul” songs, which she also quite well known for, have taken on a new turn this album. I do sense the growth she keeps talking about. Hold On and Love Is A Game have a maturity I haven’t seen before. The production to me was fairly brave in its subtlety - 6 minute epics that don’t kick in for the first 3 minutes is not the work of a standard pop singer.

I means she’s gone backward in order to go forward, she hasn’t broken new ground. I also think she could have pushed further. Given the links a nice barnstormer evoking Isley Brothers or Sly & The Family Stone would have kicked the album up a huge notch, but fair’s fair. She’s the most over analysed artist on the planet and she didn’t completely fuck it up.
 
funky said:
To be fair, that was my first reaction too, but on further listening and seeing a couple of live versions, the “classic soul” songs, which she also quite well known for, have taken on a new turn this album. I do sense the growth she keeps talking about. Hold On and Love Is A Game have a maturity I haven’t seen before. The production to me was fairly brave in its subtlety - 6 minute epics that don’t kick in for the first 3 minutes is not the work of a standard pop singer.

I means she’s gone backward in order to go forward, she hasn’t broken new ground. I also think she could have pushed further. Given the links a nice barnstormer evoking Isley Brothers or Sly & The Family Stone would have kicked the album up a huge notch, but fair’s fair. She’s the most over analysed artist on the planet and she didn’t completely fuck it up.
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Hmm. I'll give it another chance.
 
She'll be doing a Vegas residency instead of a tour then.

www.bbc.co.uk

Adele announces Las Vegas residency

The singer will perform at Caesars Palace Hotel, with shows running from 21 January next year.
www.bbc.co.uk

Probably wise if covid's still making its way around. And I feel like the last tour exhausted her and her voice and she needed a lot of recuperation along the way. I think a residency suits her better.
 
funky said:
To be fair, that was my first reaction too, but on further listening and seeing a couple of live versions, the “classic soul” songs, which she also quite well known for, have taken on a new turn this album. I do sense the growth she keeps talking about. Hold On and Love Is A Game have a maturity I haven’t seen before. The production to me was fairly brave in its subtlety - 6 minute epics that don’t kick in for the first 3 minutes is not the work of a standard pop singer.

I means she’s gone backward in order to go forward, she hasn’t broken new ground. I also think she could have pushed further. Given the links a nice barnstormer evoking Isley Brothers or Sly & The Family Stone would have kicked the album up a huge notch, but fair’s fair. She’s the most over analysed artist on the planet and she didn’t completely fuck it up.
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I don't trust the EARS of anyone who claims this album is "all dreary" or "the same old shit" when it's such a departure from the standard issue balladry of 25. and a lot of it is FUN. and yes she's paying homage to more of influencers and widening the musical sandbox she's playing in. the idea that Can I Get It (a great banger, but also the most straightforward pop song here) is the only fun track is absurd.

All Night Parking is super playful for one. Oh My God is serving left field banger (and the adlibs!). I Drink Wine and Love Is a Game are throwback soul produced with an exquisitely light touch that radiates effortless warmth in a way her songs rarely have until now. I mean what do these BITCHES actually WANT?
 
Adele knows her audience too. There's no point moaning about her music and then saying she's not for me in the same breath. She already knows it.

"Why would I go on tiktok? My audience isn't on there. It's their parents who listen to my music."

Queen of self awareness!
 
Suomi said:
I was enjoying Can I Get It until someone came in and said it sounded like Tom’s Diner
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Yeah totally noticed that the first time I heard it. It's still in the top 3 best songs on the album though. But most of the album is really not for me to be honest.
 
Typical me being here for Adele's flop era. I didn't fucks with 25 but I can't get enough of Dirty 30. Who knew that Wellness Queen Adele was the icon I had been waiting for all year.
 
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