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New Moon is nothing if not an international advertisement for the hungry virtues of virginity and young people can’t get enough of it
The Twilight Saga: New Moon
Theatre
A smart, prickly and rewarding view of sexual and emotional confusion
Cock
Restaurants
Kitchen W8 is a bargain for this area, if such sophistication is what you crave
Kitchen W8
Too long and drawn out but very entertaining with excellent special effects
This is a peculiar play and does not work for me. Some of it is very funny but there are real flaws
Alex has a strong powerful voice and was faultless, she is far better now than she was on the X-Factor
London,
John Aizlewood's rating
Reader rating
Here come the Eighties again: but Lennox gives her catalogue an overhaul that is often brilliant
Now a sprightly 52, albeit with the blonde-streaked hair of a 25-year-old, Annie Lennox has been making records for 30 years - and if her work has never been as lauded as Kate Bush's or as influential as Joni Mitchell's, presumably almost 80 million album sales and an Oscar ease the pain of rejection.
Not one of life's workhorses and silent on record since 2004's laboured Bare, with last night's show she marked the dawn of a new campaign for a new record, the surprisingly lissom Songs Of Mass Destruction.
Appropriately for a multi-millionaire, she looked in fine fettle, despite reinventing the mercifully now-unfashionable notion of wearing a skirt over trousers. Perhaps she hasn't been out since 2005.
And perhaps, too, she was nervous, for she was in no mood for banter. A good thing, of course, if the hectoring Caledonian fishwife of yore is forever banished, but a few words or a choice anecdote concerning the old material - has she really no tales to share? - would hardly have scared the horses.
Meanwhile, an explanation of the three new songs she unveiled - the intriguing, stately Dark Road, the very Eighties-style Smithereeens or the finger-clicking Ghosts - might have been wise, not least for when the nation tunes into last night's show (Radio 2, 8pm on 25 August).
Musically, Lennox had a problem too - though not with her voice, which still broods as naturally as Gordon Brown's once she relaxes. As her music will be forever redolent of the Eighties and Nineties, it needs a radical overhaul.
And in this, for the most part assisted by the BBC Concert Orchestra, she succeeded brilliantly, hence the ominous Here Comes The Rain Again, seemingly always destined for orchestration and now transmuted into a glorious swirl. And for a moment there she was almost sexy. Sweet Dreams (Are Made Of This) was given the full orchestral treatment as Lennox borrowed David Bowie's stage moves and wailed her way through the free-form passages with a vim and vigour that suggested this most reluctant of performers was having something approaching a whale of a time.
Even that unheralded rarity, A Thousand Beautiful Things, was an oasis of flamenco-led loveliness. But Cold remained too cold and No More "I Love Yous" was so mannered she might as well have mimed it.
When she jettisoned the orchestra, Lennox shone too. Sisters Are Doin' It For Themselves (the song that seems unaware women are allowed to vote, let alone that they are "Doctors? Lawyers? And politicians too?") was as ludicrous as ever, but featuring only Lennox on piano, plus her two backing singers and taken at a furious pace, it transcended its own stupidity.
Afterwards, to the delight of a cowed crowd, recording difficulties during Here Comes The Rain Again, No More "I Love Yous" and Little Bird meant she had to reprise those songs. On this showing there might just be a reprise for Lennox too - despite herself.
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Annie moved to her short grand piano and delivered a solo performance of 1000 Beautiful Things, which led seamlessly into Sisters are Doing it for Themselves. What a great surprise the next track was. Taking full advantage of the orchestra, Annie performed a softer, slightly jazzier version of I saved the world today.
Those unmistakable staccato violin plucks of Here Comes the Rain Again were instantly recognised by the audience as Annie, the band and orchestra produced a wall of sound that remained faithful to the 20+ year original. Why followed with a similar arrangement to normal, but with the orchestra once again giving the live song an extra lift. For the last verse, Annie didn't sound so angry as she sometimes does.
The final track of the night was Sweet Dreams, but with a great new intro from the orchestra, you'll just have to take my word, it was unusual, but once Annie and the band joined in, the force of 60 musicians on stage delivered the song in epic proportions, but Annie was still able to stay on top of the whole thing without her voice getting lost.
Annie left the stage and returned to perform 3 tracks again. The whole band and orchestra came down to take their bow, and Annie rejoined them and thanked her team, band and orchestra.
In summary, a great night, Annie’s voice was so powerful this evening, I hope it translates well to radio. Several fans got to meet Annie briefly afterwards and she signed autographs.
- Steve Gayler, UK
