Victorious Festival

Week 33: Will Young- Crying on the Bathroom Floor

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Will Young was first discovered after appearing on ITV’s music talent show, Pop Idol, in 2002(2001?), where he came up head-to-head with the red-hot favourite Gareth Gates. Both performed versions of ‘Evergreen’, which the lucky winner would have released as their debut single. Surprisingly, Will won, and one newspaper did a mock story of how his life would pan out. They said he would have many children with Katie Price…well, he came out as gay not long after winning the show to squash any chance of a rumour circulating. In 2016, he performed at Victorious Festival in Portsmouth, where I happened to be, but Keano and I decided to explore other stages and food stalls before returning to the main stage, so I have yet to see him live in person. Will has had a more successful career than anyone off of those talent shows from these shores. Not only does Will perform his own songs, but he has written for others. Indeed, Will disappeared from the limelight for four years but still worked away in the background writing for others.

So, the premise for this latest album was to cover well-known songs but make them more radio-friendly. I am saying something other than the majority already are not, but Will, as proven on the record, would do precisely that. 

Another unique twist on doing the covers is that every song is by a female artist or a band fronted by a female. This is a nice touch by Will when you consider only 19 per cent of females featured in the UK album charts last year. His songs are the artists/bands’ most popular and highest charted. However, the songs still needed to reach the acme of their respective singles charts. Can Will Young’s versions glean a top spot? Possibly.

I loved the opening track because I was a big fan of the song by Bat for Lashes called ‘Daniel’. I didn’t know that the album was full of covers, so the opening track took me by surprise, but I loved his gentler version of ‘Daniel’ with its acoustic guitar and soft vocals—nothing like Natasha Khan’s more indie-based original. The next track I will praise is ‘Losing You’, originally by Solange Knowles, the sister of the infamous former Destiny’s Child member and now successful solo artist Beyoncé. I have always preferred Solange and feel she is often overlooked due to her sibling. 

Will’s is more mellow and departs from the original R&B version. The final track singled out for praise is ‘Strong’. Again, Will brings originality to his version and is more piano-based than London Grammar’s. Of course, there are 13 other covers on the record, with an Annie Lennox-esque touch on MUNA’s, ‘Crying on the Bathroom Floor’, and a harmonic and piano hook to Everything but the Girl’s, ‘Missing’. These are, for the main, the standout tracks on the album.

This record was beautiful when I had to endure Billie Eilish’s lack of imagination album last week. Will has done justice to the original versions. Some might say he has bettered them, but that’s going a bit too far because the originals have stood the test of time and are anthems in their own right. Will’s versions are far more reflective and emotional, and as I said, it was wonderful to listen to this album. And Will deserves all the plaudits coming his way for it.

Song recommendations: ‘Daniel’, ‘Losing You’, ‘Strong’

9/10 

Week 27: Jack Savoretti- Europiana

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Several years ago, I first heard Jack Savoretti (or Giovanni Galletto-Savoretti) in ASDA. Still, I only knew who it was when I went to the Victorious Festival in 2016, where Jack performed seven songs before Ash took the stage. It was sad to see Jack performing every drop of energy on stage as most of the crowd talked among themselves or headed to and fro the bars and food stalls dotted around the field. It reminded me of when I saw Ed Sheeran on his “Red” tour in autumn of 2011 at the His Master’s Voice Forum in Hatfield, where one of the support acts, Passenger, was performing on stage while the crowd mainly ignored him. It prompted Passenger to say, “Don’t mind me. I’ll just create an ambience while you enjoy your conversation like you were having someone round for a cup of tea”. Fast forward nearly two years after that, that crowd wouldn’t give him such disrespect when ‘Let Her Go’ was in the charts. Anyway, back to Jack. Yes, my friend and I were waiting for Ash to come on, but we were one of a rare few who gave Jack the time of day. We listened to the majority of the artists and bands that day without ignoring them. It’s funny how the majority of people who gave Jack no respect that day will now listen to his songs. 

I mean, he now has a number-one album, so something went right.

I liked this record for its Nile Rodgers-esque sound, but Jack has drawn inspiration from his time in Lugano and Genoa. Just like what I did for the Doves’ latest record, I am going to do a brief track-by-track summary:

I Remember us: It sounds like Europop from France in the 1980s.

Secret Life: Goes more into that disco-funk sound for which Nile Rodgers is known. 

Who’s Hurting Who: Now, although it is a track that features the man Nile Rodgers himself with a terrific solo, I wasn’t overly impressed by it. 

When You’re Lonely: This song sees Jack draw inspiration from his time in Italy with its tender piano and his velvety vocals. 

More than Ever: This wonderful song is a sentimental auto-biographical ballad from his childhood in Italy. 

Too Much History: Again, this track returns to that Nile Rodgers-esque sound with its uptempo disco-funk and Jack’s vibrant vocals. It is my favourite off the album and made me want to listen until the end.

Dancing in the Living Room: Another disco-funk track and once again uptempo, and yes, you will want to do what the title suggests. 

Each and Every Moment: Right out of the 80s with its retro bass and uplifting tempo.

the Way You Say Goodbye: This has to be used on a cinematic soundtrack because it is apt to be played in that setting. The violins are heavenly.

Calling Me Back to You: Optimistic lyricism shrouded in energetic riffs.

War of Words: An emotional ballad that draws inspiration from the 80s to close the album.

As well as a brief track-by-track summary, I will end the review with my thoughts on the record; ‘Europiana’ is precisely what is necessary as we are still in these uncertain times; the upbeat nature of it fills your mind, body, and soul with the positivity that we all need at the moment. I found it odd because most of the album is highly inspired by Nile Rodgers and his disco funk, but he only produced one track. Cam Blackwood is the producer behind this beautiful record, and he has done a fantastic job of fusing both disco-funk and European music. 

I enjoyed Jack’s latest album, even on the downtempo and more reflective moments. Honestly, this is his finest work, and I have no idea how he can better it.

Song recommendations: ‘Too Much History’, ‘Dancing in the Living Room’, ‘More than Ever’

8/10