And that sweet city with her dreaming spires,/ She needs not June for beauty's heightening

There is someone, someone out there who is redefining music. Not that he is making some sweeping changes to the study of music, nor has he founded a new concept in musicology; all he has done was to take the breath of so many people away.

His performance of Tears For Fears’ Mad World brought even the notorious mud-slinging Simon Cowell to his feet. He melted so many hearts on Motown night with Smokey Robinson’s The Tracks of My Tears. He mesmerised his by then worldwide audience with his renditions of Yvonne Elliman’s If I Can’t Have You, Aerosmith’s Cryin’ and Sammy Davis Jr.’s Feeling Good. He proved that his energy and vocal prowess is unrivalled in his performances of Led Zeppelin’s Whole Lotta Love and Steppenwolf’s Born To Be Wild . When he sang Michael Jackson’s Black Or White, The Rolling Stones’ I Can’t Get No (Satisfaction) and Wild Cherry’s Play That Funky Music, he showed he is clearly made for the stage.

Eschewing the pastel-coloured outfit he had selected the previous time for a mackintosh-length coat for a macabre stage act, his radical modification of his previous performance of Mad World garnered high praises from all but one of the judges, who labelled him “over-theatrical”. However, in his performance of Sam Cooke’s A Change Is Gonna Come, he completely blew them away. His magnesium-coloured suit was made to measure and oh, did he look impeccable. Boy did he sound impeccable, too. The coronation single was a miserable concoction of trite lyrics and odd melodies, but he still owned the stage, convincing the judges that they had found a true star on the show. Although the number of votes accorded to him did not grant him the winner’s spotlight – he was ousted to the title by the dark horse of the competition, his magnanimity remained.

He proved that he can sing anything, everything, and in a performance featuring the legendary Brian May, proved he could perhaps be a successor to Mercury. His performances are multitudinous, his outfits even more so. His eye-lining maculae offset the machismo he appears to exude. Yet he is unlike the (far-too-)many meretricious rockers of our time.

By now you all must know that I am referring to the one and only

ADAM LAMBERT

ADAM LAMBERT

Adam Lambert – the gem of American Idol Season 8, the next – or first? – rock star of the millennia, the magic of the music scene. Finally, finally, finally: American Idol has produced a performer of startling, astounding talent.

I confess: I do have abiding love for Adam’s music, and yes, I admittedly am quite a fan. Some people are surprised at my fondness for Adam and his singing and his performances and his (… and many other things), and actually ask me, “Why do you like Adam Lambert?” My standard answer is this: “I love music, and I love people who make good music. And Adam – he makes bloody good music.” In short, Adam satisfies my appetite for good music. (Oh thank you, Adam!)

For me it wasn’t a matter of acquired taste. Appraisal after appraisal is what Adam got from me, right from the start. Though I usually avoid artistes adorned with heavy eyeliner and various accessories, it’s been different as far as Adam Lambert is concerned. I assure you, though, that all this adulation is not unfounded.

Adam was clearly the most memorable and most gifted contestant on American Idol Season 8. He completely adumbrated his fellow contestants in his performances of Mad World, Whole Lotta Love, A Change Is Gonna Come, Cryin’ etc., making also-rans out of many of them.

Adam’s performances were so action-packed. The adrenalin they activated was astonishing. His performance of Steppenwolf’s Born To Be Wild was unbelievably energetic; it awakened every fibre within me – as did most of his other performances.

Adam was magnetic. (Correction: He is magnetic. I should be using the present tense.) I often tell those who discuss Adam’s merits with me that Adam is a singer that you want to watch and not just listen to, which separates him from his maladroit contemporaries. In this respect I am particularly charmed by his performances of A Change Is Gonna Come and Black Or White; where, besides attaining faultlessness with his singing, he pulled off extreeeeeeemely captivating performances.

Despite Adam’s affable acquiescence towards the results, the results left me all abject and forlorn for a couple of hours. I admittedly suffered from temporary aphasia. I’ve since recovered from the unpleasant experience of watching Adam slink into the crowd of Idol finalists, and my applauding of his ability has not ceased. In fact, I think it has resumed apace.

Oh, he is just outrageously, absurdly talented. From adagios to andantes to allegrettos to the most animated allegro assais, (almost) every performance receives a 1000000000 out of 10 rating from me. He pulls of ad libitums like I have never seen – or heard – before. Adam really does transform every song into an alluring piece of art. I might be inclined to call this musical alchemy; he turns everything, everything to gold.

His voice is extraordinary: it is anodyne, smooth, intense, powerful, moving, and yes, sexy. It leaves me spellbound, hypnotised – every single time. It is astonishing how he manages to vary his vocals so vastly. From the poignancy of Mad World, to the edginess of Whole Lotta Love, to the anguish of Cryin’, to the sultriness of Feeling Good, to the intensity of A Change Is Gonna Come, to the explosiveness of Born To Be Wild, to the tenderness of The Tracks Of My Tears, to the clarity of Beth – Adam can do it all, and I’m sure what we’ve heard on American Idol is but a fraction of his staggering repertoire.

The word has crossed my mind, but since it doesn’t really evoke that effect in me, I shall not describe Adam’s voice as aphr*disiacal – yet. But I must add that I love it when he takes his voice to those astronomical heights; they are utterly, utterly addictive. Those apogees send me into bouts of speechlessness.

What a voice, what a presence, and oh, what an Adonis! Adam can be so adorable. He works his gaze so ridiculously well, and as he alternately assumes the personas of the amicable or angry rock star, I am even more amazed by how natural he is on stage. Adam’s complete lack of affectation really impresses me.

In addition to all these distinctions, Adam also comes across as such a pleasantly, charmingly amiable character. His polite responses and graciousness endears me – and others, too, I’m certain – to him even more.

Amidst all my unrestrained, unabashed gushing and raving, I must say Adam Lambert has truly earned my utmost respect and admiration. Yet it is this flawlessness of Adam’s that compels me to fangirl with wild abandon.

Aye, there is indeed much ado about Adam Lambert. Oh, Adam, I adore thee. ♥ ♥ ♥