#The London Community Gospel Choir

[damelucyjo]

Hannah performing 'Anything Goes' opening Olivier Awards 2024., accompanied by Joe Stilgoe, The London Community Gospel Choir & The BBC Concert Orchestra.

[mental-health-and-jesus]

8-17-2024 | Practice Devo | Ephesians 6:18

“Values”

‘Praying at all times in the Spirit, with all prayer and supplication. To that end, keep alert with all perseverance, making supplication for all the saints.’ Ephesians 6:18

#Bible - Verse of the Day | Deuteronomy 31:6

‘Be strong and courageous; do not be afraid or terrified of them, for it is the Lord your God who goes with you; He will never leave you nor forsake you.”’ Deuteronomy‬ ‭31‬:‭6‬

[poisoneitherway]

5 SECONDS OF SUMMER - THE FEELING OF FALLING UPWARDS: LIVE AT ROYAL ALBERT HALL

(transcription from the deluxe album booklet under the cut)

Like all moments of light, "The Feeling of Falling Upwards" begins in total darkness: an exhale, a single second held to feel like a lifetime, limitless possibility meeting the total anxiety of potential. Then, their screams-your screams-a chorus of thousands of voices fill London's famed Royal Albert Hall, emanating from a crowd dressed in suits and gowns, louder and more resonant than even the venue's iconic golden pipe organ. Tonight, that instrument is covered by the stage-no distractions-this performance is all about the band, their songs, and you.

Synths boom. A 12-piece string ensemble's orchestral maneuvers tease a future crescendo. Pianos twinkle. Soon, stage lights will illuminate from the floorboards, pointing upwards to reveal a choir. Can a rock show be bigger than Broadway? Can a rock show feel like floating? Can a rock show change your life? 5 Seconds of Summer take their positions-Calum's bass leads, D to A minor. Luke clutches a microphone: "Caught up in Heaven, but your Heaven ain't the same / And I've never been a saint, have I?" By the time the chorus of "Complete Mess" hits, it's total ascendance in multi-part harmonies, the kind 5SOS fans have come to adore from a band immeasurably in sync with one another. (Four vocalists, but different this time. It's four, plus 12: the House Gospel Choir, known for their work with Kylie Minogue and Primal Scream, stand on a crescent moon platform above 5SOS's heads mirroring a long desert sunrise, to add magnitude.)

These harmonies are a nostalgic sound-you first heard 'em in 5SOS's suburban Sydney living room, covering "Teenage Dirtbag back in 2011. Or maybe it was 2013, just across the street from this hallowed hall, at the Marble Arch, where a tweenage, fringe-and-skate-shoe-wearing 5SOS could be found performing outside for their nascent audience, a community soon to become unwavering in their dedication. These are the kind of fans a band could only dream of inspiring, and this Royal Albert Hall performance is the kind of full-circle moment a band could only dream of achieving. That's the peculiar magic of setting intentions; thank goodness 5SOS, despite every challenge, has stuck around long enough to enjoy it, to get here. Thank goodness you have.

This is the feeling of falling upwards. And it's like nothing they've ever felt before.

"We've done a bunch of different stuff for fans along the way," Luke laughs. "We've gone down the sides of buildings. We've done crazy stuff all over the world-guerilla marketing, hiding things..." It's true: 5 Seconds of Summer have never been strangers to creative promotional activities dedicated to their unimpeachable fans (remember Derp Con?) but the Royal Albert Hall show was something else entirely. 5SOS5, the band's fifth album, recorded in Joshua Tree, CA-the desert majesty three hours east of Hollywood, an enclave of hippie mysticism, knotty cactus, and trees with spiky arms reaching towards a sunset-y sky-provided. 5SOS with a new sense of autonomy, and creative self-assurance. "It gave us the confidence to know that the four of us are capable of creating something really great-just the four of us," as Michael describes it. And so any event around the release would need to eclipse it: to be bigger than just an interview or fan convention.

It would need to highlight their newfound freedom, their willingness towards collaboration, their celebration of musical diversity. And so the band's manager, Benjamin Evans, had an idea. What if 5 Seconds of Summer created a unique show, a production like never before? One that they could live stream around the world on the eve of the album's launch, so fans all around the world could join in the occasion? Wouldn't that be a great way to showcase the band's greatest asset-their live show-in a way that went beyond the same radio and TV spots? What if the band performed with an orchestra and a choir for the first time, ever, reimagining songs from their extensive discography alongside new album tracks, recording the event to later release as a live album?

Surely it would have to be at a truly iconic venue, a bucket list experience for any musician. The prestigious Royal Albert Hall was the obvious choice, for its legacy and most importantly, its place in the history of the band. "We used to busk outside of it [a decade ago]," as Calum is quick to point out.

What if they ran a series of flyaway competitions with media partners to bring fans from outside the UK to London for the one-night-only special? Wouldn't that make it more than a record release, but an unrepeatable moment in the band's history, forevermore?

And what if, instead of turning it into "5SOS5 Live," they created something timeless-a career-spanning set to anchor the entire existence of this band into something mythological, a release superfans and casual listeners alike could hold on to, and return to across their lives? The Killers, Emerson Lake and Palmer, Dusty Springfield, The Who, Arctic Monkeys, hell, Bring Me the Horizon have all released records Live at Royal Albert Hall-if they could just pull it off, 5 Seconds of Summer would join some impressive company. But ideation is one thing: conception, another.

Working with Ben Dupont of Moment Factory, who directed all the visuals, stage set, lighting, and production for the show in just under one month, "The Feeling of Falling Upwards" took an army. 5SOS was just coming off of a few years spent inside finding new ways to thank the fans that have always supported them, like "The 5SOS Show: A 10 Year Celebration," a self-referential, playful commemoration of their decade together as a band, that they created a year earlier and made available for free-and their massive. "Take My Hand" arena and amphitheater tour, with its elevated production from past tours. With "The Feeling of Falling Upwards," they wanted something "classier," for Royal Albert Hall as Calum describes it. "Stripped back, but also multiplied, in terms of its organic element."

"They wanted symphonic, acoustic, timeless," says Ben. "When Nirvana performed at the Hall, they put a ton of flowers on the stage, and it stayed as this iconic look. Less is more. "Do one thing, but do it in a bold way." He endeavored to do the same: hiding the organ behind a stage to elevate the choir, hiring a theater lighting designer to enhance the drama-more edgy Broadway than rock show-complete with Svoboda lighting, an old school Tungsten fixture used to create light curtains atop each member. On stage, he instructed his team to build sand dunes-Styrofoam with real sand coating, meant to look wind-swept, leanin organi the band's risers, an "elegantly disruptive" set, as he puts it. The dunes were 5SOS's version of Nirvana's flowers, bringing a bit of Joshua Tree to rainy England.

The lighting's color story enhanced the experience: "Outer Space/ Carry On," a cut from the band's second record (2015's Sounds Good Feels Good) that they hadn't played live in half a decade, was illuminated a rich blue; closer "Bad Omens" was a sunrise gradient of pink and orange. Most surprising was "Youngblood," the song that gave 5SOS its second life in an industry that, 9 times out of 10, will choose to eat up and spit out its young talent was lit "underside of a leaf green," as Ben describes it, despite the fact that most performers stay away from green. It's too witchy. Too Halloween-y. Green, it turned out, was a favorite of at least Ashton, who, despite being asked by Ben to play silver instruments to take the light off the stage, broke out a green drum. "It's a sore thumb!" Ben remembers thinking. "I was disappointed." Then Ash confronted him about it. "He showed me a photo of a tiny baby plant, two little leaves, growing in the middle of a dune in the desert. For him, that's what his drum kit was doing on stage. I thought he only chose it because it sounded great, with no consideration for the visual aesthetics. But his vision was so much deeper."

Their band itself grew from four members to 31: the 12-piece string orchestra, the 12-member House Gospel Choir, legendary keys-man Roger Manning, "If you've heard an alternative rock record in the last 30 years, Roger is probably playing keys on it... Whether it's Blink, or Morrisey, or Air, or Beck." says lan Longwell, one of 5SOS's music directors who also played orchestral percussion for the band when their previous pick dropped out last minute. Ian was joined by his partner, the band's other MD, Drew Chaffee, who played guitar, synth, and samples. Together, Ian and Drew created a set list-career-spanning but not too backwards-facing, meant to highlight and celebrate the launch of 5SOS5 but most crucially meant to stand on its own. This performance needed to endure, to stand out like the brightest sunset in a career full of them.

They worked with a man called Brandon Collins on the orchestral arrangements, to completely transform some of 5SOS's most identifiable songs. "Teeth," with its "pissed off strings" became "a little more Ennio Morricone, more score-sounding," says lan, the perfect moment to use the orchestra in a heavier way, "to at the end, flip it, and take it to the death star," as he describes it. "She Looks So Perfect" was stripped to its barest materials, a reimagining that came from the most surprising source: Ed Sheeran. "The year the song came out, he covered it, and it's beautiful," says Ian. "It's pretty much the same melody but it skips a chord-it's just him and an acoustic guitar." 5 Seconds of Summer did something similar, adding voices, strings, dimension. "It's the opposite of what the actual song is," Calum says of the new arrangement. "Songwriting is the top priority for this band, and [an acoustic performance] allows it to shine for what it is: a beautiful song."

"That and 'Older' were the most fragile moments of the set," lan jumps in. For Luke, that's especially the case: it is the first time he's gotten to perform it with his fiancé, Sierra Deaton, a romantic duet emphasized by their forever partnership. "That was really special," Luke says of the moment, still at a loss at its majesty. "It was cool, to have the stars align, to be able to do that."

On rare occasion did the songs stay more or less the same than their tour counterparts: "Red Desert," lit red, abridged, and used primarily as a drum break for Ashton, made it onto the set list because "we needed to hit that chorus at least once with the choir," says lan. "Lie to Me" was an uphill battle. "The joke at rehearsal was that it was cut but we were insisting on practicing it anyway. But when we heard it with the choir, it sounded like Simon and Garfunkel."

At the tail end of September, just before the curtains were raised on "The Feeling of Falling Upwards," there was a three day, big production rehearsal in Redditch, near Birmingham, two hours out of London-the only space the team could hire to fit their entire production. Day one was Ian, Drew, Ashton, Michael, and the 12-piece choir huddled in a 500 square foot office room of the production venue while the stage was being built downstairs. They sang through the entire performance and did a lot of simplifying. After all, no collaboration is ever exactly how you imagine it, until you do it; that's the beauty of communal artmaking. The second day was strings/orchestra only. Day three was a full production dress rehearsal with choir and strings together for the first time-they ran through the production in its entirety-immediately moved by what they had created. "This is the first time we've played with other musicians on stage. That's a scary thing," says Calum. "You need to let them have free will as artists as well, which gave it so much life. That's the reason it's so different from anything we've ever done." Luke jumps in. "We wanted to make a core memory for the band- a benchmark-something we could always be proud of. This isn't a flash-in-the-pan thing."

"You only get one shot," Michael agrees. "That was the most nerve-wracking part... It was an incredible learning experience and helped mend some of my trust issues." He pauses. "Every time I played, every time I strummed a guitar chord at Royal Albert Hall, I was like, 'This is the only opportunity I get to play this chord. You know what I mean? But with that came this beautiful moment of seeing the songs for what they were." Therein lies the metamorphosis: there was no existential clarity, only connection: with the other musicians on stage, with the well-dressed audience, with the viewers at home, with you.

"I do remember at the very, very end, just taking a look around for a second, at this stage we built, the incredible people who pull it together, everyone in the band," Michael continues. "I had this moment of 'Once I leave this stage, that's it. That's the last time I'll play a show exactly like this. Two years ago, we had gone out in the middle of nowhere and decided, 'What happens, happens...." He trails off, feeling the weight of making 5SOS5, and the Hall performance, all over again. "All of that all that I felt happened in the space of about two-and-a-half-seconds on stage." He jokes that it was the opposite of a near-death experience. "A full life experience!"

"There is no other record that we've made that could be the core of what we've just done," Calum says, starry-eyed. "And that's very telling of the soul of the record." Without 5SOS5, the band would've never gotten to this point, and they certainly would've never learned to live inside of the songs of their past. "As I get older, I learn you can shift your perception on things," he continues, "Stop taking things so seriously for myself. That's been a big learning curve for us." It's the reason he can deliver a classic Calum song like "Amnesia" as sincerely as he did when he was 18, now at 26 years old. "I feel a lot closer to that song, as I did before, when I was younger," he says. "I respect what it's done for this band and what it's done for a lot of people."

5SOS fans go beyond the regular rock music listenership; they participate in each stage of this band. "They've followed 5 Seconds of Summer to London when they were so young and everywhere else the band has gone in the time since. ("I'd never left the country before we moved to London," says Luke, "We figured out, early on, that we needed to leave Australia to come back stronger.") On stage at Royal Albert Hall, 5SOS was able to connect to that idea: their past selves, but also the fans that joined them along this journey. "I felt like a more elevated version of myself on that stage," says Luke. "Songs I put in the back of my mind, that I didn't really think held much emotional weight, got to me." For him, that meant a lot of songs from Sounds Goods Feels Good, specifically. "The second album had a lot of ambition, tons of strings, but we were still wearing skinny jeans and Converse on stage; we hadn't swayed too much from our pop-punk roots," he laughs. "I don't know if subconsciously there was any desire to perform them live at Royal Albert Hall one day, but we did have a big orchestra in London play on the recorded version of 'Outer Space/Carry On. We never thought we'd have the capacity to play them live." Until they did. Listen to your former selves, there's a real prescience there. This was always possible. "I'm trying to fill in the gaps, emotionally, to understand who I am," he adds. "We all are."

Near the end of the set at Royal Albert Hall, Ashton, the band's heart-poet, gives a definition for the crowd to hold close. "The Feeling of Falling Upwards' is simply supposed to describe to you the feeling that we have experienced together, the feeling of taking a leap of faith on such a fickle thing like music," he smiles, "And sharing this experience together year after year, season after season of our lives."

It is far too easy for musicians to grow up to become parodies of themselves. If they find a formula that works, they can repeat it ad nauseum, leaning into superficial, outward readings of who they are and what they do. But 5SOS, on stage and in the current era, are five-dimensional; their pop-punk selves, their .... operatic selves, and everything in between. "We worked really hard to make this happen," Calum says. "You speak positivity and manifest great outcomes for yourself."

Luke agrees. "There's a light at the end of the tunnel," he says "There's a brightness worth fighting for."

[priokskfm]

#MixOfDay #Podcast #Radioshow #LiveDjset Jackies Music House Session #160 - "Esnaola!" Do not forget to follow us and make our community grow <3: @jackiesbarcelona Thank you so much! Jackies Music House Session #160 - "Esnaola!" Esnaola!: Carlos Esnaola was born in Buenos Aires, Argentina and started as a DJ at the early age of 10, and never stops. He has a career of more than 30 years, and his music style are Disco, Nu Disco, Stylish House & Cocktail Lounge. He had performed in Local Radios, TV and at the Teatro Colón, one of the most prestigious theathers of world classical music. He has played at NYC, London & México too, and now is representing Argentina on BarcelonaCityRadio, in the nice & sunny Barcelona, Spain, being one of the best players, after Lionel Messi, of course. Tracklist: Optimistic (feat. Lucita Jules) (Michael Gray Remix) - Brian Power Born To Dance - Souxsoul ft Venessa Jackson Runaway Love (feat. Lasala) (Dr. Packer Extended Remix) – Bobby D´Ambrosio Running Out (Angelo Ferreri Glitter Mix) Angelo Ferreri, Moon Rocket & LauMii The Journey – Hotmood Angels (Crackazat Remix) – House Gospel Choir & Morgan Look Out – The Stoned Feel it (Instrumental Mix) – Charly Angelz Brotherly Love – Ethyëne Candidate for Love (Joey Negro Disco Blend) with Horse Meat Disco – Dave Lee Dr. Feelgood (feat. Diane Carter) (Dj Meme Remix) Groove Junkies Subscribe to our Jackies Music Podcast on: Soundcloud: https://soundcloud.com/jackiesbarcelona iTunes: https://apple.co/2TENdFC Youtube: https://bit.ly/35PwEfx Spotify: https://spoti.fi/2HNEQox Google Podcast: https://bit.ly/3mQQePv Follow Us on social: https://www.instagram.com/jackies_party/ https://www.facebook.com/jackiesbarcelona Follow Esnaola! Media: http://www.instagram.com/esnaolalounge http://www.facebook.com/esnaola esnaola, jackiespodcas, jackiespart, jackiesbarcelona www.priokskfm.online https://ift.tt/Q2ciTy8

[maximumwobblerbanditdonut]

Surprise, it's the Supers! In a striking finale to #VogueWorld: London, Vogue's September cover stars @curlington, @naomi, @cindycrawford, and @lindaevangelista take to the stage alongside the one and only Annie Lennox. Backed by the London Community Gospel Choir, this entire evening certainly deserves a rose.

@voguemagazine

[my-chaos-radio]

Release: July 12, 2004

Lyrics:

Oooooh yeah

Looking back,

I know I was walking around in disguise,

In disguise,

I was just as lost and I needed a guide,

And the moment that you came to change my life,

Use life burn my heart and make me smile,

Coz' you and I know that,

I'm a different person,

Yeah,

Turn my world around,

I'm a different person,

Yeah,

Turn my world around,

I'm a different person,

Yeah,

Turn my world around.

Things I had,

All fading away a minute and I,

Feel alive,

You have twisted all of my troubles inside,

And you and I know that

Like a little piece of Heaven Finally found

You rebuilt my heart Up from the ground

Ooooooh

I'm a different person,

Yeah,

Turn my world around,

I'm a different person,

Yeah,

Turn my world around,

I'm a different person,

Yeah,

Turn my world around

(Turn my world around),

I'm a different person,

Yeah,

Turn my world around.

Turn my world around, Oh yeah,

Use life burn my heart and make me smile,

And you and I know baby,

Songwriter:

I'm a different person,

Yeah,

Turn my world around,

I'm a different person,

Yeah,

Turn my world around,

I'm a different person,

Yeah,

Turn my world around.

Karen Poole / Max Loke Linus Reich / Gianni Bini / Fulvio Perniola / Simon Lee Marlin / Patrick L Moten

SongFacts:

"Lola's Theme" is the debut single of British house duo the Shapeshifters, featuring soul singer Cookie on vocals. It was released on 12 July 2004 as the lead single from the Shapeshifters' debut album, Sound Advice (2004). The song became the duo's biggest hit, peaking atop the UK Singles Chart and charting highly in Finland, Ireland, the Netherlands, and New Zealand. In Australia, it was the most successful club hit of 2004.

The name "Lola's Theme" was originally a working title for this record; Lola was Simon Marlin's wife, and it was while listening to her record collection that the initial idea for the track was conceived. She appears handing out candy floss in the music video.

"Lola's Theme" features a sample from the introduction of Johnnie Taylor's R&B hit of 1982, "What About My Love", and it was originally released at the end of 2003 on their own Nocturnal Groove label as a mostly instrumental track featuring a vocal sample taken from Anthony White's "Love Me Tonight". Due to its immense popularity, "Lola's Theme" was licensed from Nocturnal Groove to Positiva Records.

At the same time, the sample of "What About My Love" was then completely replayed by Mark Summers at Scorccio Sample Replays, recreating all elements of the sample (strings, brass sections, piano, etc.). The duo then set about finding a vocalist. After a long search they met Cookie, a gospel singer from the London Community Gospel Choir, who recorded the vocals for the full release.

[natromanxoff]

Daily Mail - April 21, 1992

(x)

AIDS PLEA BY STAR AS FANS SING PRAISES

Mercury show with a warning

ELIZABETH TAYLOR took the stage at Wembley last night to remind 72,000 Freddie Mercury fans why they were there.

As well as raising an estimated £20million for AIDS charities, the tribute concert to the late Queen star was intended to increase awareness among young people about the perils of the killer disease and Miss Taylor made no excuses for her hard-hitting speech.

'In just two weeks there will be as many new infections of the AIDS virus as there are people here tonight,' she said. 'Please don't let it happen to you.

‘You are the future of our world. Protect yourselves. Whether you are straight, gay or bisexual use a condom every single time you have sex.'

At one point, she was interrupted by hecklers screaming 'Get Off' and 'Let's have some music'. Eyes blazing, she said: ‘I’ll get off in a minute. I have something to say.'

In a personal tribute to Mercury, who died of AIDS last year, she added: ‘The bright light of his talent still exhilarates even now that his life has been so cruelly extinguished. It needn't have happened, it shouldn't have happened, we must not let it happen again.'

In Britain, there have been 5,649 cases of AIDS since 1982, according to Government statistics with 3,334 deaths.

TRIBUTE TO A LOST STAR: 72,000 SAY IT WITH CHEERS AND TEARS

For one big night only Freddie was centre stage

By BAZ BAMIGBOYE and LESTER MIDDLEHURST

EVERYBODY who was anybody in pop music was there as the late Freddie Mercury made a guest appearance at his own tribute concert last night.

His face appeared on giant video screens high across Wembley stadium.

It was as if the lead singer of Queen were alive and well and strutting centre stage once again. 'You ready, brothers and sisters?’ he bellowed as a video showing past triumphs was screened. The 72,000-strong crowd screamed back: 'Yes!'

They waved Union Flags emblazoned with 'Freddie, we love you', 'Freddie come back' and 'Freddie forever'.

They were sentiments echoed 10,000-fold throughout the night. But the big message of the show was a warning — that AIDS, the disease which killed Mercury, could do the same for many, many more.

Weeping

Queen drummer Roger Taylor came on stage with fellow band members John Deacon and Brian May to launch what amounted to the most glittering send-off any showbusiness star has been given.

‘This show is for Freddie, for you and for me,' Taylor told the audience. 'It's also to show that AIDS affects us all. Tonight you can cry as much as you like.'

Many in the crowd took him literally. Stars too had difficulty choking back the tears, and earlier in the day George Michael broke down as he sang Somebody To Love with the London Community Gospel Choir.

Michael moved away from the microphone, unable to continue. 'I needed to cry and I wanted to get as much crying as possible done before the actual show,' he said.

Just as Mercury appeared on the video screen singing Yes, I'm The Great Pretender, Mary Austin, who was his lover for six years and remained his friend until death, took a seat in the royal box.

Earlier, she said: 'I feel very emotional about the whole thing, a mixture of sadness and happiness. It's an incredible tribute to an incredible guy, and I think he would have been knocked out by it.'

One by one the stars appeared on stage to pay their musical tributes. Backed by surviving Queen members May, Taylor and Deacon, they performed solo and collaboration versions of the group's hits.

Liza Minnelli, who led the stars in singing the finale number, We Are The Champions, and the National Anthem, paid her own tribute: 'Freddie was a true champion, and he would have liked us to sing and to celebrate all the good things he stood for.

'The tears we have shed are in happiness and to remember Freddie.'

Satellite messages were beamed in from Michael Jackson, Madonna, golf champion Nick Faldo, Jason Priestley of Beverly Hills 90210 and basketball star Magic Johnson, himself an AIDS victim. Stars were determined not to allow the event to slide into the maudlin. 'There is absolutely no way Freddie would have wanted everyone to be miserable,’ said David Bowie. ‘There's an important message to be put across, but it's also a day when Freddie's music should be celebrated and enjoyed.'

Certainly, fans who had queued all night were determined to do just that. They roared their approval through each moment of the biggest concert since Live Aid seven years ago. Led Zeppelin leader Robert Plant sang Innuendo, Seal fronted Who Wants To Live Forever, Roger Daltrey sang I Want It All, and there was a live satellite performance by U2, on tour in America.

Outside the stadium, touts were offering tickets for £250, up to five times face value.

Fans who couldn't afford them made a pilgrimage to Mercury's home in Kensington, where they laid flowers and messages at the garden gate.

IT WAS UNCANNY -- THE REAL STAR WAS NOT HERE

SPENCER BRIGHT AT LAST NIGHT'S CONCERT

LET'S pretend Freddie Mercury is still alive and was at Wembley last night at someone else's testimonial. Would he have admitted he had AIDS? Probably not.

He chose not to spread the message in his lifetime, but we must be thankful that he has the power to spread the message of the dangers of AIDS posthumously.

It's always difficult balancing mass entertainment and trying to educate people. We were treated to the extraordinary sight of David Bowie on bended knee reciting the Lord's Prayer.

We had a nervous George Michael giving us statistics. We had Liz Taylor, spectacularly glamorous, reading an autocued speech and giving a heckler short shrift.

But oh, how I enjoyed the simple dignity of Elton John, materialising, singing Bohemian Rhapsody and continuing with the music and nothing else. We needed that more than any amount of piety.

Uncannily, the real star was the man who was not here in body, Freddie himself. Even the most unconvinced onlooker could not have failed to feel his presence. The video inserts of Freddie performing had the crowd reacting as if he really was here.

There were a few presantation mistakes. U2's satellite link was a mess. During the link from South Africa, the crowd preferred to entartain themselves with a Mexican wave. Extreme tried to be Queen-like, but it didn't come off. The show was really about the second half, with the three remaining Queen members acting as a backing band for superstars.

The inclusion of Guns N' Roses, considering Axl Rose's anti-gay statements, was a curious one, but he was one of the finest performers of the night, both with Guns N' Roses and later dueting with Elton on Bohemian Rhapsody.

Bowie and Annie Lennox dueted on Under Pressure but it was hard to hear them. George Michael brought things back on course with his duet with Lisa Stansfield, These Are The Days Of Our Lives.

Liza Minnelli came on for the finale in a dangerously low-cut dress for We Are The Champions and proved she could have got by as a rock chick. By this point, it didn't matter what egos were flying around. The weather and Freddie's legacy had worked wonders.

[the-hindu-times]

THE LION KING in Concert - Royal Albert Hall

'The Lion King in Concert' marked the 30th anniversary of one of Disney's most popular films, which followed the touching story of Simba as he matured from a wide-eyed cub to King of the Pride Lands. Three decades have gone by and The Lion King still holds a special place in many people’s hearts. In celebration of this milestone, the Royal Albert Hall presented the original, animated, classic film on the big screen with the live addition of Chineke! Orchestra, conducted by Sarah Hicks.

The Lion King is also, of course, known for its instantly recognisable music;Tim Rice and Elton John collaborated on a number of brilliant songs including” Circle of Life” and” Can You Feel the Love Tonight”. The inimitable Hans Zimmer composed the film’s score; even winning an Oscar for his work.

Tonight began with the heartfelt ”Circle of Life”, with accompaniment from the London Community Gospel Choir. Their performance was incredibly moving and extraordinary. It well and truly set the tone for the concert, although it was a real shame the choir could not remain beyond this opening number.  

The orchestra evoked a dark sense of foreboding during the sinister “Be Prepared”, whilst “Stampede” was wonderfully executed; heightening one of the most dramatic scenes. ”I Just Can’t Wait to Be King” was suitably upbeat and playful, whilst the rendition of the romantic “Can You Feel the Love Tonight” was simply serene; the music enveloping the entire auditorium.

At the end of this film showing, we also had a surprise performance of “He Lives in You” by some of the current cast of the Lyceum production from the West End production of The Lion King, complete with the show's famous swooping bird puppetry. This was an absolute highlight to end the magical and memorable evening on a true high.  

'The Lion King in Concert' transports you into the beloved film, making every moment come to life - like watching it for the first time all over again.  

Mittal Patel

[babydin]

ONE FOR SORROW series headcanon Birdie's singing voiceclaim is Beverley Knight.

[alibashirtllc]

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Celebrity Ushers Crash Vogue World: London (Ft. James Corden, Sienna Miller, James McAvoy, Cush Jumbo & Damien Lewis) This scene transitioned to a spectacular paean to the Official penrith Panthers 3 Peat Undisputes 2023 NRL Grand Final Champions Art shirt but in fact I love this musical My Fair Lady, later adapted into the 1964 film of the same name—the ultimate tale of an ingénue emerging from obscurity to take the world by storm, which also made its UK stage debut at Theatre Royal Drury Lane and became the longest-running musical in the venue’s history. It was the biggest fashion moment of the night so far, with countless models in monochrome ensembles filling the stage in a nod to the elegant Ascot scene, including Lila Moss, who stepped into the part of Eliza Doolittle.

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Official Official penrith Panthers 3 Peat Undisputes 2023 NRL Grand Final Champions Art shirt

This tableau was accompanied by the Official penrith Panthers 3 Peat Undisputes 2023 NRL Grand Final Champions Art shirt but in fact I love this London Community Gospel Choir and music legend Annie Lennox, wearing a custom Richard Quinn suit that paid tribute to Pearly Kings and Queens, crooning “Sweet Dreams (Are Made of This).” It was stunning, to say the least. This surprise performance would’ve made for an impressive closing act in itself, but the organizers of Vogue World: London had yet another surprise up their sleeves: the original supermodels and Vogue’s September cover stars, Naomi Campbell, Cindy Crawford, Linda Evangelista, and Christy Turlington, appearing and walking out in coordinating looks, before the final curtain call. Bravo.

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Top Official penrith Panthers 3 Peat Undisputes 2023 NRL Grand Final Champions Art shirt

Celebrity Ushers Crash Vogue World: London (Ft. James Corden, Sienna Miller, James McAvoy, Cush Jumbo & Damien Lewis) This scene transitioned to a spectacular paean to the Official penrith Panthers 3 Peat Undisputes 2023 NRL Grand Final Champions Art shirt but in fact I love this musical My Fair Lady, later adapted into the 1964 film of the same name—the ultimate tale of an ingénue emerging from obscurity to take the world by storm, which also made its UK stage debut at Theatre Royal Drury Lane and became the longest-running musical in the venue’s history. It was the biggest fashion moment of the night so far, with countless models in monochrome ensembles filling the stage in a nod to the elegant Ascot scene, including Lila Moss, who stepped into the part of Eliza Doolittle.

This tableau was accompanied by the Official penrith Panthers 3 Peat Undisputes 2023 NRL Grand Final Champions Art shirt but in fact I love this London Community Gospel Choir and music legend Annie Lennox, wearing a custom Richard Quinn suit that paid tribute to Pearly Kings and Queens, crooning “Sweet Dreams (Are Made of This).” It was stunning, to say the least. This surprise performance would’ve made for an impressive closing act in itself, but the organizers of Vogue World: London had yet another surprise up their sleeves: the original supermodels and Vogue’s September cover stars, Naomi Campbell, Cindy Crawford, Linda Evangelista, and Christy Turlington, appearing and walking out in coordinating looks, before the final curtain call. Bravo.

Buy this shirt:  Click Here to buy this Official penrith Panthers 3 Peat Undisputes 2023 NRL Grand Final Champions Art shirt

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[giodano64]

Mark Knight & Beverley Knight (ft. London Community Gospel Choir) - Ever...

[londondop]

Featuring singers from The London Community Gospel Choir: Decosta Boyce, Connie Morton-Young and Simone Brown. Filmed by me - Michelle Tofi -  Edited by Ruairí Glasheen and Gabriel Athanasiou Listen to the studio version, on the album Hellbent: https://autoheart.lnk.to/HBLPID Music written, produced and recorded by Autoheart.

[junkshop-disco]

for the song meme: 3, 13, 23

3: A song that reminds you of summertime

I used to spend the summer working at festivals, supervising stage builds or setting up artist villages, which means I was there early enough to have a massive PA to play with. If anyone let me near the aux for a main stage, this is what I'd always blast, Idris Muhammad Could Heaven Ever Be Like This . It's just a huge slab of really vibey old school that just sounds magnificent in the sunshine (or, tbh, pretty much anywhere).

13: One of your favorite 80’s songs

There was so much cool music in the 80s, which is why I'm picking Wired for Sound by Cliff Richard. Look. I know. I know it's Cliff Richard. I know you're thinking seriously? But this is a bop. And more importantly, it's a bop about music equipment. It starts with the line 'I like small speakers, I like tall speakers, if there's music, they're wired for sound. Walking around with a head full of music, cassette in my pocket and I'm gonna use it.' Like. Come on. That is objectively fantastic.

23: A song that you think everybody should listen to

When I'm Going Through Something, I crave house. I think a lot of people see house as shallow, an ephemeral background music to pool parties on TV, with little more to offer than soundtracking conventionally attractive people having a nice, entitled time in the sunshine at some mansion. But it's so much more than that. House is built on being overtly anti-racist and queer. House is about protest and most importantly for me, it is deeply, deeply rooted in the revolutionary power of hope and community as salvation. So I think what everyone should listen to is house music.

Some of my fave uplifting house tunes: Mark Knight, Beverley Knight and the London Community Gospel Choir - Everything's Going To Be All Right, Raise Up - Kindness, Love. Hope. Happiness - Luke Solomon, Amy Douglas, Queen Rose, I'm Not Defeated - Fiorious Cassius mix, Hope Is The Last Thing To Die - David Holmes (technically perhaps not house but wouldn't exist without house, so), I Can't Kick This Feeling When It Hits - Moodyman. I am so grateful for the existence of house music, and these two songs just perfectly sum up why it's what I reach for when I need something to just give me hope for and in humanity: Divine - Jamie Anotelli and Can You Feel It - Larry Heard. You need house. Everybody needs house. The world would be a better place if everybody loved house music.

Thanks for the ask!

Questions here if anyone else wants to play.

[dj-rhythm-dee]

This episode captures music for your feet and soul, so get up and move to these sweet dance grooves!

Featuring Michael Gray, Brian Power, The S.O.S. Band, Louis Vega, and many more!

Remember when music was Music!

PLAYLIST

1. Share The Night/World Premiere, Michael Gray

2. Time After Time (Disco Edit)/Brian Power, Lifford

3. Everything's Gonna Be Alright (f/London Community Gospel Choir)/Mark Knight, Beverly Knight

4. Just Get Ready (Michael Gray Extended Remix)/The S.O.S. Band

5. You Got My Body (Powermix)/Block & Crown

6. Marvelous/Hiva

7. Let No Man Put Asunder - Alan Dixon Remix/First Choice, Alan Dixon

8. Dangerous Jazz/Ferry Ultra, Roy Ayers

9. Be The Change (Michele Chiavarini Remix)/Jarrod Lawson

10. Paradise (DJ Meme's Production)/Mario Biondi

11. You Change My World - Jamie Lewis Classic Vocal Mix)/Jamie Lewis, Marc Evans

12. Who Is He? (Kevin Haden - Extended Mix)/Alaia & Gallo, Kevin Haden

13. Wish I Didn't Miss You - Main Vocal Mix Tasha LaRue, DJ Spen

14. Dance - Louis Vega Funk House Radio Edit/3 Winans Brothers & The Clark Sisters

15. The More I Get, The More I Want/The Lewis Project

[lesterplatt]

Cat Burns Sleep At Night (Acapella ft. London Community Gospel Choir) from Pavilion Works on Vimeo.

[luciochaves]

Cat Burns - people pleaser (Acapella ft. London Community Gospel Choir)