| ||||
|
|
THE CORRS Review
by Helen Lamont (Heat Magazine): Jim takes the stage and his sisters follow, then suddenly: silence. Yes, The Corrs really do look like that - painfully slender, paled to translucency, utterly utterly beautiful. Jim shrugs a "what's this fuss?" smile and as When He's Not Around hits in, the field roars. The Talk On Corners The Corrs are slender, paled to translucency and utterly beautiful version is soft, too comfy - but this is different. Flighty and feisty, it's as fast as the torrent of Sharon's fiddel commands, suggesting what's clear by evening's end: The Corrs are best served live.
The fiddle is the backbone of The Corrs performance and Sharon clad in La Senza's prettiest nightie, controls its breakneck tempo. The Right Time's melodies jab into the air as harmonies of voice and whistle blow carelessly on top. More traditional still are Joy of Life, leaving participants breathless but jaunty like a lock-in at your favourite pub. Caroline's bodhrán receives an ovation. Andrea receives another marriage proposal.
Oft held aloft as models of decorum, this time The Corrs let go. "We'll remember this when we're 60," beams Andrea. "I don't think I've ever felt this good". She sings the Eddi Reader-esque Queen Of Hollywood, wipes her dainty brow, then launches into Dreams. Despite a certain shyness which accompanies each winning smile, Andrea was born to the stage and knows it. She plays her part well - coy on the moment, teasing another, morphing vocally from Alanis to Mary Black, all in the while revelling in the never-answered question of What Can I Do? Purists may decry the dilute US album production, but think on. The Corrs have introduced thousands to traditional musicianship, and 25,000 liked what they saw tonight. No matter what your perspective, one thing is clear: while the four small figures on stage provide such fine entertainment, their live reputation must surely continue to grow.
| |||
|
® 2003 18 Til I Die.co.uk. All
rights reserved.
| ||||
|
|
