The long-running franchise's latest instalment "might be the summer's most satisfying blockbuster"
London SE1 Royal Festival Hall
He opts for intimacy as the best policy, shunts his two glamorous keyboardists offstage, and bursts into an a cappella rendition of [a]Liz Phair[/a]'s [B]'Perfect World'[/B]...
For a young man usually bolstered by a network of helpful chums (label bosses Beastie Boys, girlfriend actress Claire Danes, occasional collaborator Sean Lennon), this vexed reception proves disconcerting. His cautious demeanour suggests that he came here to bare his soul, but fears a catastrophic result.
Finally, he opts for intimacy as the best policy, shunts his two glamorous keyboardists offstage, and bursts into an a cappella rendition of Liz Phair's 'Perfect World'. He unleashes the anguished 'Burn To Shine' with tense catharsis, then abandons his mic for the prickly, hushed 'Sleepwalking'.
Still, Lee treads a fine line between the confessional and the superficial. Marrying barbed lyrics with buoyant melodies, he fluctuates between '80s teen-flick pop and the sombre dexterity of a young Dylan. When a seam splits in his rhinestone-festooned shirt, he panics, but refuses to take it off. "Some things you don't want to see," he explains. Although Lee wears his heart on his sleeve, there's only so much he'll reveal.
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Spielberg’s take on the beloved Roald Dahl novel is restrained, nostalgic and sweetly sentimental