Brit Awards 2012

by (@kat_george)

How “Realwave” Is Taking Over Music Courtesy Of Ed Sheeran’s Performance At The Brit Awards

There’s no doubt that 2011 was the year of the “doof doof”. From the rise of David Guetta and LMFAO to the euro-club beats adopted in an overwhelming majority pop songs from Rihanna‘s “We Found Love” to Britney Spears‘ “I Wanna Go”, there was no avoiding the thudding sound of the sub woofer and all the manic, Ibiza-esque dance-party vibes that went with it. But if you abide by the laws of physics, you’ll know that for all actions, there is an equal and opposing reaction — and we can see the specter of antithesis looming for 2012. While last year saw an almost completely unblemished carpet of techno beats upholster the music landscape, 2012 looks set to tear that carpet up and replace it with raw wood.

We’re talking about the new guard, a genre of new artists we’ve dubbed “realwave” (thanks to Carles for giving us the ability to invent genres with the simple suffix “wave”), who have been lurking on the sidelines but still managing to make some noise despite the deafening reverberations around them. It began with the ascent of Adele, Mumford & Sons and Bon Iver — artists, who are, for all intents and purposes, artists. In 2011, these artists represented “authenticity,” or the ability to make music that was not only chart topping and relateable, but that also relied on the strength of songwriting, real instruments and organic talent. Yep, that means no auto-tuned voices, synthetic bass lines or garish costuming.

From Adele’s beautiful, heartfelt lyricism and emotive live vocal to Mumford & Sons’ rootsy instrumentals and Bon Iver’s gently experimental, dynamic sound, these artists have provided a much needed sanctuary from banging beats and flashing lights. And perhaps now, after we’ve worn the soles of our dancing shoes right into our heels, we’re actively seeking more realwave. We went to the party, sure, and we had the time of our lives, but it’s morning now, the sun is shining through the cracks in the curtains, our heads are splitting and we’re groping at the bedside table for Advil and Gatorade.
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by (@kat_george)

Last Lap: Beef Alert! Kreayshawn Disses Lana Del Rey Then, Ummm, Poops In Front Of A Reporter!?!

Beef Alert! Kreayshawn Disses Lana Del Rey Then Does A Poop
Kreayshawn knows how to get everyone talking about her again — diss the hottest music act of the moment, Lana Del Rey, then poop semi-infront of a reporter. Click the link at your own peril, but don’t say we didn’t warn you. [Complex]

Lily Allen Speaks Up About Adele’s Brits Acceptance Speech Being Cut Off
We miss the days when Lily Allen had a whole lot of stuff to say. Talking about Adele’s controversially cut short Brit Awards acceptance speech, Allen said “I’d rather hear Adele’s acceptance speech… I can’t say I’m surprised. It was like the music industry’s attitude to women played out as a metaphor.” [NME]

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by (@kat_george)

Tuned In: Blur Play At The Brits But Not Before Adele Flips The Bird On Live Television

Adele got caught up in her very own M.I.A. moment at the Brits last night when she gave everyone the bird on live television. After winning album of the year, an emotional Adele, obviously composing herself and fighting tears, began a heartfelt, humble acceptance speech in which she expressed her pride at “coming home with six Grammys,” and “being British and flying our flag.” But almost as soon as she began her rousing speech, she was cut short by presenter James Corden who seemed to follow his direction to cut her off rather reluctantly. As Corden welcomed Blur to the stage, Adele expressed her frustration with a very clear gesture, flipping a giant bird at the room. But unlike M.I.A. who made her apologies, Adele had nothing to apologize for, and instead it was ITV and the Brit Awards apologizing to her.

Adele did clarify that her middle finger was for “The suits, not the fans,” and she was “Sorry if I offended anyone but the suits offended me.” ITV came back with a statement saying, “The Brits is a live event. Unfortunately the programme was over-running and we had to move on. We would like to apologise to Adele for the interruption,” while a spokesperson for the Brit Awards said, “We regret this happened and we send our deepest apologies to Adele that her big moment was cut short this evening due to the live show over-running. We don’t want this to undermine her incredible achievement in winning our night’s biggest award. It tops off what’s been an incredible year for her.” Corden was equally horrified and said, “I just feel bad about having to cut Adele off. I really don’t understand quite why I was made to, but it’s not a very nice way to end… She’s the biggest star in the world. I don’t understand what happened but I’m upset about it. Blur played for 11 minutes and she didn’t get a chance to say thank you once.”

Speaking of Blur, the band gave a rousing, five song strong set including the iconic Brit Pop hit “Parklife” (which you can watch after the jump). Damon Albarn looked pretty excited to be there, jumping around the stage like a kid who’d eaten too much sugar. Blur were presented an Outstanding Contribution To Music award, and their closing set proved just why — Brit Pop really is a very Blur-y thing.

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