Adam Lambert’s “Outlaws of Love”

This picture was taken at St Agathe, Canada by Luv2Laugh77




mp3 only – full programme

This programme in its entirety, is around 2 hours 23 seconds long, but below you will find it broken down into five parts:

Part 1 – Angelina Kalahari – a vocal analysis

Running time: around 26 minutes

The Sound Bath programmes are recorded ’live’ – meaning not in a studio. Therefore, you will experience some ambient noises and ‘echoey’ quality to the recordings. Please be so kind as to ignore those and instead, enjoy the content of the programme. Please also remember that it is illegal to download music from here. It’s better to support the artists by buying their music in stores or on Amazon or iTunes. That way we ensure that they’ll be able to continue to make music for us in the future.

Today I want to talk about Grammy Nominated singer/song-writer Adam Lambert’s song, “Outlaws of Love.”

The song was premiered at his show in Canada in July 2011, and he said that it’s a definite for his second, eagerly-awaited, album, due out early in 2012.

I was lucky enough to be at the show at St Agathe, and to hear the song sung live for the first time. The initial impact of this seemingly simple song, hit me extraordinarily powerfully on every level, but mostly physically – at least first of all. And I found myself nearly howling from the pain of it. It’s been difficult, ever since, for me to listen to the song without becoming somewhat emotional.

Adam’s “Outlaws of Love” is a deeply overwhelming song. So overwhelming, in fact, that after his performance of it, I couldn’t really remember what else he’d sung and later had to reconstruct the end of the show from YouTube videos posted by fans.

The only thing I do remember is that because of the torrents of rain that suddenly appeared, the canopy above the stage sagged with the weight of it, and as I was standing right in front of the stage and directly underneath the canopy, buckets and buckets of water came crashing down on me. It came down so fast, I felt I couldn’t breathe and was in danger of drowning because there was no getting out from under it and away from it. But once I’d allowed myself to relax and not to panic, it felt like a waterfall of Adam’s love. It reminded me of the waterfall pictures I use on the YouTube videos of my programmes and I knew then that I simply had to make a programme about this special song.

But you have been warned, so be prepared with a tissue or two – you’re going to need it.

There are several reasons why I think this is a very important song.

The first reason is because the lyrics deal with a subject matter almost never attempted in song-writing, and certainly never in this way in which we, the listeners, are being told what it feels like to be “Outlaws of Love.”

As a professional singer myself, I am naturally very interested in lyrics, but I am not an expert in analyzing them – I’ll leave that to Dr Philippa Semper for later in the programme.

Equally, although I find the melody haunting, beautiful, and perfectly and poignantly working with the lyrics, beyond acknowledging that the song was written using the Pentatonic scale, I will leave the more in-depth discussion of what the music is actually doing, to Elizabeth Dockrell-Tyler, to cast her expert eye over.

Secondly, I feel this song will change the way non-fans perceive Adam Lambert – not only the over-the-top, make-up wearing, campy, sexy singer with the great voice, they must now learn to appreciate, too, the serious artist, as his fans has known him to be, from the beginning.

And thirdly, this song is a departure from anything Adam has sung before, and shows how far he has come in his artistic development and song-writing skills. This song is truly a piece of art.

But first, I would like to focus on Adam’s voice and what he does with it in this song.

I’ll start by saying that every singer has a ‘sweet spot’ in their voice – usually referred to as their tessitura: which means it’s the most comfortable range for the singer’s voice, where the tone, colour, timbre and texture of the voice sound the best.

Some singers’ tessitura sits over a few notes, for others it’s more. In Adam’s case, it would seem as though his tessitura spans throughout his entire, rather formidable range, which, by the way, seems to grow wider, when I hear him again, after each disappearance from live performances – sometimes I wonder if he somehow inhales new notes to add to his already impressive stash.

His voice sounded particularly rich in harmonics (the overtones in his voice) and seemed to have a new energy when I saw him in Canada in July, no doubt because he’d been hard at work on his new album and had been singing with some top producers in the studio. To my ears, his vibrato also seemed tighter and more consistent, but it might just be what he’s consciously chosen to do with this song. But it is a testament, once again of his astonishing techniques.

I should point out that music also has a tessitura – this does not mean the range of the music, but merely the part of the music over which most of the vocal line sits. The tessitura in “Outlaws of Love” is irrelevant in this case, because the song has been crafted for Adam’s vocal instrument specifically, which means that his and the song’s tessiture are completely compatible. Having said that, the way in which Adam sings “Outlaws of Love” extends its tessitura over two octaves, rather unusual for a song in the modern genre, because most pop songs have a range of around one octave, but bear in mind that that is not necessarily it’s actual tessitura.

Of course “Outlaws of Love” is not a pop song, but a ballad and a very, very good, well-crafted one at that.

But before we take a more in-depth look into what Adam is doing with this song, I’d just like to take a brief overall glimpse at his vocal on “Outlaws of Love.”

We can hear once again the exquisite long legato lines, the gorgeous open vowel sounds, the sensitive and unexpected phrasing, the emotive nuances, the light and shade, and the use of breath and breathing as part of the interpretation – all elements so characteristic in Adam’s singing.

As the song has not yet been released, other than the YouTube versions of it recorded by fans at the show, there is no official CD or mp3 available. So let’s listen now to an expertly edited version of the song, produced from bits and pieces of footage, thanks to TALCvids and fiercealien, by another of Adam’s fans, the wonderfully talented Lambosessed. 

If you’ve ever wondered who is behind making those astonishing ‘improved versions’ of fans videos posted on YouTube, here’s a little background on her:

Usually a karaoke show snob, she got sucked in after hearing Adam’s great voice at his American Idol audition, an amazing voice during Hollywood week, and he blew her away as a performer during Satisfaction. After Googling Adam and seeing his range, there was no way back for her.

She taught herself how to edit video and audio to get the maximum out of all the available media. She wanted to make videos she wanted to see as a fan, without flaily-arm obstructions or shaky camerawork to detract from the enjoyment. As the recordings have gotten better in quality, she can now choose the best angles, and may spend days trying to enhance the feel of the performance and to make something beautiful that people would want to watch over and over again.

Unfortunately, due to a bad cold and a sore throat, she was unable to chat to me this time, but she has kindly sent  her response to a few very quick questions I had put to her about “Outlaws of Love.” This is what she said:

“I think “Outlaws of Love” was a fabulous treat for fans, rewarding their loyalty. But in hindsight, it was also a very economical way to keep Adam in the public eye, as the song got picked up by the media who ran articles on it.

He once said his biggest fear was being forgotten about, so I think it’s done enough to maintain people’s interest. I think Adam is best appreciated through the medium of YouTube. I see YouTube as essential for artist promotion and it’s a great indicator of an artist’s popularity – people watch only because they want to.”

So I’d like thank Lambosessed not only for participating in this programme, but for all the art she puts out there, too.

Here is the link to her blog, where you can read more of her thoughts on “Outlaws of Love” –

So here’s the song:

Of course his fans, including me, love to hear Adam’s exquisite voice like this – with minimal accompaniment – almost a cappella – because of course, his voice itself IS music.

His performance in St Agathe was wonderful too – Adam was very still, using mostly his face and wonderfully expressive eyes only to enhance the beauty of his voice, and of course, that’s very powerful and focussed the attention even more on the stunning beauty of his voice.

A quick word about the accompaniment, which again, Elizabeth will go into a little more, but I wanted to point out that whilst the accompaniment is with a guitar only, here Monte uses an electric guitar, whereas we might have expected an acoustic one. But the electric guitar is capable of those exquisite slides between notes, which the acoustic guitar would not so easily and effectively be able to do. But those slides between the notes, adds further to the overall melancholy ambience of the song.

Also, the accompaniment is very sparse, so that Adam sings the song almost a cappella, as I said before, which is a real treat, as we can clearly hear his voice, but it’s also very clever, because it helps to make the song sound even more tender and gentle, whilst continuing to give the song an edgy, modern quality.

As with any song, a singer will first explore the basic tempo and mood markings, typically set out at the beginning of the music by the composer, to guide the musicians and singers as to how to perform the music – where to stress a note, where to lengthen one, where to change the tempo of the music, where to emphasise a word, where to breathe, etc.

Not having had the opportunity to look at the music, and going only by how Adam sang “Outlaws of Love” at St Agathe, and because the tempo the song was performed at there was 60 beats per minute, we can say with some confidence that the basic tempo is larghetto, which means ‘rather broadly.’ The basic mood marking might be affettuoso, which means with passion, emotion, and feeling; very expressively and tenderly – exactly how he sang it. But beyond these very basic markings, of course this song is Adam’s own creation, so we may never be privy to the other markings contained within the music – unless he publishes it.

Another thing a singer might immediately notice is that the song appears to be structured in three sections as the verses seem to have a section A and a section B followed by a chorus. This, together with the simple lyrics and melody, makes it easy to learn.

Adam is both a highly intelligent and intuitive vocalist, and it is always a master class when he sings, and fascinating to see how he uses his voice.

So let’s now take a closer look at how he sings “Outlaws of Love:”

1. At the beginning of the vocal line, the short sharp intake of breath, just before the first word: “Oh” in the phrase: “Oh, nowhere left to go…,” makes that whole line feel like it’s nearly too painful and private to say the words out loud. Listen also to the second “colder” in this verse – it sounds almost like a sob.

2. Usually Adam’s classical training compels him to sing those dazzling open vowel sounds he does so well and, which helps to create those beautiful long open lines we all adore him for, but listen to how he next sings the words “same,” “rain” and “change.” He’s singing here rather pointedly on the consonants “m” and “n”, and it’s a master-stroke, because it suggests intense emotional pain. You’ll also notice that on the words “same” and “rain” the melody goes up, which seems contradictory to the words, and on “change” Adam sings three notes, instead of only two, as you’d perhaps expect him to sing – this makes for a more musical, satisfying sound experience, whilst the word itself opposes that.

3. Next comes the chorus and because we can experience the rhythm more clearly during the chorus, we feel comforted and almost rocked, as though in a lullaby.

The beats before the chorus followed by the higher note on the word “Everywhere”, in the phrase “Everywhere we go…” is what makes us snatch our breath and what makes the chorus so effective. In the clip to follow, we can clearly hear the difference it makes when we don’t hear the verse first.

The way Adam sings a fractionally longer, more musical note on the word “on” in the phrase “we’re always on the run…” gives the impression of movement, along with the musical line and the actual words. Movement is further emphasised as a result of singing through the word “run.”

The way in which he sings the word “hell,” however, in the next phrase, conveys a feeling of acceptance, of already having forgiven the “they” who said “we’d rot in hell.” But it could so easily have been sung in an angry way – we’ll come back to this later in the programme when Christine Smith shares her views on “Outlaws of Love” with us.

4. We might have expected him to take a breath after the word ‘enough,’ in the phrase “They’ve branded us enough outlaws of love” –right? But because he sings it as one phrase, the meaning is immediate clearer, more poignant. And the note on the word, “love” at the end of the phrase, is so gracefully filled with a longing we sense might never be fulfilled.

This could so easily all have been angry, or sung in an aggressive way, but instead it’s empathetic, tender and tolerant, and therefore so much more powerful.

5. The second verse, again feels as though he’s experiencing private, painful thoughts and feelings. “Scars make us who we are” could have sounded defensive – instead it sounds wistful and almost meditative. And the second “broken” again sounds like a sob.

6. The use of breath after the word “far” in the phrase “far, we could go so far” strengthens his plea. Listen also to how he lingers once again just fractionally longer on the word, “so” in “we could go SO far” – it conveys a sense of both longing and of wisdom. And again, he combines the two phrases: “we could go so far” and “with our minds wide open,” which reinforces the meaning of the words.

7. Then a slightly longer “all” in “We ALL feel the rain”, suggests a sense of inclusivity, beyond merely the words, as the sound is warm and generous. And the definite “t” in “we can’t change” lets us know that it’s not possible for anyone to change their core selves, even though who they are, may be deemed unacceptable.

8. The wonderful coloratura improv Adam does after having sung the chorus for the second time, where by the way, the “Everywhere” at the beginning of the chorus is more emphasised, feels like he’s crying. The effect is enormously emotional for the listener, not only because of the stunning beauty of his voice as it climbs to the higher notes beyond those of the song, but because this crying does not seem to stem from anger or victimhood – one has the impression that it comes unbidden, as a result of a deep sadness on the one hand, and complete acceptance, on the other – that this is just how things are – at least for the moment. Also the vowel sound he’s using, reminds us of the word “love.”

9. Again, we have that sharp intake of breath just before the final singing of the chorus, which conveys the feeling of a pain being held in. Then, on the line “Well, I don’t think we will” – for the first time, we hear a kind of defiance, which seems like the willingness to fight for what he believes in.

10. On the penultimate “Outlaws of love” on the word “outlaws,” Adam’s voice displays a raspier sound, which reminds of the sound of a voice having just cried.

Another reason that this song, in particular, is so powerful, is because Adam sings it entirely forward in his mask, which is why, even on the consonants, the sound is clear, and it is also the reason that the sound travels so deliberately and hits us so specifically.

Adam has a particular genius for using his voice to infuse the melody and lyrics of songs with a much deeper meaning than many other singers are capable of doing, and so it’s wonderful to hear what he does with his own songs. We already know that he changes songs to make them feel different, fresh and new each time he performs them, so I can’t wait to hear what next he does with “Outlaws of Love,” although I have to say I just love this version.

Part 2  – Elizabeth Dockrell-Tyler – analysis of the music

Running time: around 28 minutes

But now I’m thrilled to introduce my first guest to enlighten us on what the music is up to in “Outlaws of Love.” She is a professor of music and piano at Reading University, a soloist in her own right, a much sought-after teacher and accompanist, a violinist, and best of all, she has been my friend and my accompanist for many years. She is Elizabeth Dockrell-Tyler.

Part 3 – Junie Moon – the song from a writer’s point of view

Running time: around 8 minutes

My next guest, Junie Moon, is a writer from Austin, Texas, who prefers to use her fan name for Adam activities. She currently authors historical materials for a major research library in Texas. Over the years, she has written extensively on subjects ranging from computers to American politics to sports to Texas history, and she is the co-author of two historical novels set in early America.

In 2009, a chance encounter with the American Music Awards changed Junie’s life forever and reawakened a long-dormant love of rock and roll music. She has since been devouring everything she can find on Adam Lambert and blogs regularly about her Adam journey on the Adam Lambert Fan Club site, which is where I was directed to read the stunning blog she wrote about our topic today, “Outlaws of Love.”

Part 4 – Christine Smith – from the fans’ perspective

Running time: around 30 minutes

Next, I’m delighted to welcome back to The Sound Bath, my friend, Christine Smith, or Cassie, as some of you might know her, from the Adam Lambert dedicated fan site, Adamtopia.

Christine was classically trained in piano and violin before taking voice lessons. She has done some community musical theatre – on stage and in the pit, sang in a conservatory choir during college years, the highlight of which was singing with the Milwaukee symphony orchestra — Beethoven’s 9th, among other numbers. She says that was a thrill, because it was a very good, professional orchestra with soloists from the Met. (The conductor at the time was Kenneth Schermerhorn, who actually was assistant director to Leonard Bernstein at the NY Philharmonic previously.  A very dynamic, eccentric director).

Part 5 – Dr Philippa Semper – the meaning behind the lyrics

Running time: around 50 minutes

And now, the lady I suspect many of our listeners have been waiting to hear talk about “Outlaws of Love,” Dr Philippa Semper, avid reader since the age of three, and captivated by music for as long as she can remember.

She took her PhD in medieval manuscript research at the University of Exeter, and taught English for several years at University College Dublin before moving to the University of Birmingham, where she lectures in medieval English literature and modern fantasy writing and publishes in both areas.

Philippa became interested in the relationship between modern song lyrics and literary texts when she found herself writing about a U2 lyric in one of her finals examinations, and she has since used modern songs to teach students how to approach medieval lyrics. She discovered Adam Lambert by way of the rock band, Muse, through the song ‘Soaked’ which Muse provided for his debut album; she has been fascinated by both Adam’s lyrics and his music ever since.

It’s wonderful to welcome you back to The Sound Bath, Philippa. I thought it might be a good idea to listen to the song once more, so it’s fresh in our minds when you tell us more about the lyrics in “Outlaws of Love.”

Oh, nowhere left to go
Are we getting closer, closer?
No, all we know is No
Nights are getting colder, colder

Hey, tears all fall the same
We all feel the rain
We can’t change

Everywhere we go we’re looking for the sun
Nowhere to grow old we’re always on the run
They say we’ll rot in hell, well I don’t think we will
They’ve branded us enough, outlaws of love

Scars make us who we are
Hearts and homes are broken, broken
Far, we could go so far
With our minds wide open, open

Hey, tears all fall the same
We all feel the rain
We can’t change

Everywhere we go we’re looking for the sun
Nowhere to grow old we’re always on the run
They say we’ll rot in hell, well I don’t think we will
They’ve branded us enough, outlaws of love


Everywhere we go we’re looking for the sun
Nowhere to grow old we’re always on the run
They say we’ll rot in hell, well I don’t think we will
They’ve branded us enough, outlaws of love

Outlaws of love
Outlaws of love
Outlaws of love
Outlaws of love

Thank you, Philippa, and thank you also to all my guests today. I thoroughly enjoyed talking to everyone. I trust that everyone listening to the programme, will also enjoy our conversations, and perhaps even tell us their views on this wonderful new song we now have in the world, Adam Lambert’s “Outlaws of Love.”

The music for the intro and outtro of this programme was composed and performed by Elizabeth Dockrell-Tyler.

We do not own the copyright to any of the pictures, music or videos presented in this programme, only copyright on all scripts presented within the programme, and no copyright infringement is intended.

This blog is offered to invite comments and discussion on the work presented by The Sound Bath.


About soundbath

I loved singing from a very young age and first performed in public when just seven years old. As a child, living as we did, on a farm in the middle of the Kalahari Desert - the place of my birth - we had no television and my mother played records by Mario Lanza, Guiseppe Di Stephano, Beniamino Gigli, Franco Corelli, Jussi Bjorling, Enrico Caruso and other well-known Italian opera tenors, day in and day out. I adored this music and their beautiful voices, and was convinced I would be a tenor when I grew up. But the small matter of being born a girl, shattered that dream! I trained as a soprano instead, and have been fortunate enough to sing all over the world, enjoying some wonderful moments along the way, including being invited to Buckingham Palace by Queen Elizabeth II in recognition of my contribution to the music, economy and culture of the UK.
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29 Responses to Adam Lambert’s “Outlaws of Love”

  1. lking says:

    This blog was so well done and heart felt it has left me breathless. Thank you and the co-authors for you wisdom and gift of letting us see a different side of Adam Lambert. I know I experienced much of what you said, but had no idea how to put it into words or even understand what I heard. I know instinctively, like so many of Adam’s fans, that his voice is indeed a musical instrument which leaves us wanting more.

  2. lovingadam1031 says:

    I have a new insight and appreciation for “Outlaws of Love” now that I’ve listened so carefully to this program. I now have a deeper understanding for Adam’s journey from boyhood to manhood and how he expresses his pain, love and frustration within his song lyrics and his vocals. Adam is truly a gift from God. Thanks for such a wonderful program. I also felt the pain Angelina felt while listening to Adam sing OOL for the first time live. If I’d been at the concert I’d have sobbed harder than the pouring rain that almost drowned Angelina.

  3. dylangirl says:

    Angelina, you and your guests have helped me to understand why this song has made such an impact on so many of us. It is easy to look at the words and have an understanding of why the subject would touch our hearts. It is difficult to go deeper and answer the question of why these words when read aloud, not making as big an impact, would move us to such an emotional place when sung by Adam. I can now understand how Adam’s deliverance of these poignantly written words is what makes the difference.
    With Adam’s own words from his heart, and his deliverance, we indeed “Cannot listen away”.

  4. bonnie says:

    lking put what I would reply into better words than I can. Drawing is my forte, and I’ve always admired people who have a way with words. Thanks for helping me appreciate Adam’s talent even more than I ever thought I could. I hope someday everyone can share what we know to be a treasure. Thank you, Angelina and all.

  5. This whole article was BEAUTIFUL!!!!! Everything written about Adam and Outlaws of Love was so heartwarming and I LOVED all of it. Thank you SOOOO MUCH for writing it!!!!!!

  6. cassie says:

    If ever anyone had doubts about whether Adam is a gifted vocalist, composer and musician, this thoughtful, in-depth, knowledgeable program puts them all to rest. The time, the attention to detail, the thought, and the love you put into this project, Angelina, is apparent and greatly appreciated. I hope it is widely heard by Adam fans and soon-to-be Adam fans around the world.

    Thank you!!!

  7. Pingback: Adam Lambert Week – September 11-17, 2011 « On the Meaning of Adam Lambert

  8. Pingback: Adam Lambert Daily Update – September 16, 2011 « On the Meaning of Adam Lambert

  9. always been a glambert ❤ powerful, amazing + great message! perfect package ❤

  10. Grrrr_girl says:

    Thank you very much for this wonderful program! This professional and non- professional (fans’) analysis of Adam’s song helped me better understand and feel “Outlaws of Love”. I was also blessed 😉 to listen this song alive and it
    was magical…
    Always looking forward for your new programs…

  11. Thanks for all of your amazing and thoughtful insights into this brilliant performance!

  12. @adamlambert “Outlaws of Love”-Thanks for all of your amazing and thoughtful insights into this brilliant-performance!

  13. atomom says:

    My response to Outlaws of Love was immediate and emotional, sobbing throughout endless listens, even with the intrusions of excited fans. This analysis has opened up for us now why I was so much moved. For me, “They say we’ll rot in hell” struck me curiously crass, but ironic, the ugliness of the sentiment sung so tenderly as to highlight the contrast to the follow-up: “but I don’t think we will”, words an innocent child would utter, that I must soothe away the pain, however through tears.

  14. nica says:

    Angelina, Elisabeth, Junie, Cassie and Philippa – Thank you so much for sharing your thoughts, feelings and expertise! Each one of you added to the pure enjoyment of the song by revealing the “secrets” of this masterpiece!

  15. Rob says:

    Thanks you so much for this beautifully detailed and insightful discussion of “Outlaws Of Love”!

  16. stardustpf says:

    Thank you so much for this wonderful program!! It was so interesting and I know you put a lot of work into it! It is very exciting to hear music professionals opinions on Adam’s music! I love this song so much!!

  17. Carolina says:

    Thank you so much for your “devotion” to Adam. The program was extraordinary. To be a fan of Adam is something so very special.

  18. WOW!! Ive only read the beginning and have to come back to it ~ but must write that I too was at the edge in front (left side) under that canopy!!! The downpour from it was frightening!! LOL!! Sorry I didn’t meet you. I was with friends on the ‘Monte side’ of that center divider. My friend and i had nos. 7 & 8 to get into this show. At the show we were only separated from the stage by the fence a couple ft from the stage floor edge where the ‘jumbotron’ camera guys were, with their cameras. We were there days ahead of time taking advantage of this location for a bit of a R&R vaycay! So were able to get ‘numbered’ at the box office as soon as word got out. We thought (after seeing the setup days in advance) we’d go round the back and up the left to help avoid getting crushed at the front by those running directly in only to get trapped by that center fence. Instead we almost drowned. sorta. very moving song! be back later for the meat and potatoes of this blog!! Thanks!!

    • soundbath says:

      What a shame we didn’t meet! Yes, I too had been there for a number of days prior to the concert, hoping for a little R&R – it was such a magical place, a magical experience and a magical new song from the Voice Magician himself, right?!

  19. Virg Mattera says:

    Thank you so much for this beautiful insight on Outlaws of Love! Made me appreciate the song even more then I knew was possible!

  20. Sue says:

    This made me realize my own history of studying music, of being exposed early on to different types of sound-melody-and artists that have incredible gifts to reach us through their voices. Adam captured me with his voice in his audition, and not long after that–watching AI, I was in search of more on the net about him, and eventually so much started to surface. Your wonderful voices here-and superior rendition of his talent–gosh that word sounds so trite–anyhow–your beautiful disection here just makes me more in love with Adam Lambert. He is Thee Artist of my time. I can’t think of anyone ever making me feel this extraordinary listening to a voice–no one. Thank you for this master piece, thank all of you who participated and poured your heart out here to let everyone read-listen-and learn why we are in a passionate spell. As terrified of storms as I am, if I had been there in the rain–with you–drowning in the downpour-and in Adam’s OOL–I think I might have died doing something I truly love to do. One thing I don’t have yet–wish I did–is have friends who I can talk to about this gorgeous obsession. I hope to find a few in time. Love it!!!

    • cassie says:

      Don’t mean to co-opt this site, but, if you are looking for other like-minded fans of Adam who chat about everything from the shallow to the deep end, and share their appreciation of Adam, I’d like to invite you to check us out at I moderate the Vocal Masterclass there, where we talk about Adam’s voice and artistry, specifically.

      We all started as strangers, but have gotten to know one another in that virtual world, thru our appreciation of Adam and all he is. Some have even become friends in the real world. We support Adam and we support each other.

    • soundbath says:

      Sue, thank you for popping by – please know you already have friends among us. As you can see, I LOVE talking about Adam’s voice and will do so at the slightest invitation! Haha! So please feel free to talk away as much as you want to! x

  21. Angelina (and the rest of you beautiful ladies!) I cannot tell you how wonderful it was to listen to this AWESOME dissection of Adam’s Outlaws of Love! I already felt it on a totally visceral level upon first listen and the MORE I listened the more astounded I became! I had also thought of how the meaning of the song could as easily apply to Romeo and Juliette, Eloise and Abelard or ANY two star-crossed lovers.
    Thank you SO much and I look forward to much MORE from you when Adam’s new album is available! Peace, Love and Light! ~Rose~

  22. soundbath says:

    Thank you so very much to all of you that you came to listen to our programme and that you took the time to pop by to share your opinions, views and feelings, and to let us know what you thought of it. It’s wonderful to receive so much positive feedback and I’m truly thrilled you all seemed to enjoy the programme so much.

    I LOVED chatting to each of my guests, and I’m so very grateful that they all agreed to be a part of this programme – it was truly a joy to work with them and a pleasure to put together their insights and knowledge into a programme that, hopefully, can go some way to clarify for us all, why “Outlaws of Love” is not only a beautiful, moving and heart-breaking song, but why it is such an important piece of art – a tiny miracle in our world.Thank you, Adam!


  23. noskerdycat says:

    Hi Angelina, thank you for this broadcast and the verbal canvas you and your guests painted of Adam’s OOL. I am a graphic artist and a synesthete that sees music as pattern,color and sculpture. I have zero musical training / knowledge, and it is such a spiritual mystery why the attraction to Adam’s voice has captivated so many down to their very essence.
    Many of your descriptions allowed me to connect my visual arts training to an understanding of the design tools a trained voice/musical artist uses hence, exploring deeper into my synesthesia while listening to all of Adam’s music.
    I sometimes wonder why some folks don’t hear what so many of us hear in Adam’s music. Why aren’t they enlightened immediately? My first Adam moment was a “flip of the switch” – the light came on! The fact that he has connected so many people globally, regardless of all bias and culture, is amazing and yet still a magical and mysterious thing.
    Thanks again for helping me to understand this more though your musical knowledge.

    • soundbath says:

      Hi noskerdycat,

      How delicious to hear from a fellow synesthete! I’m very curious to find out if we experience Adam’s voice in similar ways?

      Thank you for popping by and for letting me know that you enjoyed the programme – I appreciate it enormously, and must say; I had so much fun making it. (I’ll be posting the re-edited version soon!)

      Totally agree with you: the Adam-phenomenon is indeed a magical and mysterious thing and in my opinion, will continue to grow in magic and mystery as he continues to grow as an artist, and as more and more people ‘discover’ him.

      You raise a very good point: why some people don’t hear/experience what we do when listening to Adam – it’s something I’ve thought about a lot and have discussed with several fans as well, and some very interesting theories have come to light, but in the end, I feel, in short, that he is a siren and render those who are meant to hear him, incapable of ‘listening away,’ as Christine so aptly described in the programme on OOL. Of course, there are solid, scientific reasons also for why his voice affects some more than others, but I’m sure some people would say it’s just a matter of taste, right?

      But you also mention that it’s a spiritual mystery, and this I know with every fibre of my being, because as a singer myself (and I know most other singers feel this way too), I experience my voice as the only direct physical manifestation of my spiritual self in this world. Don’t get me started, I could go on…! Haha!

      Thanks again for your lovely comments.

  24. Kay Barker says:

    I have wondered what is wrong with me for being so obsessed, for the first time in my lengthy life, to this man. It is great to hear you and your guests’ trained analysis to help me understand why I am so very mesmorized. . Your blog has put into words all the things I have felt, but didn’t always know why, when I hear Adam sing. Thank you!

  25. soundbath says:

    Hi Kay,

    Sorry for the late response to you, but I just wanted to let you know how much I appreciate your comment here.

    You’re not alone. So many people feel the same way, including myself. I at least understand that much of my experience has to do with my synaesthesia. But Adam is like no other performer I have even come across and I suspect, probably also like no other human being!

    I’m really thrilled that my blog has helped you to understand a little of your response to him also!


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