Kylie Minogue has always been an enigma. From her PWL days to the Deconstruction Indie-Kylie era, right through to 2018’s country-themed “Golden”. The pop-stalwart has always endeared the public with her creative talents and in a world when we are unable to go to the local discothèque and dance until dawn; it seems odd for the undisputed Queen of Pop to release a collection of dancefloor bangers, but in these times it has been more than welcome.
Kylie is no stranger to the dancefloor, it’s been a recurring theme over the last 20 years of her career, but DISCO is the first time that she’s really gone balls to the wall hi-NRG. DISCO is relentless. From the slinky smooth staccato keys of “Magic” and the unifying message of DISCO’s lead single; “Say Something”; where Minogue asks; “Can we all be as one again”. DISCO proves that the only place we need to be when we’re allowed is the dancefloor and DISCO drips with future dancefloor bangers.
Looking back on the various stages of disco, and reinventing in them for today, DISCO is the perfect tonic to these troubled times. Songs like “Dance Floor Darling” fuses the eighties inspired power chords and an incredibly modern, fresh production, and a “Your Disco Needs You”-inspired spoken word section. The vocoder gets some use on “Supernova”; a relentless nod back to her Light Years album, coupled with some Moroder inspired beats. The albums closer “Celebrate You” is life-affirming, arms up in the air concert closer in the making, and when the time comes for Minogue to tour the album we are going to be in for a real treat. Other highlights of the record include the Donna Summer inspired “Where Does the DJ Go?” and the ABBA influenced “Last Chance” with a chorus that resembles “Voulez-Vous”.
Whilst nothing on the album reaches the high camp, dizzying heights of “Your Disco Needs You”, DISCO has some brilliant songs. Lyrically it sometimes veers off into parody, however, it’s forgiven because everything comes across as so joyous and warm. You cannot help but smile when listening to this record, and this is the perfect tonic for what looks like it might be a long and dark winter. You can say what you want about Kylie, but DISCO cements her as the queen of the Disco and she has returned to wrap her arms around every one of us.
Rip the knickers off London and you’ll find gender-fluid gold, not dreary X-Factor clones! See, London’s not just a place, it’s an idea, inspiration, and way of life! Oh, and not just tedious, straight-living breeder lives – London, my dears, is arguably the world capital of killer diversity! Quite simply, it’s a city throbbing with a unique pulse found nowhere else, and London, unarguably, epitomises the German word
zeitgeist, the spirit of the times. And guess what? Right here, right now, we’re blessed with the pansexual Hostess with the Mostess, San-Franciscan uber-diva Holly Penfield!
Quintessentially American, so naturally extrovert and gregarious – think Katherine Ryan on crystal meth – Holly’s a living lifestyle transplant, importing San Franciscan exuberance in gorgeously digestible chunks for famished Brits!
Never scoped Holly on your Gaydar feeds? My God, you will! Scene queens, of course, will remember Holly’s awesome, kitsch-bitch residencies at the infamous Shadow Lounge and the Savoy Hotel, Oscar Wilde’s favourite, f*ck-buddy pad with twink partner Bosie!
If marginally older than Gaga, but easily predating and exceeding her in pumping charisma, song-writing chops and artistic extravagance, Holly must be seen to be believed. Working audiences with the assured, erotic prowl of a five-star cougar firing on every cylinder, she’s stunningly reclaimed her fabulous forties as an avant-garde hunting-ground for her restless, ever expanding muse.
If normally known to fans as a jazz and show-tune diva, French-kissing the ghost of her idol Judy Garland with a swooning, soothing breathiness that instantly sparks mass, spontaneous orgasms in the audience, the real Holly’s far more exotic, as radical in her image overhauls as Bowie himself.
And – make no mistake – Holly’s kaleidoscopic changes have been noted by the great and the good, from Shirley Bassey and Tom Jones to the haughty Simon Cowell himself, who famously described her as ‘a cross between Bowie and Minelli.’
He’s not wrong. This time around, Holly’s pressed the eject on her previous selves, and re-embraced the ferocious, challenging and musically precocious rock ‘n’ roll singer she started as. Imagine a furious mash-up of Billie Eilish and Lilly Allen and you’ll be half-way there, but new material – jaw-droppingly showcased in her new, Tree Woman – has a growl, grit and passionate ache of raw experience only Holly’s lifetime of exotic excess can give.
Shrewdly – and fittingly – Holly’s chosen to unleash her devastating lyricism on March 8th, International Women’s Day, highlighting not only her adoration of her own sex but also –like Marlene Dietrich – all the thrilling, sensual possibilities beyond outdated gender limits.
Which, naturally, brings us to another crucial aspect of Holly’s nuclear stage charisma; physicality. Sure, there’s an old opera queen cliché that ‘the show’s not over ‘til the fat lady sings”, and while that’s fine for opera, where it’s outstanding vocal technique that counts, rock ‘n’ roll lives and dies by gob-smacking visuals!
Just think; where would Prince, Jagger, and Bowie have been without iconic looks that instantly seared their brand into the collective consciousness? And it’s a no-brainer that to move, entice, seduce and beguile on stage, guys and girls must be super-fit and shockingly ripped.
No problems there for Holly. Toned tighter than an Olympic gymnast, she uncoils herself on stage like a hyperactive whirling dervish, the watching eyes of the audience instantly super-glued to her contagious exuberance. Better yet – even in a set as short as an hour – she executes bravura costume changes as startling as a Surrealist Hall of Mirrors.
There’s full-bodied skeleton suits, self-made hats crowned with stuffed owls that Alexander McQueen would double-take at, and random collisions of mediaeval chain-mail and boho chic Kate Moss would kill for!
Then there are the songs, light-years removed from paid-by-the-word pop drivel, and easily on par with Tom Waits, Noel Coward and Bjork at her quirkiest. No lightweight tales of easy shagging, obsession and resentment – virtually the sole subject matter of grime, drill and rap – Holly, instead, reveals tender moments of loss, acceptance, mortality and life-long, awe-inspiring love. This is the work of an artist quite simply at the peak of her powers, delivered with a remarkable voice that’s a virtuoso master-class in pitch, phrasing and the one quality shockingly absent in current pop-pap – conviction.
In that respect, Tree Woman’s as instantly addictive as some new, unknown Class A drug – you just have to have more! Simply clip on your ear-phones, and step into the singular, sonic soundscapes Holly’s thrillingly staked claim to. There’s the swooning, gypsy waltz of La Recoleta, the stomping, rockabilly shuffle of Diggin’ It, the sultry, insidious seduction of Love Dance, Tree Woman’s bravura engagement with mortality, and the devastating, emotional tsunamis of Stay with Me and The Last Enemy.
And sure, there are further jewels in Tree Woman’s embarrassment of riches, but arguably, they’re best sampled live, from the full, onstage, undeniable mystique of Holly herself. Why wait? Quite perfectly, Holly’s chosen to launch Tree Woman at London’s legendary and iconic 100 Club in Oxford Street, the absolute Ground Zero of cutting-edge, musical maverick dissent since the venue opened.
The flashpoint of Mod – all bug-eyed, feral and sexually insatiable, sartorially immaculate kids on speed – the 100 Club also nurtured the blues, Flower Power and Punk, and – if there’s any justice in Heaven – the ghosts of Muddy Waters, Brian Jones and Sid Vicious will be fist-bumping fellow-traveller Holly on her gig ight!
Our advice? Run, do not walk, to your keyboard ASAP, and lock down tickets now – this is one Tree Woman about to bloom in all her gorgeous, gender-fluid glory!
This Sunday, March 8th @ The 100 Club Oxford Street. Tickets: 100 Club
Global star Adam Lambert has released some epic new music… and we’re so here for it.
The 6 track EP opens with his glam-funk hit, “Superpower”, which was released as a single earlier this month and has already amassed over a million plays on Spotify.
Of the EP, he said: “I’ve followed my instincts and intuition more than ever with Velvet, leaninginto truly musical influences from the 70s, early 80s and contemporary pop. It honors what made me want to be a musician in the first place.”
Tomorrow (28th September), Adam will perform with Queen headlining Global Citizen Festival. After completing a huge sold out North American tour with the band, it was recently announced that Queen + Adam Lambert will embark on a colossal UK and European tour in the spring/summer of 2020, to include five dates at London’s’ O2 Arena.
‘VELVET: Side A’ comes four years after the release of Adam Lambert’s last album ‘The Original High’, which reached the Top 3 in the US and Top 10 in the UK and took his overall worldwide sales to over 3 million units. His previous album ‘Trespassing’ was the first album by an OUT artist to hit number 1 on the US Billboard chart. Adam has been touring as the lead singer of Queen (Queen + Adam Lambert) since 2012, including two huge world arena tours which sold out in minutes and gained critical acclaim. In between touring the world with Queen, Adam has been exploring the world of film and TV with a cameo in Oscar-winning film Bohemian Rhapsody as well as voicing character ‘Emperor Maximus’ in animated-live action hybrid movie Playmobil: The Movie.
Lauryn Hill may have a reputation for being a difficult, and sometimes wayward artist but seeing her perform, even if it meant travelling to another country to do so, could not have been more comfortable or more enjoyable.
Eurostar recently launched it’s direct service from London to Amsterdam.
Their services has become one of the most convenient and pleasant ways to travel for a lot of my European jaunts, and the process of checking in, clearing security, scanning tickets, and all the other rigmarole associated with travelling abroad seems much smoother than most airports I have experienced.
This journey was more than just a live gig, it was the 20th anniversary of Ms Lauryn Hill’s iconic album, The Miseducation of Lauryn Hill. The album was written in exasperation and hope after the dissolution of the Fugees and documents the relationship between Ms Hill and her bandmate Wyclef Jean. Soon after making this defining album she left the music industry to raise her children.
Her returns to the live arena have often been marred by stories of a difficult personality and a reputation for lateness, but tonight nothing seems to be further from the truth. Many fans have commented on such tardiness as being disrespectful to those who buy tickets to watch her shows, but I would say that it is more disrespectful to loyal supporters if they turn up to find their favourite artist lip-synching through the performance. Not that Ms Hill would ever need to resort to such cheap tricks and by contrast, her vocal delivery is both impressive and sublime.
The arena was full with a crowd made up of all ages, parents and children, family and friends, fans from back in the day, and those who have come to the artist more recently. They were all united by one common cause. As Ms Lauryn Hill reminded us just why this album and her performances had become the stuff of legend, the audience had only two real choices; To stand and stare at this iconic artist; To dance along, and stare at this iconic artist. She is known for freestyling through her set, often meaning that singing together is not the easiest thing to do, as she delivers unique takes on her music and wanders from the lyrical script. But as the better-known numbers occurred towards the end of the set, the whole arena could be heard singing the words to `”Killing Me Softly” and “Ready or Not”.
Ms Lauryn Hill proved that all she needs is a stage, a collection of sublime songs, and her awesome vocals. The Dutch crowd lapped up every moment. Ms Hill carried the audience through memories and nostalgia, a tribute to 20 years of this fantastic album, and the equally amazing women who made it and proving that music, like fine wine, can also age gracefully.
After such an inspiring musical experience, the last thing I wanted to do was jump on a train and rush home again, so I stayed at The Toren Hotel.
The hotel seems to be stuck in another world, a mixture of the elegance and opulence of the past, a blend of original features and modern convenience. A few humorous touches to keep things exciting and offbeat, it works! A perfect place to compliment Eurostar and my comfort needs.
Livenation lists a string of dates for Ms Lauryn Hill: Miseducation of Lauryn Hill 20th Anniversary Tour, including Wembley SSE Arena on 17th December 2018.
★★★★☆ | It’s been 6 agonising years of waiting for Christina Aguilera fans all over the world as the pop icon has been teasing and “promising” a new album since 2013 after her last, “Lotus”, was barely promoted and hardly made a wave on any charts. But finally, she is back.
CREDIT: XTINA / INSTAGRAM
“Accelerate” is the first single from her upcoming album, titled Liberation, featuring hot-right-now rappers Ty Dolla $ign and 2 Chainz and it is a certainly a surprise, to say the least. The majority of people may have expected the lead single to be an uptempo, sexual pop-club banger with an iconic hook, lots of melisma and big belts in the vein of “Dirrty”, “Not Myself Tonight” and “Your Body”, but what we are served instead is a sexy, mid-tempo, urban-influenced sound with reigned in, sultry vocals.
Tribal-inspired drums and bass beats kickstart the song before Christina rap-sings the first verse in a style similar to Beyoncé in “7/11” and “Formation”, just in a much less brash way. “New York, worldwide / Borders my city / Just pulled up to the hotel / All my day ones here with me”, she says as Ty Dolla $ign echoes in the background. Throughout the song she rarely transitions into her singing voice, save for the chorus and ending but when she does she ironically keeps it no higher than second gear. The song talks of a hook-up, which is not so different to her previous lead singles except for “Ain’t No Other Man”, but this time the lyrics are slightly more subtle. “Accelerate, c’mon babe / Pick up your speed / Stamina, fill me up / That’s what I need”, coos Xtina seductively in the chorus which is unusually short but still addictive.
2 Chainz guest raps the bridge, though his presence is perhaps unnecessary and adds little to the song, which seems to take a good chunk of 30 seconds we could have had of Christina singing instead. The last minute of the track has Christina bringing the tempo down even further in an almost breathy, post-sex kind of way as she repeats “ooh ooh ooh / ooh ooh ooh” and ends with hypnotically pretty, harmonised falsetto runs that fans may be feel are similar to songs like “Sex For Breakfast” from “Bionic”.
“Accelerate” may not be what most were expecting to hear, but with Christina she’s proven time and time again you can never know what to expect from her. Once described as “caviar ratchet” by producers Da Internz (who as of yet are unconfirmed as to whether their songs with her made the final cut), Christina’s new sound appears to be just that – a much more electro-R&B and hip-hop driven style that has moved with the current trend of pop music. Although reminiscent of younger pop stars’ efforts who cite her as an influence, such as Ariana Grande’s “Into You” and “Good For You” by Selena Gomez, “Accelerate” is a mature, erotically-charged cut that still cements her as a force to be reckoned with, with her richer, unmistakable tone setting her apart. It might not have everyone slut-dropping and gyrating hard in the clubs (though it may inspire some slow, sexual dancing and making out), but its a grower after several listens when you have to accept that this particular song of hers does not include climactic and almost impossibly hard to copy high notes.
CREDIT: XTINA / INSTAGRAM
The song’s music video, directed by Zoey Grossman, features Christina in little to no makeup similar to her recent Paper magazine cover shoot and is a combination of slightly trippy and slightly arousing but also somewhat minimalistic. Gone are the controversially revealing clothes except for a blazer and nothing else underneath, and brief shots of bare breasts with nipple tape, and instead we get a very simple and casual street look from her. Though the video is predominantly in black and white, we get the odd shot of Xtina in colour under pink-hued lighting as she suggestively smothers her lips and tongue in glitter and drenches herself in what we can only guess is lots of lube but sure looks Dirrty as fuck.
The single is available to download and stream and the video is now on YouTube. “Liberation”, which includes a much-anticipated collaboration with fellow big-voiced diva Demi Lovato called “Fall In Line”, is out on 15th June. Whether or not we do get to hear the songstress’ more signature vocal styling on the rest of the album though – which we’re sure will be on the aforementioned duet with Demi, is something we’ll just have to await impatiently for.
So Beyoncé has released her latest album Lemonade, along with the visual film of it. I must say I was slightly apprehensive about it at first because her last couple of albums I haven’t really enjoyed apart from maybe a handful of the tracks.
I decided to go with the full experience and watch the visual version of the album, and I must say I was actually fairly impressed. The film tells a story so it’s something you have to watch the whole of to understand.
Now obviously as a proper fan I can quite safely say that while I absolutely love Beyoncé, I can also call her out for releasing some crap in the past (not sure why she’s drinking watermelon, and what’s a surfbort?) and for the first 20 or so minutes of the visual album I was not feeling it, she was going along with the hard edged style that is obviously influenced a lot by her husband Jay-Z, but track 4 (Sorry) came on, and while there was still a hard edge style to it, it didn’t seem so aggressive so my ears perked up and I thought you know what I’ll give this album a chance, but my dreams were slightly dashed by Track 5 (6 Inch) that went straight back to the style I didn’t like. I started to zone out slightly but I was determined to stay the distance of the album.
Suddenly I found myself jigging along to the track Daddy Lessons, this was so different from what had already been heard, it was bouncy, and almost a country style, and I was actually smiling while listening, and my hopes were well and truly raised, and the subsequent tracks I actually really enjoyed, and they all seemed to have different styles, from ballads to heartfelt gospel tracks.
For the visual album, people might not really understand what Beyoncé is trying to say, and like the Formation video, it is unapologetically black and supportive of black women especially, but is also personal where she seems to be talking about the fact her husband allegedly cheated on her and her journey towards forgiveness.
All in all, while the album isn’t on the same level as I Am…Sasha Fierce, Dangerously in Love or B’day it was enjoyable enough and I actually quite liked around half of the tracks and a few of them you’ll end up humming to yourself.
Lemonade is out now, available on Tidal, iTunes and with the potential of Spotify in the near future
There are three things we want in a Christmas song: 1) Camp 2) Camp and 3) Camp and Big Brother’s Showbiz showman Simon Gross delivers all three in outstanding measure in his insta-hit Showbiz Christmas.
Gross manages to shoehorn in his well-worn, some may argue genius catchphrase “Showbiz” into 3 minutes and 10 seconds of pure Christmas campness, the likes of which we haven’t seen since Cliff Richard released Mistletoe and Wine.
Move over Weather Girls, Madonna and Wham, we have a contender for the gayest Christmas single ever released.
If you mix Peter Kay’s Once Upon A Christmas Song, with Britney’s My Only Wish you’re starting to get close to Simon’s Showbiz Christmas.
Fairly speaking it won’t or can’t match Mariah’s 1994 mega hit All I Want For Christmas, which has entered the UK charts every Christmas since 2005, when chart rules changed to allow digital purchases count towards them, but it makes a fair attempt at giving the UK an alternative to whatever bland winner’s song that Simon Cowell is bound to give the UK as it’s Christmas number 1.
With proceeds going to Centrepoint, the charity that aims gives homeless young people a future; there’s never been a better reason to change the Christmas number 1
After embarking on an incredibly ambitious venture of releasing an EP of tracks every month for all of 2014, Nerina Pallot is back with her new album ‘The Sound And The Fury’ that includes some tracks from last year’s offerings with some eclectic, emotionally charged and compelling new songs. ★★★★
The album opens with a rough guitar riff weaving into a drum-led anthem that pulsates and emulates our life blood, our world, our religion, our spirituality and suggests karmic retribution on those that deviate. This sets the tone for the record and its thought-provoking arcs on diverse issues in our modern world. If I Had A Girl is the seditious, bluesy and more honest sister to Beyoncé’s If I Were A Boy where Pallot comes up with some inspired lyrics highlighting the contemptible sexism still raging in our world:
“You gotta be bolder, better, harder faster, don’t take no shit off no lord or master, don’t listen when they say how far you’ve come”
The Road and its rough and edgy, R&B sound wants us to rely on our own perception of right and wrong and reject the noise of the media and other agendas. This could not have been highlighted better or indeed been more topical with the video for this song being filmed in Calais in the migrant camps.
Boy On The Bus is a heartbreaking ballad about wanting to leave the city in despair of distressing events and the aching ‘Handle’ has us struggling to deal with our nefarious world and yearning for a reprieve. One such moment of comfort is the gorgeous Blessed which starts of delightfully like a classic Suzanne Vega cut but then weaves into a beautiful mid-tempo ballad with some magnificent harmonies.
The album closes with the sonic dreamscape and lyrically bittersweet Longest Memory which deals with life, solitude and death and their inextricable links.
Susan Sontag wrote in the 1960s that “we live under continual threat of two equally fearful, but seemingly opposed, destinies: unremitting banality and inconceivable terror. It is fantasy, served out in large rations by the popular arts, which allows most people to cope with these twin specters”. To me this is certainly still very true today and epitomises this glorious, dark, political and resonant album from Nerina Pallot in the sense that her striking collection of songs guides and assists us through some of the atrocities and various –isms endemic in our society. Brilliant.
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Erstwhile member of pop juggernaut outfit Steps, Claire Richards, gave us all a welcome surprise a few days ago when she posted a stripped-down version of one of their biggest hits ‘Deeper Shade Of Blue’ onto Soundcloud. ★★★★
One of their most uptempo slices, this version forms a piano-led, torch song with an aching and alluring vocal from Richards, reminiscent of Barbara Streisand at her most devastated.
The morose and bittersweet lyrics coupled with the quintessential passionate production from Steve Anderson make for one of the best songs to be released this year as summer begins to darken.
This is light years away from anything Richards has previously released and is a wonderful tribute to her earlier career. In the wrong hands this could have been overblown, but Anderson and Richards seem to have tapped into a magical, yet simple blueprint.
I’m not sure we can expect such success with a downtempo version of 5,6,7,8, but here’s hoping that this could lead to something quite special and fitting of the cruelly underrated Richards’s undeniable talent.
There’s nobody that quite manages to fulfil their Diva quota like Mariah. In among the glitter, butterflies and working out in five-inch heels, she’s written some belters to help you get through the darkest moments of your life.
Hero (Music Box)
If you’re in need of a pick me up and need to hear something inspirational then Mariah’s Hero, is the tune. Don’t take any old version. Get out your original copy of Music Box, go on. We know you’ve got it. Yes, the one with the face.
Anytime You Need A Friend (Music Box)
From the same album Anything You Need A Friend is a tune that cuts right to the heart, if times is down and you’re smile is a frown, Mariah will be there. Plus it has the most insane high note at the end.
Can’t Take That Away (Rainbow)
Mariah’s own personal theme. It has everything you need in a self-empowerment tune. Self-affirmation and a peppy tune. Get out your hairbrush, stand in the mirror. Legs slightly parted, like the #1 album and sing it biatch. Make sure you get that run at the end right or she’ll be after you.
Make It Happen (Emotions)
If you need sh** to happen, you got to make it work. So if you’re facing adversity, get it together and make it happen.
I Am Free (Daydream)
Like a bird baby. Be a prisoner no more. Come out. Free to love, free to soar… Free to fly.
Outside (Butterfly)
Mariah wrote this song about being bi-racial and the adversity she faced. The lyrics speak of being an outsider and it’s something we can totally relate to.
When You Believe (#1s)
Basically this song is so Diva. Its very core is basically gay. In a good sense. And you will WIN when you believe.
Through The Rain (Charmbracelet)
One of her best ballads on one of her worst performing albums, which is a real shame, because it’s actually a gooden. You really get a sense that at her lowest ebb, it was herself that she could depend on.
Almost Home
Speaking of getting through and making it, Almost Home talks about the journey’s end. It’s in sight. Don’t give it.
Obsessed
Yep. You. Stop obsessing about my sexuality. Westboro Baptist Church I’m looking at you.
I Want To Know What Love Is
Bae. You have it from your gay fans all over the world.
Will Young winning the first Pop Idol instalment back in 2002 seems like a bizarre memory. It is hard to remember him emerging into the music industry under the wing of Simon Cowell because he has proven himself better than those means and shaken free of the stigma sometimes associated with the X Factor like shows. The second Pop Idol instalment with Michelle McManus is thankfully much more forgettable. Or regrettable, you can delete accordingly.
★★★★
As an artist Will Young has mastered the art of producing a catchy yet vulnerable pop sound, maturing delicately with every new song. His last release Echoes back in 2011 promoted his growth as a talented singer songwriter with the likes of the breathtaking Come On and the underlining dance tones of I Just Want A Lover – the video for which saw him dancing around a supermarket car park partnered with a shopping trolley, unique to say the least. This intriguing music video history sets him aside from other mainstream pop acts around today. We have seen him moving from Blue Peter spoofs to taking part in dog training competitions, whilst causing a scene at an art gallery or making us cry in an emotional courtroom scene. Not forgetting about his portrayal as a pregnant man, of course. It all claps together in applause to his artistry.
Enter Love Revolution, the new single and first release from his upcoming album 85% Proof (scheduled for release May 2015). It throws us a funkier sound that we haven’t seen from him in a while, slightly nodding back to the soulful elements of his 2005 album Keep On. If you think the song sounds familiar then you’d be right, as it is a reworking of the 2002 dance anthem Loneliness bought to us by German DJ Tomcraft. Much less Euro-Dance though, I’m afraid, but much more summer soul that will get you dancing around your garden in no time at all.
The video depicts him as a preaching salesman trying to shift his Love Revolution products onto the apparent lonely singletons. It, albeit cheesy, is an entertaining clip that continues to set him aside from the generic pop routines around at the moment – and who here doesn’t enjoy a bit of cheese every now and then? If you said, ‘I don’t,’ then I have nothing more to say to you.
The timing of this single could be considered apt against the likes of the recent Dolce & Gabbana debacle, or the risk of Northern Ireland’s anti-gay amendment passing, which could have seen it legal to refuse service to any LGBT person. Not to mention the American ‘gay curers’ who were about to embark on our dear nation to cure us all from being our-wonderfully-natural-selves. Let’s follow Will Young’s lead, start a Love Revolution and dance with whomever we want, yeah?
