Adam Lambert finished second? You couldn't tell it from this crowd, which greets the explosive sounds and strobing lights with shrieks. Adam kicks off his set with Led Zeppelin's Whole Lotta Love, and the stage fills with smoke. He's wearing a blue-and-black metallic-looking studded jacket that comes down to his knees, along with a sleeveless black T-shirt and black pants. The crowd may have been dancing for Allison and Danny -- for Adam, they're screaming. Suddenly we've gone from the world of AC pop into a real rock show.
Second song is Muse's Starlight, and the six disco balls hanging above the stage turns the Rose Garden into a planetarium. It's Adam's typically impressive song choice -- for the arrangement, imagine Erasure's Andy Bell fronting the Sisters of Mercy -- and he sings it flawlessly, beautifully, slipping in and out of falsetto. (I wonder if this begins to approach what his album will sound like -- you wouldn't hear me complaining if it did.) Matt's version of Hard to Handle was pretty cool, but this is the first of the new numbers I'd lay down cash money to hear again.
Low-level fog creeps in, as Adam takes a seat on a stool to sing the Tears for Fears/Gary Jules song Mad World. The crowd is still on its feet, and they've brought out their cameras -- you could practically read in here, the flashes are so steady. Some people are singing along; most of them just look entranced.
The guitarist cranks out the opening chords to Slow Ride start, and the audience knows what's coming -- or, rather, who. Allison Iraheta walks on stage, and the place goes ballistic.
Now, he's doing the David Bowie medley he promised, which starts with Life on Mars (and the big red planet is behind him on the video screen). As he slides into Fame, the crowd shrieks again, but it's not for the song: Adam has shed his jacket, revealing the sleeveless T underneath. He's obviously been working with JaQuel Knight on choreography, too; he's moving lithely across the stage in a way Idol viewers never saw. The third number, Let's Dance, assumes a pulsing, throbbing club rhythm under his command, barely resembling the pseudo-horn-band arrangement of Bowie's original.
He finishes, then descends on the center-stage lift.
(From USA Today Blog)
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