Annie Lenox Redux

Annie Lenox Redux
I don’t usually give pop music persons mega-kudos. At least in public. Or find inspiration in a musical homage to religious celebrations of any ilk. However occasionally I do go out of my way to give credit where supreme mega- kudos are due. Besides, we all grew up on many of the same songs now drummed into us with and over the years.

So you must see Annie Lenox perform her holiday album. Thank God (did I say that) to her performance on Ellen DeGeneres’ “Holidays from Washington,” “Good Morning America,” and the other obligatory rounds made.

This is promotion worth taking in. And actually it is more of a riveting feast of celebration. In contrast to her signature head of hair, she wears black well. It is not a sorrowful color. On her, it triangulates form and shadow, highlights her daring, emphasizes her soul, empathizes with the South African Boys Chorus who accompany her, and embodies that which she is now about.

She looks great, powerful, as if embracing the world with her arms, inviting it (and us) along for the jubilation! Such moves, daring, strength, and hope for the world. Her eyes are penetrating — as if she is looking at you through the virtual screen that theoretically separates us. Or does it?

You feel the overwhelming weight she holds in her arms. It may be invisible to many; it was visible to me. She has always been an incredible vocalist, wonderful performer, and dynamic personality.

Clearly, now, she has come into her own. Having found the old soul voice inside her that was always teasing, simmering, resident in her bones, she radiates beauty. As few have done before. She owns her space. Much more than just a stage. She makes you want to give her some of yours. She helps you realize that we are all one.

Repeat after me: “This is potentially revolutionary global village building.”

Powerful, powerful, powerful.

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