Sam Smith: 'Time After Time' Performance at Abbey Road Studios and Conversation with Cyndi Lauper
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Figure 1. Live at Abbey Road Studios Album Cover. (Smith, Sam. “Live At Abbey Road Studios.” Sam Smith Set To Release Abbey Road Performance As Live Album, Sophie Smith, 5 Mar. 2021, www.udiscovermusic.com/news/sam-smith-love-goes-live-lp/.) |
During London’s lockdown period from COVID-19, Sam Smith and his team did a rendition of Cyndi Lauper’s ballad “Time After Time” at Abbey Road Studio as a recorded performance, which later became an album. The setting, band, vocals, accompanying instruments, and the layout of the entire performance complement the song’s rendition. It resulted in an extraordinary concert that appealed to his musical audiences who cares of looking into perspective of Sam translating Lauper’s piece. The perspective in theme of gender non-binary alludes to the essence of gender non-binary in music, considering Smith’s LGBT background. Notably, primary music structures are gendered. The gender-related characteristics of music and gender meanings signify an aspect of a gendered hierarchy. The musical audience can perceive the harmonic series (sequence of musical tones) as a depiction of a social organization denoting an underlying natural phenomenon. Besides, the composer variables in the music composition can express musical dissonance. The description, analysis, interpretation, and evaluation of Smith’s music performance and subsequent conversation with Cyndi Lauper are necessary to better comprehend gender non-binary and expression of gender identity in music.
Figure 2. Recording at Abbey Road Studio. (“Live at Abbey Road.” Sam Smith - Time After Time (Live at Abbey Road Studios), Same Smith, 19 Mar. 2021, www.youtube.com/watch?v=loh6M3VR8jk&ab_channel=SamSmithVEVO.)
A minimalist floor plan of instrumentation setup noticeably characterizes the performance studio. Sam’s team of musicians and harmony vocalists are well spaced, with adequate lighting and an appropriate room arrangement (Smith b). Smith’s “Time After Time” rendition sounds as if the composition is based on the songster’s past and present relationship which were publicly presented on his social media. The underlying sentiment in the alignment may be construed to imply that Smith may be willing to respond if his lover is lost, alluding to a probable desire for help. He strives to perform the initial rendition of the song with the initial aura that depicts how the performance has stood the test of time. Appraising the overall context of the tune implies that Smith is expressing some sympathy for his ex. He passionately sings, “Lying in my bed, I hear the clock tick, and I think of you” (Smith b). It is so intense to such an extent that he cannot forge ahead with his life without his friend near him.
Smith’s emotional vocal portrayal in the rendition of “Time After Time” was reflecting on a previous relationship he held close to. The end of the narrated romance left him distraught. His heartbrokenness is not outrightly depicted in the lyrics; though, it is illuminated through symbolism. He cannot regain sync with his lover and is waiting for an opportunity to bail him out should he fall into trouble. He sings, “If you fall, I will catch, I’ll be waiting” (Smith b). Smith and his band sing with so much conviction that makes the song and the fundamental message highly believable to the target audience. The performers are clad in black, and the room has a white setting permeated with a black rendering, resulting in melodious contrast. Sam and the supporting band are dressed in black (Smith b). It is an ideal way to exemplify the group effort when singing in an ensemble. It allows the projected audience to exclusively concentrate on the music and not the performers. It was a piece touch upon feeling, rather identifying itself speaking from a specific gendered group.
The uniform garments demonstrate that nothing is likely to distract the video viewers. The result is an impressive depiction likely to appeal to the viewers as they can follow the lyrics along while deciphering the communicated message (Smith b). The layout is commendable as it ensures that the target audience focuses on the song and message instead of emphasizing the subtle details about the performers. Smith provides a faithful rendition of Lauper’s 1983 song even as the supporting band captures the initial sleek and tender instrumentation that supplements and complements the entire performance. Appraisal of the whole concert shows that Smith is consistent and opts to maintain soft vocals. He exploits an indelible hook that stresses, “If you’re lost you can look, and you will find me/Time after time” (Smith b). The goal is to inject the audiences a considerable measure of poignancy and passion, rather than thinking upon if the character from the piece being a female or male perspective.
The accompanying 20-minute conversation between Smith and Lauper confirms melancholy and poignancy apparent in the song’s rendition (Smith a). Smith’s string arrangement is characterized by splendid romps that strengthen the song’s overall appeal. The analysis and interpretation raise concerns about the expression of gender identity in music. Smith had earlier confessed his attraction to a man. His LGBTQ background, the performance set up, and the layout of the supporting performers demonstrate team effort. He has repeatedly asserted that the element of gender non-binary should be viewed as a non-issue. Such considerations imply that society has meaningfully evolved. In such a way, there is a widespread acceptance of sexual orientations that may be viewed as contrary variants to the mainstream heterosexual scope.
The acceptance is commendable as it implies minimal discrimination to those who do not subscribe to what might be viewed as the conventional sexual identities by society. Furthermore, the considerations emphasize the theme of gender non-binary. Information conveyed by musical compositions can be viewed as gendered (Sergeant, Desmond, and Evangelos 4). The perception implies that the structures and inherent gestures connect directly with traits, behaviors, or supposed characteristics of the feminine or masculine gender dimensions. Thus, gender identity of the aspect of self-sex-concept denotes a person’s perception of their underlying characteristics about the population norms and gender scales (Sergeant et al. 4). The aspect may result in unexpected conscious or unconscious depictions of the operational lens through which gender characteristics are judged in other persons or objects.
Figure 4. On site at Abbey Road. (Universal Music Group. “Sam Smith at Live At Abbey Road.” Sam Smith’s ‘Love Goes: Live At Abbey Road’ Is Out Now, Tim Peacock, 19 Mar. 2021, www.udiscovermusic.com/news/sam-smiths-love-goes-live-abbey-road/.)
In the non-binary gender aspect, sexual identity does not typically fall in the usual binary orientation. The song revolves around fond memories of someone special in the composer’s life. Though it does not explicitly have elements likely to portray gay-like features, the bit, “If you fall, I will catch you, I’ll be waiting, Time after time,” infuses credence to the songster’s convictions (Smith b). It highlights how music can shelter gender rebellion from people determined to explore ways of abolishing it. In the music context, women are free to render their musical compositions with a touch of masculine bravado (Geffen). The same freedom is evident among male singers, who can adopt transcendent femininity as they strive to overcome gendered limitations imposed by societal dynamics.
Smith’s performance is exceptional. It is characterized by brilliant chemistry between the lead artist and the background singers, complemented by the exceptional instrumentation and the studio layout. Smith’s voice is clear and soothing to articulate a convincing rendition of the initial song. Thus, the gender-related characteristics of music and gender meanings of absolute music result in an emotional music composition that incorporates poignancy and melancholy. The intended audience is likely to perceive the harmonic series as a classic demonstration of the social organization denoting a natural phenomenon. From the comments on YouTube, it is apparent Sam Smith’s music performance resonated with a large audience. The accompanying video comments offer a positive appraisal of the performance, and the message conveyed. The subsequent conversation with Cyndi Lauper implies that the singer was determined to render an outstanding piece that did not markedly differ from the initial version.
Works Cited
Geffen, Sasha. “How Pop Music Broke the Gender Binary.” The Paris Review, 16 Apr. 2020, https://www.theparisreview.org/blog/2020/04/16/how-pop-music-broke-the-gender-binary/. Accessed 23 Mar. 2021.
Sergeant, Desmond C., and Evangelos Himonides. “Gender and music composition: A study of music, and the gendering of meanings.” Frontiers in Psychology, vol. 7, 2016, pp. 1-15.
Smith, Sam (a). “In conversation with Sam Smith And Cyndi Lauper.” YouTube, 19 Mar. 2021, https://www.youtube.com/watch?v=BCR42syeJVM. Accessed 23 Mar. 2021.
Smith, Sam (b). “Time After Time (Live at Abbey Road Studios). YouTube, 19 Mar. 2021, https://www.youtube.com/watch?v=loh6M3VR8jk. Accessed 23 Mar. 2021.
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