Marie Crimebrery sang, narrated and danced the show “Proper Name”

How it looked

The desire to turn pop music into a bowl so full that it is about to spill, in this case, was embodied in all its sparkling glory. Three screens can be called the largest in terms of the size of the site. The amount of light had the potential to irritate the economically minded producers a little, the sound didn’t lag behind, and even the podium along with the second stage were fitted with LED lighting.

On the two-level main stage, scenery of intricate geometry was built, during the performance, divided into three parts, the main color of the costumes of all participants in the action changed, and closer to the finale, a whole furniture salon was rolled out with a sofa and a double bed, a bar counter and an impressive wall built from different modules . The human component of the action was also impressive: more than three dozen people on stage and, as they say, one and a half hundred behind the scenes.

The show is started by M. Hustler, Marie Crimebrery’s in-house DJ. After a short but energetic warm-up of the audience, the rest of the participants of the action take the stage: musicians, backing vocalists, about two dozen dancers and the diva herself in a black dress, under which a sparkling outfit of the color of the sea is hidden. The first track “Amore” is quite consistent with the color scheme and, more importantly, with the mood of the audience. Already in the chorus, everyone is chanting in a deafening chorus, indicating the intention to start a frenzy without any preludes. The following “There is no one cooler than us” and “Otherwise it’s all in vain” sound with the same passions, and there is a feeling that the deed is done.

It has indeed been done, and the loud choral singing for ten thousand people could be continued until the very end, to the general happiness of all those assembled. However, this is clearly not enough for the main star of the show. “I have already lost the desire to banter with my exes, but there are definitely those who still have it,” Marie remarks playfully and very emotionally performs two tearful girlish numbers “She Doesn’t Suit You” and “I Wanted Your Last Name”. In such a situation, Allegro’s signature cry “Babonki!” Would not be out of place, because the emotional analogy was simply in the air and was completely obvious, at least for those who know who Irina Allegrova is.

The irony is that such a stylistic ferment, in general, is not surprising. “Of course, I would like to be a fashionable singer, but I can’t do it the way others do, so I’d better stay a girl with a big heart,” Marie once said in an interview with ZD and most likely flirted a little. She wants both, and more, which is completely normal for a pop star.

Both Marie and her highly experienced team, of course, understand how difficult it is to break into the local market with slender and impeccable musical concepts. Here it is better to offer everything at once, and the singer does it well. Hints of r’n’b and hip-hop, tenacious choruses right at the beginning of the song, verbal hooks – in general, everything that is now used to create pop music – Marie, not particularly shy, mixes with chanson and latino, adds sentimental conversations, like at a drunken bachelorette party, and is not at all afraid of such a shadow of the post-Soviet stage.

The bandstand with a courtesy intonation still perfectly penetrates the souls of our public, even through fashionable armor from concept stores, with which the public wants to appear the most advanced in the world. True, the same audience has joints that are not yet exhausted by age, which is also a sin not to use. A dashing mashup from “On Heels” and a groovy remake of Yuri Titov’s hit “Pretend” with guest participation by DJ Rudenko instantly turn the arena into a dance floor, and Marie herself into a disco fury.

Star guests are good as trump cards in your pocket, and the singer had several of them. In the first part of the show, the singer recalls her participation in the “Mask” and sings a cover of “Let Me Go” from Valeria’s repertoire. In the second verse, Valeria herself unexpectedly appears on stage, and the spontaneous duet completes the song on a platform that is lifted above the audience with the help of a pneumatic lift. It seems that the applause was enough for two stars.

On the coda of the track “Crying in the Bathroom”, one of the mobile scenery breaks, and Klava Koka joins Marie. Together they perform “Skin” and swear friendship, which, according to the girls, exists even among young, ambitious, independent and successful artists.

The third part of the action is designed to be uplifting. After all the suffering, resentment and loss, it is stated that men, in principle, are nothing. Dima Bilan and HamAli from the duet HamAli Navai appear as visual illustrations. The duet with Bilan “You’re Not My Couple” has already been run in both at national concerts and at Bilan’s solo show. The number itself is more reminiscent of a musical than a pop concert. Depicting a quarreling couple, the artists sort things out on the bar counter, fall on the sofa, run out to the second stage – in general, they play a serious drama. The people obviously like it.

The setting for the release of HamAli is much more comfortable, like the song “Slow” itself. The track can hardly be called rocking, but the two voices here formed a very correct tandem, and the number turned out to be very useful in order to muffle the passions a little and let the audience catch their breath before the finale.

They decided to effectively say goodbye with the help of “Shine” and “Dance, As if the Ocean Is Near.” Tons of equipment fired a demonstrative volley of everything they were rich in, and left the feeling that sunglasses were needed even in the gallery. “How difficult it is to be a non-drinker,” the heroine of the evening complained. “When you don’t use anything, you feel the atmosphere very sharply, as if with your skin.” Considering that sensitizing agents were offered only in VIP boxes, most of the public was in absolute solidarity with Marie.

pros

It’s not often that stage exuberance is used in the way it deserves. Crimebrery & Co. had a very clear idea of ​​what to do with the screens, fancy lighting, and the bathroom and sofas. As a result, each number, flowing from the previous one and flowing into the next one, was nevertheless thought out as an independent performance.

In fairness, it must be admitted that Marie is not alone in her concert achievements. Some of her colleagues also delight with the ability to vividly visualize their hits on stage, but, of course, far from general perfection. Perhaps that is why every successful swing to a big performance can be considered an inspiring example.

However, the most sophisticated video art and the most intricate scenery are unlikely to outshine the main concert special effects. This, of course, is about the full house and the ardent readiness of the public to sing the entire set list with their idol.

Minuses

Mari compares favorably with some of her colleagues in her ability to express her thoughts in a very fluent way. Apparently, she is aware of her abilities, so the “a talk” mode turns on quite often. Some heart-to-heart talks clearly touched the audience, but something could have been edited.

There are two short intermissions in the show, during which the whole rather big team changes clothes, and this musical pause also takes place in conversational mode. The documentary about the life of the singer and about the preparation of the show as a whole turned out to be curious, but the total amount of words in the end turned out to be a test of strength for those who are tired of talking. Sometimes it seemed that the backstage camera, despite the staleness of this trick, could do more for intermissions than all the words said.

Party Phrase

“I hope that I won’t burst into tears, but if suddenly, then the whole hall,” Marie prefaced her new “Small, Sing.” The track, which is associated with a trip to a psychotherapist, may be too frank by the standards of pop music, but the personal drama (the song about the loss of loved ones), as well as girlish amorous suffering, hit the singer’s fans straight into the hearts.