Somewhere Only We Know
Warner Music Group
The countdown to Christmas these days seem to officially
commence once the Xmas ads come along. And I don’t mean the ones for Iceland or
Littlewoods or DFS, I mean the big guns; the Coca Cola trucks, The Toys’R’Us
giraffe and the ever more increasingly important and poignant John Lewis
advert. A touching story, a female singer and a piano-led cover are the basic
premises for the John Lewis advertising department, but somehow each year the
marketing geniuses there choose the best song, best singer and best arrangement
to bring their Christmas creation to life. In doing so, they often create the
perfect Christmas-song-that’s-not-a-Christmas-song for that festive period,
forever cementing it to appear in any and all “Now That’s What I Call
Christmas” Compilations. They can launch the careers of singers like GabrielleAplin and Slow Moving Millie, or raise the profiles of already successful artists
such as Ellie Goulding.
This year sees the tale of the Bear and the Hare; essentially
Brother Bear meets an uplifting version of Watership Down. In case you have
been living in a cave like ol’ Bear here and are yet to see the advert, and
then do so now. It’s a heart-warming, tear-inducing mini-movie accompanied by Keane’s
brilliant hit “Somewhere Only We Know” covered by the self-retired singer, miss
Lily Allen.
It’s a relief to finally hear some new (Well, kinda new)
material from Lily, and although this isn’t her ‘normal’ edgy style, this piano
led ballad cover of an early-noughties track works well. Lily’s vocals are delicate
and fluffy like winters snow; pleasant on the ears with a slight cockney
twinge. Mid track everything comes to abrupt and somewhat early stop, only to
be stirred back into life by ghostly choral vocals and the plinky-plonk of
piano keys. There is a slight sense that Lily wants to stretch her voice
further and louder but is being held back by the calm and collective nature of
this track. Yet when the crescendo does come during the final chorus she soars
high above the sea of strings and keys landing gracefully back down firmly in schmaltzy,
fuzzy-feeling territory. It is truly lovely.
Yes, It may not be the comeback track that many Allen fans
would have wanted, but it is a beautiful tuneful cover that feels slightly
understated but certainly not underwhelming. Mince pie anyone?
4/5
UPDATE
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