The noise for Harry is real. For his first day in three years, Coachella is absolutely pleased with the prospect of the former One Direction star debuting as headliner at the California festival. On his way to releasing his third album, Harry’s House, a not-so-fine reference to Joni Mitchell’s song “Harry’s House / Centerpiece”, the pop singer relies on sound references that are as calculated as his outfits. He is as much a muse for Gucci and British designer Molly Goddard as a musical magpie, with influences ranging from David Bowie to Elton John and Fleetwood Mack. His form-changing fodder was made with wide-open scenes in mind and a huge audience.
Tonight, the crowd is the largest of the day, and Stiles is gorgeous in a giant fluffy coat resembling a plucked ostrich. In the middle of his opening song, the brand new “As It Was”, his coat is taken off. Stiles is now a human mirror ball in a sleeveless jumpsuit with sequins – which almost covers his nipples, but reveals his bristly male neckline and heavily tattooed arms – and a pair of Cuban heels. It’s all very, very Freddie Mercury.
“Good evening,” he suggests gravely. “My name is Harry. It is a pleasure to be here tonight. ” The conversation is certainly a cheeseball with a touch at the end of the pier: lots of references to “giving 200 percent” and how “we have some old, some new and some surprises”. But he certainly offers surprises. He’s not content to just amaze old-school fans – many of whom are obviously – by playing One Direction’s 2011 hit “What Makes You Beautiful,” and starring Shania Twain. The country superstar brings even more brilliance than Stiles and in her shiny mini dress and white boots Gogo continues to fasten with a belt “Man! I feel like a woman! ” as Stiles occasionally turns on. Most of the time, he just watches with adoration.
While she was sitting on a stool, Twain also performed her breakthrough hit from the 90’s “Still the One”, but not until the two shared some flattering compliments. “In the car with my mother as a child, this lady taught me to sing,” says Stiles. “She also taught me that men are rubbish.” Then it’s Twain’s turn: “I’m kind of lost in words. I’m a little overwhelmed. ” Later, Stiles tries to lean on his apparent obsession with Jackson Brown and James Taylor with the new track “Boyfriends,” a sour acoustic number for men who take their partners for granted, which he introduces to applause with a cheeky “Boyfriends” everywhere, damn you. ”
If Stiles’s goal tonight is to turn from a pop prince into a rock titan, he has failed. Similar to “Watermelon Sugar” and “Adore You” are presented flawlessly, but the rehearsed lines and their somewhat banal transmission lack the spontaneity of a suitable rock’n’roll show. Yet its boundless brilliance makes it a star.
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