陽光大衛私房粉絲網

這篇評論不但深入，而且這個記者深深了解大衛的優點和潛力，讀完版主的頭髮都豎起來了。elysion的翻譯讓大家更能了解媒體對大衛音樂的看法如何，請自行仔細感覺。

elysion的翻譯附在繼續閱讀之後。

 AI亞軍David Archuleta的一切有什麼是不討人喜歡的呢？

絕對沒有，假如你星期天在Allentown的crocodile rock聽他的演唱會的話。在這場持續70分鐘由14首歌曲和一首四合一組曲組成的演唱會中，大衛熱情的演唱，散發出男孩般的迷人舞台魅力，而且沒有把任何一個音唱壞，事實上，他圓潤的男高音嗓音譜出許多美妙的音符。他牢牢的抓住每一個音，從開場的Touch My Hand（如字面上所示，這首歌的歌名來自於跟前排歌迷握手）到致命迷人的結尾－Robin  Williams的Angels。在現場演唱中，他甚至超越了他的暢銷歌曲Crush的錄音室版本。大衛常在表演中流露感情，卻不失於濫情，而且他是這麼的努力－以致於在四首歌後，他已揮汗如雨，在演唱會結束時喘不過氣來。（心疼….）

穿著白色運動連帽衣、牛仔褲和布鞋，大衛是如此討人喜歡地令聽眾鬆開心防，他在舞台上手舞足蹈的，就如同想像中的一個18歲的青少年會是的樣子，不斷的跟台下擁擠的人群對話（他甚至拍了一張粉絲們的照片，因為他想記錄他的第一次個人巡迴演唱會），而且頻繁的微笑和揮手－這自然每每引起了尖叫（主要來自女孩們，我可以想像）

這場表演也突顯出AI節目原始設計中大衛最吃虧的地方：沒錯，他翻唱別人的歌可以唱的很好－他唱Jason Mraz 的I am yours唱的比Mraz本人更好（100% agree!），唱安可曲時，獨自坐在鋼琴前，他脆弱而易受傷的的歌聲，讓來自Pike County的Vanessa Carlton原唱的a thousand miles聽起來都煞有介事－但是在詮釋自己的作品時他表現的更棒！

一個四人樂隊為他提供了養分和力氣，大衛展現了他對各種音樂風格的強大掌控度：放客（funky）風格的Works for me ；奔放自由的Don’t let go；琅琅上口的waiting for yesterday；美妙的altnoy；甚至還有新迪斯可風的未發行單曲Zero gravity。

但是真正的高潮是慢歌。To be with you：大衛的鋼琴演奏和小提琴的襯底令人心碎，而他的演唱就跟任何抒情歌后一樣的美妙。Somebody out there：他坐在張凳子上，聲音曼妙有如希臘神話中的女海妖 （siren），這首歌會是非常棒的婚禮歌曲。（粉絲們請注意，結婚放結婚進行曲就太平庸了，一律請放Somebody out there），My hands結尾的清唱部份也非常出色。

像大衛這樣一個才華洋溢的歌手，他美妙的歌聲和以他歌聲為主的歌曲最為契合，這也是將來他很可能會朝之發展的方向。

而這一切又有什麼是不討人喜歡的呢？

What’s not to like about “American Idol” runner-up David Archuleta?

Absolutely nothing, if you were at Allentown’s Crocodile Rock on Sunday.

In a concert that spanned 70 minutes and 14 full songs plus a medley of four others, Archuleta sang with passion, exuded an engaging boyish stage presence and didn’t hit a single bad note with his rich tenor voice — and, in fact, hit many very good ones.

He nailed the signature notes from the opening “Touch My Hand” (the title of which he took literally — handshaking the front row) to the killer closing of Robbie Williams’ “Angels,” and even outdid the big note on the recorded version of his hit “Crush.” He emoted often, but never in a cheesy way, and worked so hard that four songs into the show he was wiping sweat and by the end was breathing hard.

In a white hoodie, jeans and sneakers, Archuleta was delightfully disarming, dancing around the stage as you expect an 18-year-old would, constantly talking to the packed crowd (he even took a picture of them, explaining he’s wants to document his first solo tour), and frequently smiling and waving — which, of course, brought shrieks from the mostly teen-girl crowd every time.

The show made the inherent weakness of “Idol” for Archuleta obvious: While great on other people’s material — during the medley he did Jason Mraz’s “I’m Yours” better than Mraz and, alone at the piano during the encore, made Pike County native Vanessa Carlton’s “A Thousand Miles” believable for a vulnerable male voice — he was even better on his own material.

With a four-person band that gave him umph, Archuleta showed mastery of many styles: a funky “Works For Me”; the driving pop of “Don’t Let Go,” a catchy “Waiting for Yesterday” and a great “A Little Too Not Over You”; and even neo-disco on the unreleased song “Zero Gravity.”

But the highlight was the slower songs: “To Be With You,” with him on piano backed by violin, was heartbreaking, and as good as any torch singer. “Somebody Out There,” which he sang like a siren while sitting on a stool, would be a great wedding song. “My Hands” had a sweet a cappella coda.

As talented a pop singer as Archuleta is, his wonderful voice just seems suited to songs that center on it, which may show where his future lies.

And what’s not to like about that?

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