Digest of our music: December

Zemfira last year forced the fans to be pretty nervous with statements that she was turning the concert activity-they say, what will remain, if there are no concerts, when we only meet them? “Little Man” is a kind of detailed apology for an extra fright (the singer still does not plan to finish with concerts), a large-scale, almost three dozen numbers, a lively document from her last tour of the same name, a whole concert and a scattering of living bonus tracts. The “level” and “qualities” have long been preoccupied with the issues of “little man” Zemfira demonstrates both the two -hour concert sounds great, excellently played and, in general, will easily go for a confident application to the international level stars along with the best stadium performers that are available in the world today. Another thing is that, entering this imaginary league, Zemfira-at least in the version recorded on this album, we will not say for concerts-falls into the same trap in which many other popondy stadiums stuck for decades. Passing a thorough and often rather filigree calibration to the right scale, her songs are acquired in statues and epic, but they lose in details, nuances, small roughnesses - that for the singer of individual and intimate, small personal details of a sudden, which suddenly covered the large and beautiful, the complete opposite of everything that her songs exist in the light. Perhaps this is a matter of pure mathematics: it is physically impossible to say the most important thing intended for one, ten thousand people, without losing conviction. But the truth: the transformation of Zemfira into later U2 is a completely natural, but still quite sad phenomenon.