One such fan was actress and comedian Amy Poehler who went wild, showing her support for the pop star from the front row.Gyrating around the stage in Sin City, one of her dancer's mistakenly dislodged her outfit.Britney Spears suffered a major wardrobe malfunction during her Las Vegas residency on Wednesday night.It seems the action was all too much for the singer's skimpy stage lingerie and she ended up showing a little too much during one of her performances.Elsewhere, sparse synth lines predominate, with variety provided by Emeli Sande on “I. U.” and Loick Essien & Teni Tinks on the gospelly “Church”. Musically, it’s much the same brew of angry rapping and Clash-style power-chord punk – the outlaw anthem “Robin Hood” even includes reference to a loveable bank robber – while the lyrical themes cover well-trodden ground, from the heroin victim of “Tinfoil Boy” to the social stasis of “Tescoland”.But the chant-along choruses just feel like fighting ancient battles mapped out decades earlier.There’s a tough, burly strut to their grooves which shrinks the closer it’s exposed to mp3 algorithms.
, Neil Hannon’s latest Divine Comedy outing seems to lack the bite which gives the best of his work its raffish frisson.
With the likes of Alasdair Roberts, Malcolm Middleton and Kami Thompson adding subtle harmonies to his strange, haunted warble, Jinnwoo mines a scarred emotional battlefield of bereavement and rejection in pieces such as “Solo Man” and the bleak portrait of domestic alienation “I Am, I Am The World’s Oldest Man” (the “Elliott” mentioned in one title is surely Elliott Smith, a fellow traveller in sensitivity). And although it marks no significant shift in style – she’s still mining the same pop-R&B seam – it’s undoubtedly a better effort than its predecessor.
The songs are lent suitably miasmic backdrops by the inventive percussive effects, string drones and ambient sounds accompanying his guitar, which, in the concluding nine-minute title-track, swell and swirl to subsume his voice, as if drowning in a whirlpool of emotional torment. The main improvement lies in the varied uses to which her voice is put, from the breathless cooing of “Invitation” to the oddly adenoidal tones employed for the jaunty bubblegum paean to pole-dancing, “Private Show”, where the excess sass suggests an attempt to occupy Katy Perry territory.
Brit looked fantastic in a sexy black bra which featured straps crisscrossing her midsection but the tiny garment couldn't quite contain her left breast.
As she sashayed across the stage at the AXIS the Toxic songstress ended up flashing her nipple to her cheering fans.