In August, Smith was spotted strolling in London and engaging in some PDA with French-born furniture designer Francois Rocci. “Last year, when I changed my pronouns and really spoke out about my gender expression and my gender fluidity, I started falling in love with makeup all over again.” It’s the poster of your life, really, every single day when you meet people. “It doesn’t matter whatever gender, is a form of expression and it feels nice. In the clip, Smith also mentioned the importance of makeup to their gender identity as a teen. “It’s nice to have hair, but also if I was bald I would still own it, too,” they added. “I haven’t actually spoken about this before, so I’m gonna speak about it because I don’t actually feel like I have anything to hide.”Īfter two years of dealing with hair loss, Smith said they elected to undergo the procedure on the recommendation of a hairdresser, saying, “How stunning is it?” “My hair … it’s been a touchy place for me,” Smith, 28, told the mag in a video. The “Stay with Me” singer - who uses “they/them” pronouns - revealed to Vogue this week that they had hair transplant surgery.
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It’s proof that despite the forward march of progress, and with gays as visible as ever, there will always be hearts burdened by love that lives in the shadows.Sam Smith is laying it all down on the hairline.
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“I watch where I tread before I fall,” he sings, the final word punctuated by an orchestral swell straight out of a Technicolor movie musical. “I had a dream I was mugged outside your house,” Smith croons on the standout “Good Thing,” his fantasy of being rescued highlighting the Hollywood-propagated fiction about “falling” in love. After whimpering first verses, the gospel-inflected “Stay with Me” and “Lay Me Down” are saved by their heartbreaking, rousing hooks-and, of course, that voice.
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And there are enough moments of genuine musical, lyrical, and vocal virtuosity and soul to crack even the most hardened listener’s icy heart. Just when you’ve started to grow weary of Smith’s pity party, it’s over. Thankfully, the songs are mercifully short. Though Smith lays his cards on the table on the very first song, “Money on My Mind,” claiming he makes music not for money, but “for the love,” it’s no surprise that, with the exception of “Life Support,” the track’s skittering garage beats are henceforth shelved in favor of languorous downers with plodding loops and morose tales of unrequited love. Tying this question to Smith’s sexuality is inevitable, but the fact that the singer has come out of the closet so hot on the heels of his mainstream pop success is ultimately more revolutionary than the songs themselves, which avoid the use of masculine personal pronouns and largely stick to middle-of-the-road R&B arrangements.
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That latter notion is a particularly fascinating one, as it one-ups Adele’s attempt to get over an ex by posing a perhaps even more impossible query: How do you get over something you never had? In the Lonely Hour isn’t a breakup album, per se, since it’s unclear whether the object of Smith’s affections and regret ever reciprocated his feelings, or if the relationship was even consummated. Still, it’s hard not to compare Smith’s first solo effort to Adele’s 21. But Antony Hegarty would be a more apt parallel: Both Smith and Hegarty identify as LGBT, and both have moonlighted as vocalists for house acts (lending their falsettos to Disclosure’s hit “Latch” and Hercules and Love Affair’s much-celebrated debut, respectively). tragedian Adele, and with good reason: Both artists trade in the blue-eyed balladry of lovers scorned with strikingly emotional nakedness. Twenty-two-year-old singer-songwriter Sam Smith has been favorably compared to fellow U.K.