thu 17/10/2019

CD: Slow Moving Millie - Renditions | reviews, news & interviews

CD: Slow Moving Millie - Renditions

CD: Slow Moving Millie - Renditions

Even if you haven't heard of Amelia Warner you'll have heard her on the John Lewis Christmas advert

Slow Moving Millie aka Amelia Warner

Even if you haven’t heard of Slow Moving Millie, aka Amelia Warner, there’s a 99 per cent chance that if you reside in the UK and have access to television, you’ll have heard her sing. The 29-year-old’s cover version of The Smiths’ “Please Please Please Let Me Get What I Want” features on the most talked-about, eye-misting Christmas advert of the year: John Lewis’s 30-second commercial of a little boy who can’t wait for his present (wait for it!) to his parents to be given.

Millie’s slowed-down, plaintive and beautifully sung cover version is in a big way responsible for the ad’s success. And it can’t hurt that the artist has accrued herself a ready-made online fanbase as said advert has elicited nearly three and a half million YouTube views in a month.

To cash in on this, or as her publicity material says, “to prelude” the release of her debut album which won’t be out until next summer (and is currently being recorded with the help of producer Charlie Hugall), Island Records is releasing an album of Amelia singing “favourite songs from her youth”, Renditions. Her talent and stunning vocals are undeniable. But sadly, listening to her singing Banarama’s “Love In the First Degree” and the Thompson Twins’ “Hold Me Now”, the slowed-down, plaintive and overtly emotive schtick starts to wear a little thin. After giving the same treatment to the Tears for Fears classic “Head Over Heels” (which only served to remind one how good the original is) and “The Power of Love”, I was starting to throw things at the CD player.

Nevertheless, “Feels Like Heaven” is another good reworking of a well-loved classic, and “Beasts” (which featured on a Virgin Media advert) is another catchy demonstration of her skill. Like Feist before her, Amelia clearly has the potential to turn exposure via commercials into a successful vehicle for her talent and I look forward to hearing her album when it is released next summer. But Renditions feels like a hastily put-together means of profiting from recent hype.

Watch "Beasts" by Slow Moving Millie



Like Feist before her, Amelia clearly has the potential to turn exposure via commercials into a successful vehicle


Editor Rating: 
Average: 2 (1 vote)

Share this article

Add comment

Subscribe to

Thank you for continuing to read our work on For unlimited access to every article in its entirety, including our archive of more than 10,000 pieces, we're asking for £3.95 per month or £30 per year. We feel it's a very good deal, and hope you do too.

To take an annual subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a gift subscription?


Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters

Advertising feature


A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.
The Observer, Kate Kellaway


Direct from a sold-out season at Kiln Theatre the five star, hit play, The Son, is now playing at the Duke of York’s Theatre for a strictly limited season.



This final part of Florian Zeller’s trilogy is the most powerful of all.
The Times, Ann Treneman


Written by the internationally acclaimed Florian Zeller (The Father, The Mother), lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst.


Book by 30 September and get tickets from £15*
with no booking fee.