Tyler Hubbard and Brian Kelley are back on their fourth studio album to kick the dust-up with their boots, and party recklessly with a couple of hotties down in Georgia. The bro-country is strong with this track, Y’all.
For a duo that emerged from the music industry by church worship groups, they have veered farther from that message of religion, love, and women, as their album, Dig Your Roots featured. Instead, they are driving that honky-tonk back road straight towards what the producers think the radio needs- bro country that sings about pretty girls, plenty of booze, and pickup trucks.
“…a tight, mid-tempo backbeat; a quick, two-verse set-up, often laced with clever wordplay and bouncy, lyrical melody; and — bam — the power chorus to bring it all home and keep them coming back.”
Songwriter, Greg Todd on the genre of “bro-country”
The song starts with a slow and sensual banjo, which is surprisingly just the right balance between hip-hop R&B and country sound. You can listen to the song and find the similarities to their old work underlying in the track but also bringing to the forefront what people love, and in turn, hate about the Bro-country era. The song starts off great, soft instruments playing warmly to give the song an understated sexiness, that is until Hubbard opens his mouth and sings out the egotistical lyrics.
Because the music is so muted in the background, you can’t help but listen to every word they sing about wanting to take their girl out on the town but then changing his mind and wanting to “talk you out” of that “little dress” and spend the night away with a Vandross song playing. This would all be “hunky-dory” if the lyrics didn’t sound so objectifying.
Regardless of the lovestruck and charismatic charm the guitars and keys bring to the song, its overpowered by the crappy underlying message.
Don’t get me wrong, I loved it…but I wish someone would talk these boys out of constantly singing about what would sell on the radio. Whatever happened to “God, Your Mama, and Me”?
Avril Lavigne’s lead single, “Head Above Water,” was released September 19, 2018.
by Chelsea Ives
Queen Lavigne is here. No longer the pop-punk princess we once knew, Avril Lavigne reveals just how much she’s matured with her newest album, Head Above Water released this past February. In her sixth studio album, Lavigne shows a depth that contrasts strikingly with her old music. When I say “depth” I mean she has literally been stranded at the bottom of the ocean – but she’s back – with her head above water and her heart feverishly in her music.
Lavigne has been startlingly absent from the music scene since 2014. After contracting Lyme disease from a tick bite, Lavigne was on bedrest for almost two years – but now she’s finally back. After years of antibiotics and physical therapy for her dystrophic muscles, Lavigne traded in her bed sheets for music sheets. Now, propelled by her experiences, she’s making up for lost time. Lavigne has made a Ke$ha – come back: using her past experiences not only with her illness but also with toxic masculinity to bolster her voice, trading in her usual flippant attitude (“see ya later boi”) for a more serious, adult perspective. The album consists of a series of ballads, with a break in the middle with the more upbeat song, “Dumb Blonde” featuring Nicki Minaj.
“Head Above Water” the title track opens the album, starting with
elegant piano and Lavigne’s strong vocals. The spiritual gospel works like a
prayer, when she sings, “God keep my head above water …” Lavigne revealed on
her website that the song came from what she thought was going to be her
deathbed – truly the bottom of the ocean. The album’s set-up effectively moves
from where Lavigne’s been, to where she’s going. From the bottom of the ocean,
to the highest clouds in “Goddess,” Lavigne’s album is the story of her past,
present, and future.
Her songs, which resonate spiritually, touch places deeper than her old music, even her 2007 “When You’re Gone,” which used to be my go-to sad song when I was an angsty teenager. Come to think of it, so was her 2004 song “Happy Ending”. Oh, and then there was her 2002 song, “Complicated” … Lavigne clearly hadn’t stretched her musical abilities as far as they could go. Her 2013 single “Here’s to Never Growing Up,” easily represented how Lavigne went about her music career until now. All her pop-punk songs were catchy, but they were all the same. Now, Lavigne shows us exactly how much she’s grown up in Head Above Water, which has a different perspective, tone, and intention. No longer pumping out tunes for the masses of angsty teenagers – Lavigne gets real by describing her struggles and how she’s overcome them.
“Tell Me It’s Over,” the fourth
song on the album, opens with a gospel/jazzy/soul sound and Lavigne’s amazing
vocals, which only strengthened during her years off. The classic piano, and the
introduction of trombone and horns gives this song a smooth, strong feeling. The
sound of the song reminds me of the new song from Fall Out Boy, “Heaven’s
Gate”. It is clear Lavigne is done taking shit from any men. The lyrics, “I’m
so tired of certain emotions / That leave me dizzy and confused” are relatable
to anyone who has ever been in a relationship.
“Dumb Blonde” is the fifth song on the album, and musically the weakest in my opinion. Lyrically, and thematically I can see the feminist agenda that Lavigne is trying to push, but the “Hey Mickey” sounds pairs awkwardly with the introduction of Nicki Minaj rapping three quarters of the way through the song. The transition is chunky and jarring, which takes away from the “all-hail strong women” vibe Lavigne sets up in the rest of the song. The song was originally supposed to be a solo piece (you can see Lavigne perform the original here) but two weeks before the album’s release, Minaj’s verse was added to the song. However, the original version is stronger and more effective in getting Lavigne’s point across. In the original she sings, “(…) don’t take no shit / … don’t ever shut up / You gotta stand up and fight for it.”, which I think is closer to the old pop-punk Lavigne that we know, and lyrically does a better job of keeping the theme of the song. The saving grace for this song is that it reminds me of her 2007 song, “Girlfriend” in the beat of the song – to the point where “Dumb Blonde” could be a re-make, showing how Lavigne has grown from the “I want to be your girlfriend” to the “get outta my way” of 2019 Lavigne who isn’t taking shit from men anymore.
“Souvenir”, “Crush”, “Goddess”, and “Bigger Wow” Tell us there is still hope for Lavigne’s love life! Even referencing a possible new beau? The songs which come just before the close of the album bring a positive spin back to love and relationships. After the disheartening image you experience from “Birdie”, “I Fell in Love with the Devil”, and “Tell Me It’s Over” which all reference un-reciprocated love, compassion, and understanding in relationships, Lavigne switches from her toxic relationships of the past to her new, reinvented self. Nothing says “moving on” like picking yourself up and shocking the world with new music which is so drastically different from her old sound.
The song “Warrior” concludes the album perfectly. After she’s revealed
her darkest days to us, Lavigne tells us she’s not here for our pity – she’s
doing it to show her strength, and to encourage others to have faith in
themselves as well. The song features dramatic piano, and Lavigne asserting
herself, “I will not break / I will survive / I’m a warrior”.
How many of us would read a book where the protagonist doesn’t develop at all through the plot? So why should we expect Avril Lavigne to produce another cookie-cutter pop-punk album after all she’s gone through? For me, this album represents real struggle, growth, strength, and most of all hope in a future that will be better. Truer to reality than most of what comes on the radio today, I think Head Above Water is the most authentic Lavigne we’ve had yet. To those who think that the album is “boring”, I say: you’ll understand when you’re older.
In an eerie blend of pop and horror, Billie Eilish’s new track “Bury a Friend”—for the lack of a better term— gave me the heebie-jeebies. Usually I’d refrain from describing a song as “creepy” because it’s such a vague and indeterminate descriptor, but this song is creepy. It starts out with this low, jittery beat with an almost immediate lead-in to Eilish’s airy falsetto. Her vocals are layered over the faint sound of an incredibly deep voice singing the same lyrics, which creates this unsettling rumble.
At this point, you’re intrigued by the appeal of Eilish’s
sweet and airy tone, but don’t be fooled by her angelic pitch—this is by no
means your average radio-bop. There’s a brief break of total silence after Eilish
sings “[w]hen we all fall asleep, where do we go?” and a man’s voice
eerily whispers “come ‘ere” followed by a sharp, piercing screech.
Half of what makes this song so creepy is the deep, rattling beat that plays throughout, accompanied by an array of familiar horror movie sound effects. A third of the way in there’s this low, showstopping rumble that sounds like something you’d hear in a slasher movie as the killer approaches his attractive yet oblivious female victim.
To me, this song is one big, gorgeous homage to the horror genre. It’s clear that the song is heavily influenced by it, and my hunch was confirmed when I watched Eilish’s music video for the track. A demon-eyed Eilish is seen hiding under an unsuspecting victim’s bed, as well as floating dramatically midair in a poorly lit, dingy hallway. It doesn’t get any more horror than that.
The other large component of creepiness for this track, is Eilish herself. Her soft and delicate vocals juxtapose the harsh horror sounds, conforming to one of the genre’s most utilized strategies of pairing creepy music with an innocent, child-like voice. As an avid scary-movie watcher, I can appreciate a song that is simultaneously catchy and bone-chilling, so for me this is a win. I’m incredibly excited to see what the rest of her album is like when it comes out in March.
Orla Gartland is the perfect example of that artist you hear or read about that just went for their dream. Writing songs since she was 14 years old, Gartland brought her music to Youtube after unsuccessfully trying to perform at pubs in her hometown of Dublin. Starting in 2009 with singing covers before moving on to showcasing her own original music, Gartland now has almost two hundred thousand subscribers on her channel. And that just Youtube. This girl gets around on social media. She’s can be found on Facebook, Instagram, Twitter and has a Patreon page where her fans can support her and her music.
After moving to London right after finishing school, Gartland teamed up with writer/producer Ben Langmaid and Sean Genockey. “I have met producers that are so patronizing,” said Orla. “They want me to slap some vocals on the track and leave them to the rest, to have no other input. Ben and Sean know that this is my music and so they trust my instincts; they’re there to help me realize what these songs can be. I’m in really good hands.”
Gartland has since released a handful of singles, one of them being “Why Am I Like This”. It’s her most recent release and it’s a really personal track that almost seems like Gartland has been spying on me. She sings about insecurities and anxieties and thoughts that I believe are shared by more people than they’d probably like to admit. It’s like she’s speaking directly to the listener, confiding in them as they sit together in the corner of a small bar, or maybe on the edge of a rooftop looking up at the night sky, or maybe just walking down a quiet street as neon signs flicker in windows and street lights stutter and spark overhead.
Whatever the scene you picture in your mind, Gartland makes her song sound like she’s speaking directly to you. She doesn’t shy away from the discomfort she feels in her own skin, allowing her listeners to connect with her and her song. Orla shared on her Facebook page that “if it’s not a bit awkward and uncomfortable to sing, then it’s not honest enough.”
Gartland is a fantastic artist. Check out her Youtube channel. Seek her out on Twitter and Instagram. Give her Facebook page a visit. And if you’re so inclined, think about supporting this talented artist on Patreon. I think we could all use a little more of Orla Gartland.
Les Claypool and Sean Lennon are an odd, yet somehow fitting pair. A delirium, you could even say. “Amethyst Realm” is our latest dose of The Claypool Lennon Delirium, and the first of 2019. It was released on Valentine’s Day, but it’s no love song. Well, at least not your typical love song. Speaking of other things that this song is not, it’s also not a radio single. Running at 7 minutes 47 seconds, it is clear that Claypool and Lennon had no intentions to please the Top 40 charts, or garner any radioplay whatsoever. After all, who needs the radio when online streaming is quickly taking over all prior listening platforms, except maybe for vinyl.
What this song is, is a weird amalgamation of grimey alternative rock and gritty bass lines (courtesy of Claypool), and light experimentation and psychedelia (courtesy of Lennon). I expect nothing less of Sean Lennon, being the son of the late John Lennon and wife Yoko Ono. His voice is Lennon-esque, with his own twist, and his musical style is a distant relative of Ono’s avant-garde experimentation. I almost want to describe it as Yoko Ono-light. The drums, bass, and guitar are quite complex at times, with tasty drum fills and guitar trills, and Claypool’s riffing bass lines that sound like Primus bass lines thrown into a new environment. It sounds progressive to a degree, like something off an early Yes album, or even Rush and King Crimson. The song is easy to let fall into the background of your conscience, seeming to sit better as a backing mood-atmosphere work, than a piece meant for forefront focus. The sound effects, and use of grand reverbs throughout the piece give it a spacey vibe. This works quite well, considering the single’s cover shows some creepy looking termite reading a compass, likely attempting to navigate a foreign planet with red skies. This cover appears to be the one of their forthcoming album, titled South of Reality. The music indeed reflects that title, and it’s refreshing to hear two successful artists going against the grain of pop expectations, to make something strange and insect-like to infest the expectations of the “glamorous” and “spotless” music industry. Get ready to call pest control, Maroon 5 and Imagine Dragons.
“Fuck stereotypes. If you’re a
strong person and your partner can’t handle you, go find someone who has enough
self-confidence and can support you and lift you up and inspire you in your
life. As an equal.” Avril Lavigne said in an Instagram post hash tagged “Dumb
Blonde”. The Canadian artist is making a cherry-bomb comeback with her sixth
studio LP Album released in January, Head
Above Water.
The quick rat-a-tat-tat of drums opens
“Dumb Blonde” like a parade march…Avril is literally playing herself onto the
court with her own song. If that doesn’t scream “strong, independent woman” I don’t
know what does. After her 2014 diagnosis of Lyme disease, Avril has been through
physical and emotional stresses that should have left her in the dust. But
Avril proved the odds wrong, recovered, and now she’s here to say she’s “takin’
the lead”.
“Dumb Blonde” opens with lyrics and that electric guitar
which gives me serious “sk8er boi,” flashbacks. The song is the most upbeat
song on the album and it’s clear Avril is trying to show her fans that she
might have grown up, but she still knows how to have fun. Nothing is holding
her back, and she’s more confident than ever. Avril has a very Joan-Jett and
the Blackhearts “I love Rock ‘n’ Roll” sound in this song, and I think it suits
the theme of the song. Women shouldn’t be afraid to speak our minds and be recognized
for strength, independence and confidence, and we shouldn’t be condescended for
showcasing our abilities.
Interestingly the song was originally recorded as a solo
piece, but two weeks before the albums release, a verse with Nicki Minaj was
added. I’ll be honest, I’m not a huge Nicki fan. Unfortunately I don’t see the
point of her verse in the song. Avril really brings the feminist agenda here,
calling to people to stand up for strong women. Nicki, apart from being looked at as a feminist (for what,
though?) lends nothing to the song except a rap sound which refers to her own
work with another artist? Sorry Nicki, but I think you dropped the bomb in this
one.
Overall, if there’s one thing to take away from this, it’s that Avril really does have her A-game on, and she is bringing the heat to the court.
Avril Lavigne & Nicki Minaj in “Dumb Blonde” from Lavigne’s newest album, Head Above Water.
The Taloola cafe was a perfect venue for the musical duo The Fontaines, which is composed of a husband and wife who can be found performing at different venues throughout Windsor. The vintage and artsy aesthetic really fit the mood for the types of sounds and lyrics that The Fontaines were about to expose us to. I had tried going to Taloola the previous night on Friday because I knew that the cafe had live music on Fridays and Saturdays starting at 8, however the cafe was packed and so I told myself I would come the next night a little earlier assuring myself a seat. I arrived at about half an hour to eight which gave me enough time to drink my first green tea of the night and wait for what I was expecting to be a great performance.
The Fontaines are composed of Sarah and Ryan, a married couple who musically, excel together. Sarah is the main vocalist and plays the acoustic guitar while Ryan plays the cello and has some solid accompanied vocals on most tracks. The Couple also had their kids and other family members at the nearest table to the set, which for some reason just really added a lot of charm to the performance. With that being said, the most charming thing about the bands performance was just how personal and raw it felt. They performed an hour set of about fifteen tracks, and although they didn’t specify whether or not the tracks were from an album or recent mixtape, it very much felt that way as there wasn’t a single track that felt out of place and the transition between each tracks were very smooth.
A common theme throughout most of the tracks is love, particularly the love the Fontaines share. In songs like “hello my lover” and “lets fall in love” the Fontaines explore love in an interesting way that other bands usually can’t which is due to the fact that they are indeed married and in a sense they are expressing this love in unison and from a place of common understanding. This also translated to the actual music itself as the duo harmonize beautifully together on the chorus’s of most songs. Their music is very much so melancholy, which is weird to say because there songs certainly aren’t sad but rather just sound sad if one wasn’t to be listening to the lyrics, but this is probably just due to the fact that the two main instruments at work are an acoustic guitar and a cello.
Overall I found it to be a very pleasurable and relaxing experience by the end, the cafe was perfect because it allowed me to just enjoy some tea and live music while I escaped reality for an hour which was needed after the stressful week I had. If I had one complaint about the overall experience it would be that due to the social nature of Taloola cafe the chatter of others would sometimes make the music hard to hear clearly, but this was a pretty minor problem overall. The Fontaines were very charming and you could tell that they were genuinely just doing what they love up there with the person they love.
The Windsor Symphony Orchestra is one of the longest running and most profound forces in the local music scene. Since its initial conception in 1947, the WSO has kept classical alive, strengthened rock and roll, and facilitated pop music. They have also been strong supporters of student education, the importance of the arts, and collaboration with other musicians in the area, including the University Singers student choir that I’m a member of.
This evening was a collaboration with Jeans N’ Classics, a GTA-based group that joins the WSO for tribute concerts to great pop/rock artists. The band includes a guitarist, keyboardist, bassist, drummer, and two lead and two backing vocalists. The band fronts the stage, with the orchestra assembling around them in a half circle, as the conductor stands elevated in the center. The show was held at The Chrysler Theatre, and with a seating capacity of 1200, it was clear this was nearly a sold-out show. This was likely due to the billing of the concert, titled “Bowie vs. Prince,” but due to legal complications with Prince’s estate, the bill was changed to “Bowie Got Soul.” The show must go on.
The concert featured the music of David Bowie sung by Jean Meilleur, and an assortment of other soulful artists like Earth, Wind & Fire, Gnarls Barkley, The Spinners and The O’Jays, all sung by Gavin Hope. The Bowie songs were well received by the audience, as expected. The audience was a combination of youngsters and not-so-youngsters, some from Bowie’s era, some from before, and some like me who were too young to even remember Bowie’s late electronic period. As Gavin Hope walked out wagging his purple tie in the air, the audience laughed and applauded, and a group of ladies shouted “We want ‘Purple Rain!’” Gavin began to sing “Purple tie, purple tie” to the tune of “Purple Rain,” and quickly halted after receiving a look of impending doom from the conductor. The audience understood, and Gavin joked that the WSO’s legal teams could not match those of Prince. The ensemble brought the soul tunes to life, and the audience had redeemed their purple-clad expectations before long.
The mood was very different between the Bowie and soul sets. During Bowie, the audience was reflective and reminiscing, often swaying back and forth and smiling as they grabbed fond memories out of the air and tied them back to the music gracing their ears. Everyone was happy, but it was bittersweet for those who still have an ache in their heart over Bowie’s sudden, unexpected death in 2016. When the soul music hit, the atmosphere changed instantly. Feet began tapping, fingers began snapping and clapping, and people jumped out of their seat to dance in the aisles, much to the chuckles of others who were too scared to do so. It was vibrant, uptempo, and groovy.
The WSO has a knack for fitting into any musical situation. Just last week my choir was with them for Beethoven and Verdi masterworks, and next week will be Mozart’s Requiem. Tonight, they back a rock band, and provide a foundation of beautiful orchestral layering that the band builds off of. And the sound is perfect: condenser microphones capture the sound of the orchestra, and is mixed in perfect dynamic level to the band. My only point of concern was that the backing vocalists could not be heard clearly at times, and the same occasionally happened to the lead vocalists. But for the amount of musicians onstage (about fifty), the sound was immaculate. Mixing a band of eight is a daunting task, let alone an entire symphony on top of that. It also speaks to the musicianship of the orchestra members who sit in the pocket perfectly with the blend of the band. All around, the musicianship, stage production, and songs were wonderful and classy, and it was an entertaining evening of fabulous music.
Picture it: you pull up to Walkerville High School and enter through the giant arched doors. You are greeted by a warm atmosphere filled with smiling PTA moms and young students collecting ticket stubs. Immediately you are surrounded by a familiar feeling of childlike joy, the energy of the show buzzing through you already.
I’ll be entirely honest. I heard that WCCA’s big production this year was going to be Chitty, and I had to ask my sister and about three other adults what the heck it was actually about. From what I had gathered, it was a movie made in 1968 starring Dick Van Dyke with musical accompaniment by the Sherman brothers. I remember listening to the soundtrack once before a couple of years ago. After the first couple of songs, it grew almost impossible to not hum along with the catchy tunes and tap your foot to such lighthearted melodies. If the music was the one thing to base my judgment of this play on, then my expectations for a “truly scrumptious”, family-friendly adventure were exceeded.
As I’m sitting in my seat and looking around at the little kids with their parents, and people carrying bouquets for their kids in the show, the overwhelming pitch of the pit orcestra tuning flutes and clarinets engulf my ears. As soon as the lights went out and the spotlights came on, the imagination began to shine through.
My mind was automatically blown away with color and sound as soon as the Van Dyke protege started to sell his whistling invention during the “Toot Sweets” number. Watching this number you can’t help but bob your head as the kids are singing about sweet treats. Something that is so creative is how the cast and crew have immersed the audience into their show, so you feel as though you are a part of their choreographed routines and banter. In the middle of this number, the kids dance off into the aisles and through the seats picking up members of the audience, spinning them around in time to the beat. At that point, you could literally see people of all ages laughing and playing along- you feel as if you had transported yourself back to a time in your life where everything was joyous and carefree and it felt like a magical piece of your childhood could live itself out at that moment.
Breaking the fourth wall, was a concept that was intricately woven into the musical’s design. Both the music and stage directors worked to create a spectacle that keeps the audience not only entertained but engaged.
By the end of Act 2, the student band becomes much more involved with the musical’s plotline dressing up as guests to the Baron’s extravagant birthday party, it has a simple way of bringing the score to life and encouraging audience participation. The characters Baron and Baroness of Vulgaria, if their names give anything away, are positively volatile but make up for it with their horrible accents and humorous ways, whilst declaring their love (“Chu-Chi Face”). The song “The Bombie Samba” is a particular fan-favorite amongst the crowd due to the fact that while the Baroness is singing she would literally cut off the band’s playing abruptly to ridicule them to play better because she “is never off tune, not ever”. How the actress does this with a straight face is remarkable because it was possibly the highlight of the show.
The happy ending ensues soon after when the lights come up and the show appears to be over but not one person seemed to mind because they were instantly transported to a happy memory of their life. This musical had the power to give them that and to put a smile on their faces… all because of a magic flying car!
If you have a free moment next weekend, why not check out the magic?
-Allison Brown emotionally singing at Taloola cafe
After a stressful week I was excited to wind down, drink some coffee and listen to some live music. It didn’t take much to convince my coffee-obsessed friend to join me on this night adventure. We heard from a friend that they make the best Vietnamese iced coffee, so we had high expectations. Once we walked in and passed the vintage red chairs, we ordered our ice coffee and tried to find a seat. We ran into some difficulties when we realized there were no seats available. There was no way we were taking our coffees on the go, I needed to see tonight’s performance. So we squeezed ourselves in the back and sat on flimsy foldable chairs. It was rather “cozy” not only because we were 2 inches away from other people, but because a warm heater was directly behind us. Nonetheless I liked the vibe of the place, the ceiling was an orange hue, and the lights were dimmed to a hazy yellow. It was comfortable and the brick wall was covered in antique style pictures, maps, mirrors and statues. It felt like a home rather than a coffee shop which made the live performance much more enjoyable to watch.
Luckily enough a table opened up and we quickly left our toasty seats for a front row view. Allison Brown was up on the small stage placed in the corner of the cafe. She conducted a mini sound check by strumming on her guitar and speaking into a microphone to check the sound. The abrupt sound did not stop the crowd from having their own conversations. Once Allison’s powerful voice filled the small room many tuned in to listen. It was a stripped down raw acoustic performance which is something I always appreciate. Her voice was filled with emotion and she took her time singing out each and every note. Not only could you hear the emotion through her voice, but you were able to feel it by looking at her face. With every long note she carried she closed her eyes and focused on her singing. She was in her own little world that she created temporarily with herself and her guitar. It created an intimate experience and being so close to her allowed me to focus solely on her without any distractions.
While she was performing she was in her world; however, in between her songs she was engaged with the audience. She wasn’t afraid to crack some jokes just before covering Kevin Quain’s “Mr.Valentine’s dead,” saying “this is one of my favourite song sing on Valentine’s day… and on Halloween. I guess that says something about my love life.” Let’s just say she was glad Valentine’s day was over, and made many references throughout her gig about her “post Valentine celebration.” Single folks and even couples chuckled creating a light hearted atmosphere.
Near the end she played one of her original songs “Scavengers” from her 2015 album Stitches and Incisions. This folksy song allowed her to showcase her vocal range quite well. She was able to hit high notes so effortlessly without any traits of strain in her voice. Listening to Allison allowed me to be emerged in her music. Her soft and angelic like voice put me in a reflective state, and made me tune out my stressful thoughts and overworking mind. I could finally relax and focus on enjoying the music, and my perfectly balanced sweet and bitter coffee.
Even if Allison made a mistake you wouldn’t notice, she confessed after finishing her song “ I totally forgot the lyrics in the middle so for a while I was singing ‘blah, blah, blah.’” A woman who sat next to me responded back saying “with a voice like yours you don’t notice a blah, blah,blah in there.” With 20 years of performance experience she was an expertise at captivating her audience.
Notes on Notes 