tour around the world lyrics

Tour the World Lyrics

Brain Beats 2  by  Renald Francoeur

Song   ·   8:33   ·   English

(P) 2013 Marbles: The Brain Store

Here we go We can go all around the world We'll visit every corner of this earth We'll go all around the world You and I, we'll visit everywhere I wanna go on a safari in Africa And visit Namibia and Zambia Lions, and tigers, and bears, oh my Um.bears aren't common in Africa. Why? You ever take a stroll in a fur coat in really hot weather? No Well, a bear wouldn't wanna do it either OK... now let's get back to the song So many places to go and we can start with Niger Benin, Burundi, and Botswana We'll go there and then visit Ghana Togo sits right below a country called Burkina Faso We should visit Maseru, which is the capital of Lesotho Kenya, Chad, Malawi, Congo, Zimbabwe, Sudan, Gabon, Morocco Mali, Uganda, and Comoros, Rwanda, Ethiopia—let's go Cote d'Ivoire, Mozambique, Central African Republic Cameroon, South Africa, Sierra Leone, and Senegal So many places I wanna go And I hope that you'll be coming along We can go all around the world We'll visit every corner of this earth We'll go all around the world You and I, we'll visit everywhere Yep, still in Africa That's right, you guessed it It's a huge continent of course we haven't left yet. No Guinea, Guinea-Bissau, Equatorial Guinea Can't wait to pay a visit to all three Cape Verde, Eritrea, and Djibouti Madagascar I remember that movie Let's see Tanzania and Swaziland Tunisia, Somalia, and South Sudan Sao Tome and Principe are really beautiful islands I've got to say Can't wait to inhale the air of Seychelles Some more beautiful islands where I want to sail Mauritania, Libya, and Liberia Where are we going next? After that is Algeria Egypt has a rich history We should visit the pyramids Mauritius, Angola, and Gambia Western Sahara—now we're leaving Africa So many places I wanna go And I hope that you'll be coming along We can go all around the world We'll visit every corner of this earth We'll go all around the world You and I, we'll visit everywhere Palau, Nauru, Tonga, Samoa Solomon Islands in Australia Those are places I wanna take you Let's explore Micronesia These are the Pacific Islands Fiji Islands, Marshall Islands, Vanuatu, and Tuvalu Can't forget New Zealand Papua New Guinea is gorgeous Kiribati is also known as Kiribus Who wants to come along with us? To... Venezuela, Guyana, Paraguay Peru, Suriname, Uruguay Chile, Ecuador, Colombia Brazil, Argentina, Bolivia So many places I wanna go And I hope that you'll be coming along We can go all around the world We'll visit every corner of this earth We'll go all around the world You and I, we'll visit everywhere Tourists visit the Mayan temple in Mexico We'll head there after Trinidad and Tobago I love Saint Lucia, Panama, Nicaragua The first chocolate bar was invented in Guatemala (Thank you!) But did you know she was born in Barbados? It's so beautiful just like Jamaica Just like Cuba, Honduras, and Grenada El Salvador, Costa Rica, Dominica After Belize, I'm gonna go see Canada Guess what? What? Pirates of the Caribbean was shot in Saint Vincent and the Grenadines In my last song I toured the United States Now I'm all over the world and it feels great Haiti is where I was born If you don't mind I had to throw that in the song Saint Kitts and Nevis, Antigua, Barbuda, Bahamas, Dominican Republic We can go all around the world We'll visit every corner of this earth Switch it up Taiwan, Iran, Iraq, India, and Malaysia Cambodia, Georgia, China, Indonesia Vietnam, Thailand, Japan Uzbekistan and Tajikistan We plan to travel to many different lands Like the Philippines and Turkmenistan Wait, slow down. This tour is moving quickly, man OK, I'll give more information Now that's a good plan Did you know cinnamon originated in Sri Lanka? Nope, but I love it on my French toast, so thank you Let's go to Qatar then Nepal and Singapore Great, but don't forget the info Give a bit more Do you like mocha? I love mocha That originated in Yemen Pass me a big cup Oman and the United Arab Emirates Both have very hot climates East Timor, Myanmar, Saudi Arabia, Maldives We're going really far. Israel, Lebanon, Bhutan, Kuwait Jordan, Brunei—let's go miles away Kyrgyzstan, Kazakhstan, Laos, Bangladesh, Bahrain Pakistan, Azerbaijan, Afghanistan, Armenia Take me away Come on, let's go Everybody let's go all around the world Come on, let's go Everybody let's go all around the world Come on, let's go Everybody let's go all around the world Come on, let's go Everybody let's go all around the world In Italy we'll see the Leaning Tower of Pisa And the Roman Coliseum Let's visit Latvia, Albania, Austria And then we'll go to Belgium We'll take the train from Serbia to Slovakia To Slovenia and spend a few days in the Ukraine We'll see the Pope in the Vatican City And then Sweden and Romania and then we'll go to Turkey and Ireland We'll walk around all day in Kosovo, Monaco, San Marino, and Norway The scenery is beautiful in Portugal In Poland, you'll get more than an eyeful Speaking of eyeful, let's go to France We can look at the Eiffel Tower and stare at it for hours Croatia, Bulgaria Come on, let's go Everybody let's go all around the world Come on, let's go Everybody let's go all around the world Switch it up We'll go to Russia and the Czech Republic And Cyprus I promise you'll love it Bosnia and Herzegovina We'll party in Greece and Andorra Liechtenstein, Lithuania Let's see Belarus and Macedonia Luxembourg, Malta, Moldova You're invited so come on over The Netherlands, Finland, Montenegro Germany, Hungary, Denmark—let's go So many places I wanna go And I hope that you'll be coming along We can go all around the world We'll visit every corner of this earth We'll go all around the world You and I, we'll visit everywhere We can go all around the world We'll visit every corner of this earth We'll go all around the world You and I, we'll visit everywhere

Writer(s): Renald Francoeur<br>Lyrics powered by www.musixmatch.com

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• Tour the States Lyrics

Renald Francoeur - Tour the States Lyrics

Artist: Renald Francoeur

Album: Brain Beats

I want to take a little trip somewhere, yeah Places I've never been, yeah Going on tour without a care I want to take a little trip somewhere, yeah Places I've never been, yeah Going on a tour, tour, tour First, I'm gonna see Nashville, Tennessee Then Madison, Wisconsin, is where I gotta be, yeah Then I'll take a plane Well actually I'm afraid to fly, so I think I'll take the train Let's go! Going to Trenton, New Jersey; Frankfurt, Kentucky Maybe take a trip to Jackson, Mississippi Let's see what they can show me in Jefferson City, Missouri Santa Fe, New Mexico; Denver, Colorado Boise, Idaho, I love it every time that I go In 1492, he sailed the ocean blue, but next week I'll see Columbus in Ohio Grab a little sunshine in Tallahassee, Florida Take a bite out a peach in Atlanta, Georgia I've never been to Carson City, in Nevada, or Lincoln, Nebraska You can catch me in Phoenix, Arizona, or Sacramento, California, yeah St. Paul, Minnesota, maybe, Juneau, Alaska, yeah I want to take a little trip somewhere, yeah Places I've never been, yeah Going on tour without a care I want to take a little trip somewhere, yeah Places I've never been, yeah Going on a tour, tour, tour Boston, Massachusetts; Concord, New Hampshire Going to Vermont for Montpelier Montgomery, Alabama, then Washington D.C., to see the nation's capital Aloha to Honolulu, Hawaii Des Moines, Iowa, so peaceful to me Going to Springfield, Illinois, to build a little house on a prairie In Little Rock, Arkansas, I love what I saw Going back to Dover, Delaware, ‘cause I want more Indianapolis, Indiana, and Hartford, Connecticut, need an encore Smelling pine trees in Augusta, Maine I like Topeka, Kansas, I'm glad that I came But I've never been to Salt Lake City, in the Utah, or Richmond, Virginia Going to see Bismarck, North Dakota, and Charleston, West Virginia, yeah Annapolis, Maryland, maybe Lansing, Michigan, yeah Helena, Montana; Columbia, South Carolina Got to go to Pierre, South Dakota, yeah, follow if you wanna I'll be eating a banana in Baton Rouge, Louisiana Schedule that on my planner Friends say I gotta come sooner to Oklahoma City, Oklahoma So I guess I'm gonna But first I'm going to Cheyenne, Wyoming, then party in Raleigh, North Carolina Harrisburg, Pennsylvania, can't think of a rhyme for Pennsylvania So I'm skipping to Salem, Oregon, then Austin, Texas And then maybe Albany, New York, for breakfast Providence, Rhode Island, was a blast, and, Olympia, Washington, was just the best-est I want to take a little trip somewhere, yeah Places I've never been, yeah Going on tour without a care I want to take a little trip somewhere, yeah Places I've never been, yeah Going on a tour, tour, tour I want to take a little trip somewhere, yeah Places I've never been, yeah Going on tour without a care I want to take a little trip somewhere, yeah Places I've never been, yeah Going on a tour, tour, tour

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Around the World

About Around the World

"Around the World" is a song by the French electronic music duo Daft Punk. The song was written by the duo and released as the second single from their debut studio album, Homework (1997). It became a major club hit around the world and reached number one on the dance charts in Canada, the United Kingdom, and the United States. It also peaked at number one in Iceland and Italy. The song's only lyrics are "around the world". The music video was directed by Michel Gondry and choreographed by Blanca Li. In October 2011, NME placed it at number 21 on its list "150 Best Tracks of the Past 15 Years".   more »

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Daft Punk is an electronic music duo consisting of French musicians Guy-Manuel de Homem-Christo (born 8 February 1974) and Thomas Bangalter (born 3 January 1975). Daft Punk reached significant popularity in the late 1990s house movement in France and met with continued success in the years following, combining elements of house with synthpop. The duo is credited with producing songs that are considered essential in the French house scene. They were managed from 1996 to 2008 by Pedro Winter (Busy P), the head of Ed Banger Records. Early in the group's career, the band members were strongly influenced by groups such as The Beach Boys and The Rolling Stones. more »

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Written by: Thomas Bangalter, Guy Manuel Homem Christo

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Judge quotes Taylor Swift lyrics, sentences Eras Tour concert trespasser to 6 weeks’ jail

SINGAPORE - “I knew you were trouble when you walked in,” belts American pop star Taylor Swift in her song I Knew You Were Trouble.

Trouble was what Chinese national Li Xiaowei, 45, found himself in on March 22, when he was jailed for six weeks over sneaking three people into Swift’s Eras Tour concert at the National Stadium on March 4.

Li, who had held the turnstile for three women and pushed them through, pleaded guilty to one charge of criminal trespass.

Before meting out the sentence, District Judge Hairul Hakkim Kuthibutheen noted the offence was premeditated and said: “Foreshadowing Taylor Swift’s hit song, I Knew You Were Trouble, the accused entered the National Stadium with the intent of committing the offence.”

Deputy Public Prosecutor Darren Ang said that on March 1, the three women – Hu Zhijun, 21, Yang Junhao, 23, and Shangguan Linmo, 25 – left Wuhan, China, to head to Penang, Malaysia, for a holiday.

While on a connecting flight from Wuhan to Penang, a man asked Shangguan if she wanted to buy three Eras Tour tickets for 4,000 yuan (S$750) each.

This man was not named in court documents.

Shangguan agreed, and the man said he would connect her with someone in Singapore who would help her get free-seating tickets.

He gave her the contact of Yang Chenguang.

The women flew to Singapore on March 4 and met Yang at one of the gates of the National Stadium after passing through security checks. One of the women transferred 12,000 yuan to an Alipay account when Yang told her to. Yang then met Li and spoke to him.

At around 5.30pm, Yang walked towards the row of turnstile gates at Gate 3 and noticed there were no security officers at three of the turnstiles. DPP Ang said this was because three of the four security officers stationed at Gate 3 were responding to a commotion nearby.

When Yang alerted Li to this, Li walked towards one of the unattended turnstiles where two concertgoers were queueing to scan their tickets.

Yang approached the lone security officer at the turnstile gates and asked for directions to another gate.

DPP Ang said this was done to distract the officer from Li and the three women, who were about to sneak in.

As one concertgoer entered the venue through the turnstile, Li held onto the bar to prevent it from rotating into a locked position and pushed the three women through it. Yang then gestured to distract the officer.

After the women entered the National Stadium, Li and Yang walked away. But a concertgoer who saw what Li had done shouted at the officer to alert him.

Li pushed her on her back, and shook her hands aggressively, asking her why she was shouting.

When another concertgoer asked Li to stop touching her, both Li and Yang left the scene.

The security officer at the gate was told about what had happened, but could not find the three women.

The police arrived and arrested Li and Yang.

Yang’s case is before the courts.

Seeking a sentence of between six and eight weeks’ jail, DPP Ang said, given the sheer number of concertgoers at The Eras Tour and the fact that the area near the turnstile gates was crowded at the time, Li’s offence constituted a serious breach of the public order , for which a deterrent sentence was warranted.

He added: “Fundamentally, this concerned a hugely popular event, generating significant local and regional attention. Safety and security is a paramount consideration on the premises. Consequently, actions which disrupt, or undermine, these efforts must be uncompromisingly dealt with.”

In mitigation, Li pleaded for leniency and said he needed to return to China for surgery. He did not elaborate on his medical condition.

Before meting out the sentence, District Judge Hairul noted that Li made unlawful contact with a legitimate concertgoer after committing the offence.

Those convicted of committing criminal trespass can be jailed for up to three months, fined up to $1,500, or both.

On March 20, United States magazine Billboard reported that a California judge also quoted Swift, using lyrics from her song All Too Well.

Justice Maria Stratton had rejected heavy metal band Metallica’s lawsuit demanding its insurance company pay for more than US$3 million (S$4 million) in losses stemming from concerts that were cancelled due to the pandemic.

Justice Stratton said: “To paraphrase Taylor Swift: ‘We were there. We remember it all too well.’ There was no vaccine against Covid-19 in March 2020 and no drugs to treat it.”

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Who & what is taylor swift's "champagne problems" about lyrics & meaning explained.

One of the songs that Taylor Swift performs during The Eras Tour is "champagne problems," and many wonder about the inspiration behind the lyrics.

• "Champagne problems" is a highlight of Taylor Swift's record-breaker Eras Tour film, with deep lyrics about a failed marriage proposal.
• The song is a heart-wrenching fictional story, not based on Taylor Swift's real-life relationship with Joe Alwyn, despite their collaboration.
• Swift finds joy in performing sad songs like "champagne problems," connecting with fans through emotional music experiences.

One of the several songs that Taylor Swift sings during Taylor Swift: The Eras Tour (Taylor's Version) is "champagne problems" from evermore , which contains complex lyrics that seemingly have a deeper meaning. The concert film, directed by Sam Wrench and produced by Swift, premiered in theaters in October 2023 and was a massive triumph. Over the course of its theatrical run, Taylor Swift: The Eras Tour became the highest-grossing concert movie of all time after earning over $260 million at the box office, surpassing Justin Bieber: Never Say Never (which grossed $99 million) with ease.

Swift's recording-breaking concert tour, the Eras Tour, features the pop star taking her fans on a journey through nine of her "eras," aka nine of her ten studio albums, and one surprise song acoustic set. Although two songs are still missing from Taylor Swift: The Eras Tour (Taylor's Version) on Disney+, the streaming release of the hit film includes the majority of Swift's 44-song setlist, satisfying many fans after some tracks were left off the theatrical version. Thankfully, one of the most important songs from evermore — "champagne problems" — is still one of the movie's highlights.

Champagne Problems Is About A Longtime College Romance & Failed Marriage Proposal

Taylor Swift released "champagne problems" as the second track of 2020's evermore — the third album Swift officially owned . During a typical Eras Tour show, the pop star performs "champagne problems" on a moss-covered piano following "'tis the damn season," "willow," and "marjorie" while she is in the evermore act of the concert (although Disney+ omitted "'tis the damn season" from Taylor Swift: The Era's Tour (Taylor's Version) ).

Swift picked the track for her setlist because "champagne problems" is one of the most popular songs from her ninth studio album, partly because of its heart-wrenching lyrics and powerful bridge that fans get to scream out at the Eras Tour. Some of the first chorus' lyrics include:

Your mom's ring in your pocket My picture in your wallet Your heart was glass, I dropped it Champagne problems

The tear-inducing number chronicles a doomed college romance that ends with a rejected marriage proposal. The couple that "champagne problems" is about has, assumingly, been together for a long time, but when the man proposes to the woman, she turns him down, leaving everyone speechless. The woman takes responsibility for the heartbreak and her explanation for her refusal can be explained in the bridge:

Sometimes you just don't know the answer 'Til someone's on their knees and asks you

The couple breaks up after she rejects his proposal, and the woman promises the man that he will find the right person for him (and that it's not her) in "champagne problems." However, while the evermore track describes the man's heartbreak, it also depicts the woman's pain and grief as she explains how her own personal troubles got in the way of her saying yes to her lover. She describes them as "champagne problems," a saying for when someone encounters an issue that is minuscule in comparison to more significant worries for less privileged people in the world.

Champagne Problems Is Fictional (& Not About Taylor Swift & Joe Alwyn)

Even though Taylor Swift has a way of making all the lyrics in her songs seem personal and real, the story in "champagne problems" on evermore is fictional. While the lyrics in songs like "All Too Well (10 Minute Version) (Taylor's Version)" are inspired by Swift's breakups in real life, the evermore track is not based in reality. Swift wrote the song with Joe Alwyn (who is credited under the pseudonym William Bowery on the track listing) while they were still dating, but the lyrics are not about their relationship.

Swift's folklore and evermore , which the singer-songwriter describes as "sister records," allowed her to write about fictional tales, while also fitting in some lyrics pertaining to her personal life, of course. Inside evermore 's album booklet, Swift's prologue reveals that she "loved the escapism [she] found in these imaginary/not imaginary tales." The pop star also describes "champagne records" as:

"The one where longtime college sweethearts had very different plans for the same night, one to end it and one who brought a ring."

So, it's safe to say that Swift's "champagne problems" features a story about a doomed romance that she and Alwyn concocted in their minds. Perhaps the evermore song was a sign of things to come for Swift and Alwyn's relationship, as they broke up in early 2023, a couple of years following the album's release. For all intents and purposes, though, "champagne problems" is a tragic but fictional love story.

What Is Taylor Swift's Next Album & When Does It Release?

Champagne problems is (probably) not about gilmore girls' rory & logan.

One of the more popular fan theories surrounding the meaning behind "champagne problems" on evermore ( Taylor Swift's ninth released album ) is that it revolves around Rory Gilmore and Logan Huntzberger's love story in the popular comedy-drama television series Gilmore Girls . The relationship between the two fictional characters played out in a similar fashion to the people depicted in Swift's sentimental ballad.

The beauty of Swift's music is that she can somehow make those who listen to her songs relate to the lyrics, despite how specific they might be or whether they have gone through what the song is describing.

Rory and Logan met and fell in love throughout Gilmore Girls seasons 5 and 6. However, during the penultimate episode of Gilmore Girls , he proposes to her, and she rejects him. Several years later, Rory and Logan resumed their romance (while cheating on their significant others) in the Netflix revival Gilmore Girls: A Year in the Life . But fans apply the lyrics of "champagne problems" to the college years of the relationship. Nevertheless, Swift has never confirmed that the evermore track is about Rory and Logan nor is there any strong evidence to prove so.

Who Taylor Swift's "Betty" Song Is About & How It Connects To Ryan Reynolds

What taylor swift has said about champagne problems.

Given its popularity among her fanbase, Taylor Swift chose "champagne problems" as one of the songs she performs during Taylor Swift: The Eras Tour (Taylor's Version) on Disney+. Years before the record-breaking worldwide concert tour, though, Swift spoke about the process of writing "champagne problems" for evermore and the meaning behind the lyrics with Zane Lowe for Apple Music . A few days following evermore 's debut, the pop star explained:

"Joe [Alwyn] and I really love sad songs. We've always bonded over music ... 'champagne problems' was one of my favorite bridges to write ... I'm so excited to one day be in front of a crowd when they all sing, 'She would have made such a lovely bride, what a shame she's f**ked in the head.' I know it's so sad, but it's those songs like 'All Too Well,' performing the song 'All Too Well' is one of the most joyful experiences I ever go through when I perform live. So, when there's a song like 'champagne problems,' where you know it's so sad, you know that, but I love a sad song."

Swift believes that performing "champagne problems" is cathartic, as it's a heartbreaking song, but singing along with a stadium full of thousands of fans during the Eras Tour is somewhat comforting. Of course, it probably helps that the lyrics seemingly do not pertain to Swift's personal life. However, the beauty of Swift's music is that she can somehow make those who listen to her songs relate to the lyrics, despite how specific they might be or whether they have gone through what the song is describing. As a result, "champagne problems" is one of Taylor Swift 's best (yet devastating) songs .

Taylor Swift: The Eras Tour (Taylor's Version) began streaming on Disney+ on March 14, 2024.

Taylor Swift: The Eras Tour

Taylor Swift: The Eras Tour is a film rendition of the colossal worldwide event that sees the legendary pop star hit the stage in a specially curated film event. Performing the hits of her over seventeen-year career in music, The Eras Tour highlights Taylor Swift and her team as they put on a show of a lifetime.

Source: Apple Music/YouTube

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Marbles brain store - tour the world.

Release Date: August 12, 2013

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Marbles Brain store - Tour the states (chorus) I want to take a little trip somewhere, yeah Places I've never been, yeah Going on a tour without a care I want to take a little trip somewhere, yeah

Marbles Brain store - Tour the world {chorus} Here we go We can go all around the world We'll visit every corner of this earth We'll go all around the world You and i, we'll visit

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How do you top your biggest album? For Waxahatchee, the first step is to not overthink it

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Very often, success is a matter of timing.

For Katie Crutchfield, the songwriter and musician who performs as Waxahatchee, that meant releasing the right album at the right time, even if nothing about that particular time, a.k.a. March 2020, would otherwise be considered “right.”

Since Crutchfield’s 2012 debut “American Weekend,” Waxahatchee has become one of the most beloved acts in indie rock, specializing in incisive, vulnerable lyrics and feedback-drenched power chords. But the fifth album, 2020‘s “Saint Cloud,” was a sharp break from her past work, a set of introspective old-school country songs about recovery and perseverance that earned comparisons to Dolly Parton and Willie Nelson. Looking back, Crutchfield acknowledges she wasn’t sure how it was going to go over.

“I really, genuinely had no expectations for it, because I knew I was making this really concentrated pivot. I finally figured out what exactly I need to do to my songs to make them feel how they’re supposed to feel,” she says. “But because it was a pivot, I felt, ‘I have no idea how my fans are going to feel or if this is going to land [for] people.’ I just know this is what I need to do.’”

“Saint Cloud” was released shortly after the world effectively went into shutdown due to COVID-19. But even though Waxahatchee was not able to tour or do much promotion, the album quickly found an audience that treated its tender songs like healing balms in chaotic times. Before long, “Saint Cloud” — alongside Phoebe Bridgers’ “Punisher” and Fiona Apple’s “Fetch the Bolt Cutters” — became regarded as some of the defining artistic works of the pandemic era, an admittedly bittersweet achievement.

“It felt like people were really listening to the whole record. They had the time and the space to really dig into it,” she says. “Over the course of that 18-month period where no one could really perform or like play shows, it just felt like the love and the appreciation for the record only really grew and grew. So by the time I did perform, my audience had doubled in size. By the end of it, I was like, ‘I’m happy that people have this record.’ It felt like a real act of service.”

She credits Brad Cook — a producer who has worked with the War on Drugs and Whitney but who she’d never met before — with bringing in an outsider’s perspective on “Saint Cloud.” But when it came time to make her new album, “Tigers Blood,” she admits that both of them were feeling daunted by the idea of following up the most beloved work of her career. “We both just were like, ‘we don’t want “Saint Cloud” to seem like a fluke to people,’” she says.

How Kacey Musgraves opened herself back up to love

Once the two-week sessions for “Tigers Blood” began at Sonic Ranch recording studios in Tornillo, Texas, Crutchfield and Cook set strict ground rules in order to keep the proceedings as stress-free as possible, with recording beginning at 10 a.m. and a hard cut-off at 6 p.m. Most tracks were cut live with minimal overdubs, and afterward, the proceedings got downright wholesome, remembers drummer Spencer Tweedy.

“Katie was making a lot of salad, and we were eating tons of canned fish because we’re obsessed with this beautiful, fancy canned fish brand called Fishwife,” he says, adding that their meals were enjoyed while watching YouTube rips of “this truly ridiculous show called ‘Supergroup’ on VH1,” in which aging rockers such as Ted Nugent and Sebastian Bach bicker at each other nonstop. “They almost murder each other, and it was funny watching that compared to the dynamic we were all feeling. It’s hard to imagine anything more of a polar opposite.”

For a certain kind of listener, Crutchfield had assembled a supergroup of her own, including Brad’s multi-instrumentalist brother Phil and Tweedy, who has been playing professionally with his father, Wilco frontman Jeff Tweedy, since he was a teenager. He first worked with Crutchfield on her side project Plains, and is now a member of her live band. To round out the supergroup, Crutchfield discovered her album’s co-star, the Nugent to her Bach, while attending South by Southwest in 2022. Her sister (Allison Crutchfield of the band Swearin’) and Cook texted her to go see a set by Asheville, N.C., singer-songwriter MJ Lenderman, and after the set “she walked up and introduced themselves to me and I thought that was really cool,” he remembers. “It was like a week or two and Katie messaged me about maybe playing on her record.”

Crutchfield had songs for the next album, but didn’t really have an overall vision when she, Cook and Lenderman got together for an early demo session. The last thing they did before Lenderman left to tour was to sing “Right Back to It,” the album’s lead single and a duet between the fast friends. He remembers her “singing the notes to me that she wanted me to sing. And I looked at her and I was like, ‘yes, OK.’ Then I went into the booth and did something completely different. And it was not, like, intentional, I don’t think.” She didn’t seem to mind, though.

“When we did that, me and Brad were like, ‘I think that’s going to anchor the whole record.’ It was a clarifying moment,” she remembers. “We’re just going to set up in a room and do this the old-fashioned way.”

If “Saint Cloud” was Crutchfield’s spin on traditional country music, “Tigers Blood” is her version of Southern rock, taking cues from left-of-center artists such as R.E.M., Drive-By Truckers and her songwriting idol, Lucinda Wiliams.

Crutchfield grew up in Birmingham, Ala., and in many ways, her last two albums have found her reclaiming her Southern heritage, after she purposefully avoided those influences in her music for the early part of her career. She grew up listening to the Chicks and her “Queen” Shania Twain, before discovering artists like the Strokes, Rilo Kiley and the Velvet Underground. (She has a tattoo of the Rilo Kiley album “The Execution of All Things” on her arm. While she has hung out with lead singer-turned-solo act Jenny Lewis many times, the two have never discussed it.)

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After playing in the punk band P.S. Eliot at the University of Alabama with her twin sister Allison, she broke out on her own with Waxahatchee’s 2012 debut album “American Weekend.” Her 2013 album “Cerulean Salt” won praise from outlets such as Pitchfork and Stereogum, and she signed with the esteemed indie label Merge for the 2015 follow-up “Ivy Tripp.” Eventually, she earned enough of a following that she was able to quit her job as a nanny for a family in Philadelphia. (She used to follow the now grown-up kids she looked after on social media; she has no idea if they know about her musical career.)

After the release of 2017’s “Out in the Storm,” she moved to Kansas City to live with her now-partner, Kevin Morby. When they toured together before they were a couple, he told her, “you know you’re a country singer, right?” It was also around this time period that she decided to get sober, and this decision and the feeling of healing and growing into your 30s informed much of “Saint Cloud.”

“I always knew deep in my soul that I was going to have to quit drinking. I always knew this is chaotic and doesn’t work for me. And it was so hard for me to eventually put it down,” she says. “But my life just cleared up and cleaned up.”

She says that while she loves “Saint Cloud,” “I was riddled with anxiety and I was really trying to get to know myself after all these years of heavy partying. It took me a long time to write those lyrics.” In contrast, “‘Tigers Blood’ really flowed, and it feels razor-sharp. There’s definitely a difference in experience.”

“Saint Cloud” found her reconciling with who she was becoming, whereas “Tigers Blood,” which is named after her favorite snow cone flavor from when she was a child, is about how the South and her upbringing shaped who she is. On “365,” she writes about “my relationships with other addicts in my life, and how codependency is my biggest disease in life,” she says. “And I’m healing from it all the time. And so that song is very much about a relationship like that in my life. It’s angry. But there’s also an air of sort of gentleness and forgiveness and releasing someone in that song.

“It takes a long time and a lot of work to be able to fully let go of resentment,” she adds. “I’m definitely not there yet, in a lot of my relationships.”

This is a change for Crutchfield, who admits to having a very “black-and-white thinking” on human relationships in her early work.

“I think my early records, they’re so melodramatic, and that’s no shame. I love those records, but that’s how I was at the time. Everything was really amazing or really, really sad or really, really angry,” she says. “And I think now I have a lighter touch when I’m describing where I’m at.”

She’s done a lot of growing up in her decade-plus career, and she doesn’t expect that to end any time soon.

“I’m looking forward to the journey,’ she says. “We’ll see in the next decade, where I’m at.”

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Olivia Rodrigo delivers edgy pop master class at sold-out Little Caesars Arena in Detroit

Pop music needed Olivia Rodrigo.

Three years after the gifted artist’s global breakout, her music captures its own slice of the youthful zeitgeist — a post-pandemic sound that is wounded but ultimately hopeful, biting but rarely cynical.

Rodrigo and her creative charms were on full display Saturday night at a very sold-out Little Caesars Arena, where the 21-year-old star waged a galvanizing 105-minute show as she hit Detroit a month into her lengthy Guts World Tour.

Rodrigo’s music is brimming with ’80s pop winks and ’90s alt-rock nods, but her LCA show was a thoroughly 2024 affair — a super-hot ticket and cultural moment that even prompted a “Welcome to Detroit” social-media post Saturday afternoon from Michigan Gov. Gretchen Whitmer.

For all the young angst coursing through the lyrics — heartache, insecurity, revenge urges, the weight of social expectations — Rodrigo in concert is a joyous, vivacious affair. Saturday’s production was crisp but not overthought, largely eschewing the high-tech bells and whistles that adorn most modern pop extravaganzas. Her mid-show journey across the arena, which had her nestled in a glowing crescent moon overhead, was the show’s fanciest frill.

Backed by a five-piece band and pair of backing singers, Rodrigo was also occasionally joined by an eight-member dance troupe, and while the choreography was tight, it was an embellishment rather than the driving energy of a show whose real impact came from its smartly crafted songs and emotional oomph.

“I want you to scream! I want you to jump!” Rodrigo exhorted the crowd at one point.

She needn’t have asked: Fans had already been doing their part from the show’s opening stretch, pogo-ing to the energetic bounce of “Bad Idea Right?” and “Ballad of a Homeschooled Girl,” singing along in full voice to “Vampire” and “Traitor.”

In spring 2022, just around the corner from LCA, Rodrigo made her Detroit debut with an impressive Masonic Temple Theatre show during her initial burst of success. Having now jumped to arenas on the heels of “Guts,” her recent sophomore album, Rodrigo’s performance on the big stage Saturday was comfortable and confident but never distant.

Twice she ventured down to interact with fans, some of them breaking into in tears as she briskly snapped selfies, slapped hands and gathered armfuls of flower bouquets. That intimate bond also went big, as when the arena gleamed with cellphone lights for the musically tender “Making the Bed” and “Happier,” softer moments amid the swells of rock-tinged pop euphoria.

Since Rodrigo’s Grammy-winning 2021 debut record, “Sour,” her conversational, sharply detailed coming-of-age sketches have won over legions of fans tween, teen and up — a cause aided by the delectable melodies that were front and center Saturday in songs like “Happier,” “Drivers License” and “Deja Vu.” The subject matter might get filed under Young Adult, but in the hands of Rodrigo, artistically mature beyond her years, the results can be powerful.

Vocally, Rodrigo has a breathy, vowel-bending delivery that can swoop into a full-tilt belt; as a performer, her acting background serves her well, including quick and subtle mannerisms — a pout here, an arched eyebrow there — that accentuate the musical mood. Risqué touches popped up Saturday (“Obsessed,” “Love is Embarrassing”), although they were spare and fleeting, much like the profanities that occasionally precision-bombed the proceedings.

Rodrigo’s favorite retro decade, the 1990s, got saluted with a selection of preshow PA music that included riot grrrl bands such as Bikini Kill and Bratmobile. Those punky underground influences made their way into her own music onstage, even if her approach was less snarling girl-power than buoyant girl uplift.

Rodrigo’s Hollywood experience aside, there’s an authenticity and natural relatability to her presence. Pop music’s allure is its immediacy, and inside an arena, it’s designed to feel larger than life. But at LCA on Saturday, amid the glitter and the confetti and the magnetic choruses, it was clear there’s a genuine depth to go with the polished theater.

Gaggles of young female friends and mom-daughter combos packed the arena. Out on the buzzing concourse ahead of showtime, the long merch-booth lines were a medley of tiaras and crop tops, sequined skirts and a whole bunch of purple — Rodrigo’s signature color.

Rodrigo has embraced a growing activist role, and a portion of this tour’s proceeds is going to her nonprofit group, Fund 4 You, recently launched in the name of women’s rights. In one corner of the LCA concourse were booths offering voter registration and materials from the National Network of Abortion Funds, though there were no indications of the condom giveaways that generated controversy at one earlier tour stop.

Whitmer’s Saturday post — which followed the governor’s welcome video last summer for Taylor Swift — applauded Rodrigo’s efforts while punning off several of her hit song titles.

“Olivia, your voice resonates with so many, not just through your music but through your advocacy,” Whitmer said.

Saturday’s 23-song set included nearly every track from “Sour” and “Guts,” and it’s a testament to the strength of those two albums that Saturday’s show rarely sagged.

The LCA show sizzled to a finale with a rock-heavy vibe, as “Brutal,” “Obsessed” and “All-American Bitch” punctuated the close of the regular set.

Rodrigo launched her encore with “Good 4 U,” the 2021 song that perhaps best foreshadowed the sound of her next album, before capping it with the rollicking, hollering new tune “Get Him Back.” Where Rodrigo’s evolution takes her next remains to be seen, but undoubtedly it’ll be fun and rewarding to watch.

Contact Detroit Free Press music writer Brian McCollum: 313-223-4450 or [email protected] .

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Naomi sharon on ‘obsidian’ & debut tour: opportunity for collective healing.

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Singer and songwriter, Naomi Sharon.

With a lineage steeped in Dutch and Caribbean heritage, music was an integral part of Naomi Sharon’s upbringing. Her family featured a DJ-producer father, a singing mother and aunt, and a musician uncle who played an ensemble of instruments–Sharon's roots sonically run deep. From her family’s soulful love of music to the moving sounds of artists like Sade, Stevie Wonder, Eva Cassidy, jazz musician Marcus Miller, and the evocative melodies of Sting, Sharon’s constant musical experience growing up was also diverse, inspiring her artistic sound to take shape.

This sound has led her to become the first woman singer and songwriter signed to Drake’s OVO Sound label, expanding the horizons of her artistry and offering greater depth to the music industry. In her debut album, ‘Obsidian,’ Sharon channels a deep-seated emotional intimacy, which provides a delicate balance between nostalgia and simplicity, transcending entertainment to explore the complexities of life–love, heartbreak, and healing.

Each of her lyrics is a conduit through which she shares personal experiences that universally touch the hearts of listeners with their uninhibited authenticity, a feature that is core to Sharon’s art. This season, Sharon will embark on her first sold-out tour bringing her inspiring sounds to life within the warm embrace of live audiences globally. The tour launches in the US and then moves to Canada, France, Germany, the UK, and concludes in the Netherlands, her home country.

Musical & Personal Evolution

“In my early years, I loved music and took it seriously but felt I had to do theater school or take a job, or such,” says Sharon who endeavored for her experiences to align with her passions growing up. After covering theater roles in productions like The Lion King and Dream Girls, there was a moment when–while still operating from dressing rooms–she took a risk and put out one song titled ‘The Moon.’ With few expectations, she waited to see how things would go, and as the opportunities flowed in she exclaimed: “Wow I may be onto something serious.”

In 2019, she caught the ear of Drake who discovered her on social media and later signed her to his label OVO Sound. While working with Drake and others like producer Noah “40” Shebib, she has expressed: “They are both great mentors who teach me a lot about the way they do things. They’ve also provided great advice while creating space for me to have the opportunity to experience things.” Their encouragement has inspired Sharon to expand from neo-soul to explore embracing the sounds of alternative R&B and up-tempo music, an evolution that she has loved.

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In tandem with her evolution in musical expression, Sharon emphasizes a profound belief in the energy imbued within all things, a concept she's delved into deeply in her personal journey. Laughing as she recounts her decision to cut her hair for the second time ahead of her tour, Sharon reveals the symbolic act represents her pursuit of continuous renewal and fresh beginnings. "All things carry energy," she asserts, intertwining her external transformation with an internal shift towards embracing newness she expands sharing: “It felt like a fresh start. Simultaneously, the things that are happening in my life also feel like a fresh start.”

As she prepares for her inaugural tour, Sharon plans to infuse into her tour the vibrancy of her evolving artistic journey. This journey she expresses is also reflective of the new music she is making now that is so different from her music before. “Each year you grow a little more,” says Sharon.

The Musings Behind ‘Obsidian’

Sharon's album ‘Obsidian’ derives its name from the healing gemstone renowned for its multifaceted properties, evoking not only clarity but also possessing the remarkable ability to dissolve emotional, physical, and spiritual blockages stemming from stress and tension. Similar to the stone, Sharon's album reflects a journey of emotional and spiritual growth, centered around themes of heartbreak, longing, and self-discovery, pulling on Sharon’s own profound journey of introspection, detoxification, and healing.

While reflecting on her personal inspirations and creative process, Sharon speaks passionately about her admiration of Sting's poetic lyricism which she describes as “delicately dancing” with each topic sung. “It would be a dream to have Sting on a song,” she expands. In the meantime, Sharon envisions infusing into her own music a timeless depth that pulls from the inspiration of the truth that she is living in each moment: “I don’t really make songs about things that I don’t go through myself. So it’s real-time, it’s life and for me it’s important. That’s how I connect with my songs. That’s how I connect with my audience.”

With the opportunity to connect with her audience on tour, Sharon is excited to engage in an intimate space of vulnerability and empathy, where the lines between artist and listener blur, and healing becomes in Sharon’s words “group therapy”–a collective journey of discovery and growth where both she and audience alike heal. Looking forward to the encounters she shares: “I receive messages from people often and they are very sincere, but also very personal. It feels like whenever I get to perform we are going to have that moment with each other and that inspires me.”

Hope & Inspiring the Next Generation

Along with her artistry evoking opportunities for collective healing, Sharon endeavors to imbue a sense of hope within her music as inspiration for listeners to remain positive amid the easiness of falling into narratives that globally feel negative. It’s this same vision of possibility that she pours into those around her and shares to inspire current and future generations of artists:

• Stay very true to yourself: “When you listen to your heart you will do what’s good for you… Whenever we listen to our hearts we will be on the paths that are right for each of us.”
• Don’t let anyone tell you, you cannot do something: “I know this sounds very cliche but it’s so important to see your idea through because everyone else is just ‘projecting’ their own experiences… Even when someone is giving you positive advice, it’s still a projection. It’s important to ask for advice, but also that we are willing to explore our talents and go on our own journeys.”
• It might not be easy, but it is worth it: “Whenever you do it, just know it won’t be easy or it may not be like you had in mind but it’s part of the process and that’s okay. You’ll get there eventually. It’s not easy and shouldn’t be, and that’s okay.”

Sharon’s biggest and continually reinforced takeaway has been that it is imperative to remain "present" and avoid taking life's blessings for granted. With accomplishing many of her career goals amid the slow yet swiftly moving nature of life, she’s embraced a continued sense of gratitude for bearing witness to everything from the simplicities of life to her dreams coming to fruition. “One thing I try to do often is celebrate little moments,” says Sharon. With celebrating the little moments serving as a constant grounding mechanism, she’s excited to continue to harness this power both personally and musically while inspiring others to lean into the endless creative possibilities being present can bear.

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Olivia Rodrigo, sold-out Detroit crowd spill their Guts at Little Caesars Arena

Pop superstar, who turned 21 last month, led the crowd in a 105-minute scream-along saturday night..

Olivia Rodrigo made her own kind of March madness Saturday night at Little Caesars Arena, as the 21-year-old pop superstar brought her very sold-out Guts World Tour to downtown Detroit and led a cathartic 1-hour, 45-minute screamfest for a crowd of more than 15,000 exceedingly emotive fans.

"I want you to scream, I want you to jump, I want you to feel all your f------ feelings!" Rodrigo told the crowd early on, and she didn't have to ask twice. Fans knew every word and shouted them back at full volume at the singer, whose voice was frequently drowned out by the teenage wall of sound that surrounded her and filled the arena. And they weren't just reciting the lyrics, they were feeling them, and all the teen drama that Rodrigo makes the centerpiece of her songs: heartbreak, betrayal, jealousy, confusion, angst and pain.

And sure, the effervescent swooning of young love, too. Rodrigo's songs aren't some downer affair, they're spiky and peppy and sour like a fistful of Warheads candy, and she presented them on Saturday with zip and bounce and flair as she jumped, skipped, headbanged and air guitared her way across the V-shaped stage. It was pure teenage bedroom bliss-out, the way you rock out when you're alone and no one's looking, or when you practice your rock moves in the mirror. She stuck out her tongue and peppered her banter with swear words, which somehow don't sound so bad when she says them.

Maybe it's because she's an approximation of rebellion more than any sort of actual loose cannon. Rodrigo comes from the Disney mold, where she was a star of "High School Musical: The Musical: The Series" before her debut album "Sour" became a smash hit in 2021. She was such a newbie to the pop world that she didn't play her first concert until after she had a No. 1 album, and she (wisely) performed inside theaters on her first tour — she played the Masonic Temple in April 2022 — even though she could have made the leap straight to arenas. It was a smart move and an investment in her long-term career arc, which is good, because she's going to be around for a long time.

Rodrigo's 23-song set on Saturday covered most of her recorded output to date; she played all of "Guts," including the newly released "Obsessed," and nine of 11 songs from "Sour." (She also played "Can't Catch Me Now," from last year's "Hunger Games" prequel, "The Ballad of Songbirds and Snakes.")

Opener "Bad Idea, Right?" a fizzy punk-pop confessional about the perils of re-hooking up with one's ex-, set the stage for a high energy evening, with Rodrigo hitting the stage like she was shot out of a cannon. Joined by her five-piece band and a pair of backup singers, Rodrigo was all big eyes and wide expressions, and she always knew where the camera was, which was projecting her likeness onto a huge video wall that formed the backdrop of her stage. Her performance was studied but it was genuine, and Rodrigo's refreshingly live, non-canned vocals emphasized emoting in the moment over perfect replications of her recordings. It added an air of excitement to the performance.

"Vampire" and "Driver's License," Rodrigo's two big album-leading singles, were dispensed of rather quickly in the first five songs; in a concert that prioritized pep, perhaps it was wise to clear the decks of the outsize ballads early on. "Pretty Isn't Pretty," which takes on issues of body insecurity, and "Love is Embarrassing" were more down the middle, and Rodrigo was joined by a team of eight dancers — like her band, all-female — with whom she performed light, intermittent choreography throughout the evening.

There were a few fun production bits built into the show — she flew out over the audience on a crescent moon-shaped prop for "Lacy" and "Jealousy, Jealousy," and sat cross-legged at the end of the stage with her guitarist for an acoustic run-through of "Happier" — which bolstered her image of relatability and homespun charm. Rodrigo doesn't present herself as untouchable pop royalty, she's more like your cool friend who's down to gossip about boys and always has your back.

That's why she's created such a strong bond with her fans, most of whom on Saturday were in their teens and early 20s, and many who came dressed in shades of purple, the top color on Rodrigo's mood board (and the key shade in the cover art for both "Sour" and "Guts"). Rodrigo's informal polling of the crowd, when she asked who fans were there in attendance with, revealed mostly groups of friends, with some cheers for parents and less for couples. So the night was about friendship as much as it was anything else, and Rodrigo played the part of everyone's bestie, a role that suits her well.

A run of highly caffeinated rockers closed the show — "Brutal," "Obsessed," "All-American B----," the last of which included a prompt for fans to envision something that really makes them angry, and to let it all out in a scream — leading into an encore of "Good 4 U" and "Get Him Back!" which closed the night.

Before exiting, Rodrigo jumped down onto the floor and slapped hands, signed autographs and posed for a few selfies with fans, forming a heart with her hands and pointing into the camera which was capturing her every move. It was a fitting end for her first — but definitely not her last — arena concert in Detroit.

Opener Chappell Roan impressed with her 40-minute set of soaring confessional pop, delivered through big pop hooks and a flair for the dramatic. The rising star had fans on their feet early, where they'd stay for the remainder of the show.

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