Thank you so much for embracing this record. The TikTok video, she noted, “was a way to capture the synchronicity of it For an album that is so much about tragic rock and roll mythologies, fantasy verses reality, and performance itself, to end up releasing it in Vegas was pretty mystical. So she decided to go to a Vegas wedding chapel and sing the song in front of an Elvis lookalike. So in May when she was in Las Vegas for the Billboard Music Awards, she saw multiple Elvis Presley impersonators everywhere. The album ends with “Morning Elvis,” a decade-old tale of a time when she was drinking too heavily after a concert in New Orleans, causing her to miss a scheduled visit to Graceland the next day in Memphis. You can make these tiny things out of lyrics that embody a certain part of the record.” The chaos of that suits the chaotic nature of TikTok. TikTok, she said, meshed well with the album itself: “’Dance Fever’ has so many layers and elements. But once I got on there, it allows you to interact with your fan base in a different way.
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I don’t know what this is! I don’t know how to work it. “The sense of humor really appeals to me. “The fans on there are so cute!” she said. Welch herself initially resisted its centrifugal force but once her label Republic Records pressured her to use it to promote “Dance Fever,” she got sucked in. I remember the last person I hugged in New York was a fan. I was walking past people who were talking about it. “I don’t know if it’s the echoes of the buildings but you could hear what everyone is saying. “I was walking around New York,” Welch said. She actually came to New York City to write the album before the pandemic began and there’s a song for that called “Back in Town.” But COVID-19 was already there and spreading. The album is chronological in a sense, she said. “So when something actually came, I freaked the out! I had to put that song down for a long time.” It’s like picking up on vibrations of what’s coming,” she said.
“I’ve always been interested in the prescience of songwriting. The chorus features the line “something’s coming” numerous times. Months before COVID-19 shut the world down, she penned “Choreomania,” a propulsive tune that merges references to that odd mania with her own panic attacks. So she said the song is a commentary about how men can “carry on without these time pressures and limitations on their body.” I think I’ve never felt like my gender came into it.” And though she often wears flowing feminine outfits on stage, she said, “if you come see me live, there’s a masculinity to it. “As a live performer,” Welch said, “I have almost exclusively modeled myself after male performers.” Examples: Iggy Pop, Mick Jagger, Nick Cave. The use of “king” over “queen,” she said, was not something she thought about when the song came out of her brain, almost fully formed. “‘King’ tries to analyze the push and pull between these desires.” Behind an urgent, relentless drumbeat, she sings: “I am no mother, I am no bride, I am king.” The first song on “Dance Fever” is the starkly anthemic “King,” which explicitly tackles “this pull between practicality and passion,” she said. It feels like an out-of-body compulsion sometimes.” “No, you are not done and you have to make another record and get back out on stage. “This album just came rushing at me screaming to be made,” Welch said. So out came her latest record “Dance Fever.” “Medieval plague” is how Welch described it cheerfully. “It’s something I want,” she said.īut then she heard from a friend about choreomania, a phenomenon in which Europeans would dance to the point of exhaustion and injury in the 14th to 17th centuries. To her, that sounded like a sensible plan. Friends and family began bugging her about starting a family. That particular tour was emotionally taxing and left her wondering what to do next.
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