Latest news with #KellyClarkson
The Guardian
9 hours ago
- Entertainment
- The Guardian
Alanis Morissette at Glastonbury review – spectacular sundown set by a unique feminist artist
Alanis Morissette has landed the coveted pre-headliner 'sundowner slot' on the Pyramid stage on Friday, and without any significant clashes, setting her up for a healthy crowd. Just in case you're not familiar with who she is, her set opens with a helpful explanatory video emphasising her cultural impact with testimonials from Kelly Clarkson, Halsey and (actual Glastonbury headliner) Olivia Rodrigo, as well as clips from interviews giving a brief overview on her views (anti-war; 'naturearchy' over patriarchy). This brazen American narration letting you know that you're about to see a seven-time Grammy award-winner and a Very Influential Artist strikes a slightly odd note (or maybe just an un-English one). The spirit of Glastonbury, after all, is one where even the biggest star in the world must profess earnest and heartfelt gratitude for having been permitted to so much as cross the threshold of this holy ground; Morissette's video intro, emphasising her importance – under-acknowledged as it may be – risks setting expectations unattainably high. However, when Morissette takes the stage, she is very quick to show that she deserves them. After a little trill on her harmonica, she introduces One Hand in My Pocket, one of her best-known songs. It's a smart move, not only inviting the audience to join in with its built-in choreography (one hand making a peace sign, one hand holding a cigarette – good luck hailing that taxi cab!) but also signalling that she's setting out to play a crowd-pleasing set, and not planning to hold back on the hits. For anyone who has cared to see beyond her reputation as the Canadian singer of Ironic and/or an angry man-hating feminist – as she was persistently dismissed, even at her career peak – Morissette has always been defined by her voice. It's both incredibly powerful, capable of the octave-jumping acrobatics that define pop's most lauded singers, but also – more unusually – idiosyncratic: you don't have to be very familiar with her back catalogue to be able to do a quickly guessable impression. Thirty years on from her album Jagged Little Pill, no one would fault Morissette if she wasn't able to summon the raw power that made that album so enduring. It's defined of course by You Oughta Know, a song that makes every other song subsequently described as having been 'inspired by female rage' (and there have been many!) sound as if they were written by ChatGPT. But if there were any doubts about her voice among the crowd, Morissette dispels them instantly, really putting some welly into her trademark warble, even for One Hand in My Pocket – one of her lower-intensity hit songs. 'Got some pipes on her, eh,' my sister messages me from elsewhere in the field and I can only agree. The focus of this set is on Morissette as a singer, as much as a songwriter, and it's refreshing – after a decade now of whisperpop, and even the angriest young feminists in pop seemingly struggling to actually raise their voices – to hear what a well-trained diaphragm is capable of. Perhaps relatedly, Morissette keeps the chat between songs to a minimum, thanking the crowd with an ear-to-ear smile then launching into Right Through You. On the screen behind her, a series of stats scroll through highlighting the multi-faceted grim reality for women today, still – from higher rates of depression and anxiety than men, to a tiny share of the world's total wealth, to dismal stats of partner violence. It makes explicit the sexism and disrespect that has dogged Morissette through her career and brings it into the anniversary set, concluding the song with the question: 'Why are we afraid of the divine feminine?' Morissette lets the question hang, or lets her songs speak for her. She introduces her band one member at the time, saving the crowd from the typically long list of names, but otherwise keeps focused on the set. When she launches into Hands Clean, another belter, you may be starting to realise she's got more great songs than you remember. The sheer proliferation of hits, many from Jagged Little Pill alone, keeps the set pacy. Head Over Feet, featuring a harmonica solo, lifts the energy after the earlier sobering messaging. Her charm as a songwriter lies in this duality of perspective, with Morissette being equally capable of razor-sharp clarity and also the feminine right to set it every aside once in a while. A rhythm emerges to the set where, along with the member-by-member introduction to her band, Morissette showcases her vocal skills before launching into the song itself. The life-affirming energy of You Learn is lost to Smiling, a dirge-y ballad most reminiscent of Evanescence, which only Morissette seems to enjoy, twirling around on the stage as though entirely alone. But Ironic is triumphant, a big singalong that gets everyone up and on their feet, even at the very crest of the hill – and You Oughta Know is ironclad, as powerful and shockingly direct as on your-ever listen. When Morissette concludes her set with Thank You – after of course thanking us, the audience, for the 'bucket list' show – she seems to mean it and the feeling is mutual.
The Guardian
11 hours ago
- Entertainment
- The Guardian
Alanis Morissette at Glastonbury review – spectacular sundown set by a unique feminist artist
Alanis Morissette has landed the coveted pre-headliner 'sundowner slot' on the Pyramid stage on Friday, and without any significant clashes, setting her up for a healthy crowd. Just in case you're not familiar with who she is, her set opens with a helpful explanatory video emphasising her cultural impact with testimonials from Kelly Clarkson, Halsey and (actual Glastonbury headliner) Olivia Rodrigo, as well as clips from interviews giving a brief overview on her views (anti-war: 'naturearchy' over patriarchy). This brazen American narration letting you know that you're about to see a seven-time Grammy award-winner and a Very Influential Artist strikes a slightly odd note (or maybe just an un-English one). The spirit of Glastonbury, after all, is one where even the biggest star in the world must profess earnest and heartfelt gratitude for having been permitted to so much as cross the threshold of this holy ground; Morissette's video intro, emphasising her importance – under-acknowledged as it may be – risks setting expectations unattainably high. However, when Morissette takes the stage, she is very quick to show that she deserves them. After a little trill on her harmonica, she introduces One Hand in My Pocket, one of her best-known songs. It's a smart move, not only inviting the audience to join in with its built-in choreography (one hand making a peace sign, one hand holding a cigarette – good luck hailing that taxi cab!) but also signalling that she's setting out to play a crowd-pleasing set, and not planning to hold back on the hits. For anyone who has cared to see beyond her reputation as the Canadian singer of Ironic and/or an angry man-hating feminist – as she was persistently dismissed, even at her career peak – Morissette has always been defined by her voice. It's both incredibly powerful, capable of the octave-jumping acrobatics that define pop's most lauded singers, but also – more unusually – idiosyncratic: you don't have to be very familiar with her back catalogue to be able to do a quickly guessable impression. Thirty years on from her album Jagged Little Pill, no one would fault Morissette if she wasn't able to summon the raw power that made that album so enduring. It's defined of course by You Oughta Know, a song that makes every other song subsequently described as having been 'inspired by female rage' (and there have been many!) sound as if they were written by ChatGPT. But if there were any doubts about her voice among the crowd, Morissette dispels them instantly, really putting some welly into her trademark warble, even for One Hand in My Pocket – one of her lower-intensity hit songs. 'Got some pipes on her, eh,' my sister messages me from elsewhere in the field and I can only agree. The focus of this set is on Morissette as a singer, as much as a songwriter, and it's refreshing – after a decade now of whisperpop, and even the angriest young feminists in pop seemingly struggling to actually raise their voices – to hear what a well-trained diaphragm is capable of. Perhaps relatedly, Morissette keeps the chat between songs to a minimum, thanking the crowd with an ear-to-ear smile then launching into Right Through You. On the screen behind her, a series of stats scroll through highlighting the multi-faceted grim reality for women today, still – from higher rates of depression and anxiety than men, to a tiny share of the world's total wealth, to dismal stats of partner violence. It makes explicit the sexism and disrespect that has dogged Morissette through her career and brings it into the anniversary set, concluding the song with the question: 'Why are we afraid of the divine feminine?' Morissette lets the question hang, or lets her songs speak for her. She introduces her band one member at the time, saving the crowd from the typically long list of names, but otherwise keeps focused on the set. When she launches into Hands Clean, another belter, you may be starting to realise she's got more great songs than you remember. The sheer proliferation of hits, many from Jagged Little Pill alone, keeps the set pacy. Head Over Feet, featuring a harmonica solo, lifts the energy after the earlier sobering messaging. Her charm as a songwriter lies in this duality of perspective, with Morissette being equally capable of razor-sharp clarity and also the feminine right to set it every aside once in a while. A rhythm emerges to the set where, along with the member-by-member introduction to her band, Morissette showcases her vocal skills before launching into the song itself. The life-affirming energy of You Learn is lost to Smiling, a dirge-y ballad most reminiscent of Evanescence, which only Morissette seems to enjoy, twirling around on the stage as though entirely alone. But Ironic is triumphant, a big singalong that gets everyone up and on their feet, even at the very crest of the hill – and You Oughta Know is ironclad, as powerful and shockingly direct as on your-ever listen. When Morissette concludes her set with Thank You – after of course thanking us, the audience, for the 'bucket list' show – she seems to mean it and the feeling is mutual.
Time of India
16-06-2025
- Entertainment
- Time of India
"I ordered sushi and when it arrived I had written it": Kelly Clarkson shares which song she wrote fastest
Singer-songwriter Kelly Clarkson shared which song she has written the fastest from her 23-year career as a recording artist Singer-songwriter Kelly Clarkson shared which song she has written the fastest from her 23-year career as a recording artist, reported People. On The Kelly Clarkson Show's YouTube channel, the daytime talk show host, 43, shared which song took her the shortest time to write. "A Christmas song. It was 'Underneath the Tree.' I was working with Greg Kurstin in the studio," Clarkson said of the music producer who helped her make her 2012 hit 'Stronger (What Doesn't Kill You)' and other hits, as per the outlet. "I ordered sushi and when it arrived I had written it," the three-time Grammy winner continued. "I think because I really love Christmas, I write them really quickly for Christmas -- because they feel good, because you can be a little cheesy, you know? You don't have to worry about being cool, which honestly that's not a concern generally ever because I'm not," reported People. "Underneath the Tree" was a huge hit for Clarkson, peaking at No. 9 on the Billboard Hot 100 singles chart. It topped Billboard's Adult Contemporary chart, holding the pinnacle position for four weeks. While sharing on how the holiday hit came to be, Clarkson said on her show that Kurstin, "sent me home with a little piano thing and we kind of started, not the idea of it, but just kind of the wall of sound for Christmas." She added that "it's a really cool sound at Christmas. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Mensen ouder dan 45 spelen dit spel om te ontspannen (Proberen) Taonga: la fattoria sull'isola Play Now Undo It feels nostalgic." "They don't all come out like that, though; usually it takes forever," Clarkson admitted of her songwriting process. "But that one was quick." 'Underneath the Tree' -- from Clarkson's Wrapped in Red album -- also topped the most recent list of Top 10 ASCAP New Classic Holiday Songs published by the American Society of Composers, Authors and Publishers (ASCAP). And in an all-time list of Top 25 ASCAP Holiday Songs, Clarkson and Kurstin's holiday song slid into the rankings at No. 24, reported People.
Perth Now
16-06-2025
- Entertainment
- Perth Now
Kelly Clarkson reveals the quickest song she's ever written
Kelly Clarkson once wrote a song between ordering sushi and her food arriving. The 43-year-old pop star has revealed that she wrote Underneath the Tree - which features on her 2013 Christmas album, Wrapped in Red - while she was waiting for her food to arrive. Asked which song took her the shortest amount of time to write, she told The Kelly Clarkson Show's YouTube channel: "A Christmas song. It was Underneath the Tree. I was working with Greg Kurstin in the studio. "I ordered sushi and when it arrived I had written it." Kelly admitted that she finds it really easy to write Christmas songs, because she's a huge fan of the festive season. She said: "I think because I really love Christmas I write them really quickly for Christmas — because they feel good, because you can be a little cheesy, you know? You don't have to worry about being cool, which honestly that's not a concern generally ever because I'm not." Kelly became the inaugural winner of American Idol back in 2002. However, the pop star recently claimed that she didn't realise American Idol was a TV show prior to auditioning. The Behind These Hazel Eyes hitmaker said on the Not Gonna Lie podcast: "For all of us in that first season, we literally didn't ... I didn't even know it was a TV show until my third audition. "Like, we were literally trying to pay our bills. We're like, 'Oh, this might work. I might meet someone or whatever.' Nobody knew it was gonna amount to anything. "We were literally, like, kids - you know, 19 years old just trying to pay my electric bill y'all. You know, and afford the deductible on my car that was bashed in that I couldn't afford. So it was a different thing." Kelly's American Idol experience propelled her towards stardom. But the pop singer recalled feeling isolated at the time. The chart-topping star - who has hosted her own TV chat-show since 2019 - said: "I had no one. I was the first winner. It was hard. Not to sound like, whatever, it was really hard."
Yahoo
16-06-2025
- Entertainment
- Yahoo
Kelly Clarkson Reveals the Song She Wrote the Fastest — So Fast That She Ordered Sushi and Wrote It Before Food Arrived
Kelly Clarkson told a fan at a taping for The Kelly Clarkson Show that her festive anthem 'Underneath the Tree' took her the shortest amount of time to write out of all of her songs The 2013 Christmas song was included on ASCAP's Top 10 New Classic Holiday Songs list published in 2024 Clarkson created the song with producer Greg Kurstin, who also produced her 2012 hit 'Stronger (What Doesn't Kill You)'One person waited a lifetime to ask Kelly Clarkson which song from her storied 23-year career as a recording artist she's written the fastest. In an 'Ask Kelly Anything' video published on June 12 on The Kelly Clarkson Show's YouTube channel, someone asked the daytime talk show host, 43, which song took her the shortest amount of time to write. 'A Christmas song. It was 'Underneath the Tree.' I was working with Greg Kurstin in the studio,' Clarkson said of the music producer who helped her make her 2012 hit 'Stronger (What Doesn't Kill You)' and other hits. 'I ordered sushi and when it arrived I had written it,' the three-time Grammy winner continued. 'I think because I really love Christmas I write them really quickly for Christmas — because they feel good, because you can be a little cheesy, you know? You don't have to worry about being cool, which honestly that's not a concern generally ever because I'm not.' 'Underneath the Tree' was a huge hit for Clarkson, peaking at No. 9 on the Billboard' Hot 100 singles chart. It topped Billboard's Adult Contemporary chart, holding the pinnacle position for four weeks. Elaborating on how the holiday hit came to be, Clarkson said on her show that Kurstin, 56, 'sent me home with a little piano thing and we kind of started, not the idea of it, but just kind of the wall of sound for Christmas.' She added that 'it's a really cool sound at Christmas. It feels nostalgic.' 'They don't all come out like that, though; usually it takes forever,' Clarkson admitted of her songwriting process. 'But that one was quick.' is now available in the Apple App Store! Download it now for the most binge-worthy celeb content, exclusive video clips, astrology updates and more! 'Underneath the Tree' — from Clarkson's Wrapped in Red album — also topped the most recent list of Top 10 ASCAP New Classic Holiday Songs published by the American Society of Composers, Authors and Publishers (ASCAP). And in an all-time list of Top 25 ASCAP Holiday Songs, Clarkson and Kurstin's holiday song slid into the rankings at No. 24. Read the original article on People
