meta-scriptSilk City & Dua Lipa Win Best Dance Recording For "Electricity" | 2019 GRAMMYs | GRAMMY.com
Silk City & Dua Lipa Win Best Dance Recording For "Electricity" | 2019 GRAMMYs

Dua Lipa

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Silk City & Dua Lipa Win Best Dance Recording For "Electricity" | 2019 GRAMMYs

Silk City & Dua Lipa take home Best Dance Recording at the 61st GRAMMY Awards

GRAMMYs/Feb 11, 2019 - 06:00 am

Silk City, aka Diplo and Mark Ronson, along with featured artist Dua Lipa, won Best Dance Recording for "Electricity" at the 61st GRAMMY Awards.

This is Lipa's first GRAMMY win; she also won Best New Artist later in the evening. It is Diplo's third career GRAMMY and Ronson's seventh, as he also took home another win as a songwriter on Lady Gaga and Bradley Cooper's "Shallow."

During the speech, Diplo gave a shoutout to all of the collaborators on the record, along with the fellow nominees, who he is a "huge fan" of all of them.

Fellow nominees for Best Dance Recording for 2018 were Above & Beyond featuring Richard Bedford ("Northern Soul"), Disclosure featuring Fatoumata Diawara ("Ultimatum"), Fisher ("Losing It") and Virtual Self ("Ghost Voices").

Silk City and Lipa released "Electricity" in September 2018. The song has since become a popular hit, peaking at No. 5 on Billboard's Hot Dance/Electronic Songs chart.  

Lipa is a first-time GRAMMY nominee and winner. Diplo earned his first two career wins at the 58th GRAMMY Awards for Jack Ü, his collab with Skrillex. They won Best Dance Recording for "Where Are Ü Now" featuring Justin Bieber and Best Dance/Electronic Album for Skrillex And Diplo Present Jack Ü

Ronson's previous GRAMMY wins include recognition as a producer on Amy Winehouse's 2006 studio album, Back To Black.

Full Winners List: 61st GRAMMY Awards

Everything We Know About Dua Lipa's New Album 'Radical Optimism'
Dua Lipa attends the BRIT Awards 2024

Photo: Samir Hussein/WireImage

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Everything We Know About Dua Lipa's New Album 'Radical Optimism'

Dua Lipa could barely contain her excitement when announcing her new album, scheduled for release on May 3. GRAMMY.com rounded up everything there is to know about Dua Lipa’s upcoming era of 'Radical Optimism.'

GRAMMYs/Mar 13, 2024 - 09:56 pm

“Who wants moreeeeeee?” With that teasing caption, Dua Lipa sent her more than 88 million Instagram followers into a flurry of anticipation on March 12 as she seemingly primed for a major announcement with a slideshow of behind-the-scenes snaps.

Just one day later, the three-time GRAMMY winner  announced her hotly anticipated third album, Radical Optimism, was officially on its way — complete with a May 3 release date, first look at the cover art, a complete tracklist and more. Lipa couldn’t contain her excitement about the project, punctuating her all-caps caption with a string of more than a dozen exclamation points.

The album announcement arrives on the heels of a celebratory awards season for Lipa, who was nominated for two golden gramophones (including Song Of The Year) at the 2024 GRAMMYs for “Dance The Night” and opened the telecast with an electrifying medley of her singles “Houdini” and “Training Season.” Additionally, her disco-infused Barbie banger scored a nod for Best Original Song at the 2024 Golden Globes and three separate nominations at last year’s MTV Video Music Awards. 

Below, GRAMMY.com rounded up everything there is to know about Dua Lipa’s upcoming era of Radical Optimism.

The Pop Star Is Nearly Upstaged In Her Wet And Wild Cover Art

In her announcement, Lipa shared the cover art for her forthcoming studio set and the result is nothing short of jaw-dropping. Shot by Tyrone Lebon, the image depicts the English Albanian pop star out at sea, her dark hair slicked back as she bobs in the ocean wearing a shiny gold ensemble with matching jewelry against a sun-streaked sky. 

However, it’s entirely possible that, upon first glance, the “Dance The Night” singer isn’t the first thing fans will notice when they see the artwork. That’s because she shares the frame with a fearsome co-star: a shark glides past her in the foreground, its fin slicing ominously through the water’s surface. 

The Tracklist Announces The “End Of An Era”

Lipa’s fans, whom she notably refers to as “my loves,” may still be obsessed with her GRAMMY-winning sophomore album Future Nostalgia, but the pop star makes it clear on Radical Optimism’s tracklist that she’s ready to turn the page. 

According to the album’s watery back cover, the 11-track studio set will kick off with opener “End of an Era” before segueing into previously released singles “Houdini” and “Training Season.” Other as-yet-unheard songs on the LP include titles like “French Exit,” “Illusion,” “Falling Forever” and closing number “Happy For You.” And unless Lipa still has a few surprises up her sleeve ahead of the album’s unveiling, it appears that, for the first time in her career, there won’t be a single collaboration or guest artist featured on the tracklist.

She Thinks Radical Optimism Is “Exactly What We Need in the World”

Just one hour after dropping the cover art and tracklist, Lipa followed the reveal up with a video explaining the important meaning behind the album’s boldly cheery title. “I [can’t] wait for this to be yours,” she promised in the caption, adding a tidal wave emoji to punctuate her point. 

“You know what the world needs is, like, the idea of being endlessly happy,” the singer says in the clip. It’s like an overpowering feeling, I want it.” Later, she hints at the emotional throughline that threads through her upcoming body of work, revealing, “Every song does have that kind of, like, ‘through the struggle you kind of make it something optimistic’...Radical optimism, that’s exactly what we need in the world.”

The Singer’s 2021 GRAMMYs Acceptance Speech Inadvertently Sparked the Album’s Ethos

As it turns out, the emotional concept behind Radical Optimism was actually born during Lipa’s acceptance speech at the 2021 GRAMMYs, where she took home the trophy for Best Pop Vocal Album for Future Nostalgia

“My last GRAMMY speech, I said something just in the midst of panic,” the pop sensation says in the aforementioned video, which flashes to her grinning on the stage outside Staples Center in L.A, clutching her third golden gramophone. “One thing I’ve come to realize is how much happiness is so important,” she said at the time. 

“I felt really jaded at the end of my last album [2017’s Dua Lipa] where I felt like I only had to make sad music to feel like it mattered," she continued. "And I’m just so grateful and so honored because happiness is something that we all deserve, and that’s something that we all need in our lives.” 

Three years later, Lipa is channeling that mindset into her new music in such a bold way that she felt Radical Optimism had to be the album’s title. 

She’s Assembled A Solid Group Of Collaborators

The singer’s latest Instagram post also gave fans a peek at some of Lipa’s most trusted collaborators on Radical Optimism. “Tobias Jesso Jr. Kevin Parker. Caroline Ailin. We have Daniel L Harle,” the GRAMMY winner notes, whirling the camera around to introduce each of her producers and fellow lyricists by name before gleefully exclaiming, “We’re makin’ an album!” 

Gesso Jr, Parker, Ailin and Harle are all listed alongside Lipa in the credits of lead single “Houdini” as well as follow-up “Training Season,” so it’s a safe bet that fans will likely see their names throughout the credits when they hear Radical Optimism in full.

2024 GRAMMYs: Dua Lipa Debuts "Training Season" & Slays "Houdini" In Mesmerizing Opening Performance

2024 Oscars: Watch Ryan Gosling And Mark Ronson Perform A Soaring, Hilarious Version Of "I'm Just Ken" From The Motion Picture 'Barbie'
Ryan Gosling performs 'I'm Just Ken' from "Barbie" onstage during the 2024 Oscars

Photo: Kevin Winter/Getty Images

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2024 Oscars: Watch Ryan Gosling And Mark Ronson Perform A Soaring, Hilarious Version Of "I'm Just Ken" From The Motion Picture 'Barbie'

At the 2024 Oscars, Ryan Gosling and Mark Ronson performed an unforgettable version of "What Was I Made For?" [From The Motion Picture Barbie], which is up for Best Original Song at the ceremony.

GRAMMYs/Mar 11, 2024 - 01:53 am

At the 2024 Oscars, Ryan Gosling and Mark Ronson performed a jubilant version of "I'm Just Ken" [From The Motion Picture *Barbie*], which is up for Best Original Song at the ceremony.

With an effervescent backing of black-suited dancers, Gosling leaned into the universal male yearning of the instant Barbie classic. And the arena rock magnitude was helped along by two guitar shredders who rightly dominate that world: Slash and Wolfgang Van Halen.

As Gosling put it at CinemaCon in 2023, Gosling initially doubted his Kenergy.

"It was like I was living my life and then one day I was bleaching my hair, shaving my legs, wearing bespoke neon outfits, and rollerblading down Venice Beach," he said.

"It came on like a light scarlet fever and then I woke up one day and was like, 'Why is there fake tanner in my sheets? What just happened?'"

2024 Oscars: Watch Performances & Highlights

Billie Eilish and FINNEAS won the Oscar for Original Song for "What Was I Made For?" [From The Motion Picture Barbie] at the 2024 Academy Awards.

Keep checking this space for more updates on the 2024 Oscars — including GRAMMY winners and nominees who are featured during the big night!

2024 GRAMMYs: Billie Eilish Wins GRAMMY For Song Of The Year For "What Was I Made For?" From The 'Barbie' Soundtrack

2024 Oscar Nominees Who Have Won A GRAMMY: Billie Eilish, Martin Scorsese & More
Billie Eilish at the 2024 GRAMMYs.

Photo: Kevin Mazur/Getty Images for The Recording Academy

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2024 Oscar Nominees Who Have Won A GRAMMY: Billie Eilish, Martin Scorsese & More

From Bradley Cooper to Diane Warren, 12 nominees at the 2024 Oscars have a golden gramophone to their name. Ahead of the Oscars ceremony on March 10, check out the GRAMMY history of this year's nominees.

GRAMMYs/Mar 6, 2024 - 04:33 pm

Music's Biggest Night and the film industry's biggest night are a little more intertwined than one might think.

The GRAMMYs have four Categories that tie in with the Hollywood machine, from Best Song Written For Visual Media to Best Music Film. And the Best Audio Book, Narration and Storytelling Recording award has offered thespians such as John Gielgud, Viola Davis, and Mike Nichols a route to EGOT glory.

The Academy Awards, meanwhile, gives both composers and songwriters their dues in the Best Original Score and Best Original Song categories, respectively. And the latter's nominees will often be performed to help break up all the drama at the podium, no matter how un-Oscar-like the track may be. Who can forget the fever dream that was The Lego Movie's "Everything Is Awesome," for example?

The 2024 Oscars bring both ceremonies even closer together, with 12 nominees walking in as previous GRAMMY winners. Half of them were even victorious at the 2024 GRAMMYs, including Billie Eilish, Finneas O'Connell, and Mark Ronson, who all took home golden gramophones for their Barbie contributions (and are all up for the same film at this year's Oscars).

Ahead of the March 10 ceremony, take a look at the GRAMMY stories of 2024 Oscar nominees — from celebrated composers to iconic directors to a few of this year's performers.

2024 Oscars: Watch Performances & Highlights

Jon Batiste

Jon Batiste has had quite the GRAMMY run as of late, picking up 19 nominations in just the last three years alone; he scored five wins for 2021's We Are in 2022, including the prestigious Album Of The Year. The jazz maestro, formerly the bandleader of The Late Show with Stephen Colbert, has also enjoyed Oscars glory in the same time frame.

Firstly, in 2021, he shared the Best Original Score Oscar with Atticus Ross and Trent Reznor for their work on Pixar animation Soul. And this year, he's nominated in the Best Original Song category for "It Never Went Away," a track featured in his own powerful documentary biopic, American Symphony.

Danielle Brooks 

Two years into her memorable run as prisoner Taystee in "Orange Is the New Black," Danielle Brooks proved her talents extended far beyond the walls of the Litchfield penitentiary with an acclaimed turn in the 2015 Broadway revival of The Color Purple. After the Juilliard graduate picked up a Tony Award nomination for Best Featured Actress in a Musical in 2016, she became a GRAMMY winner in 2017, when the cast won Best Musical Theater Album.

The all-singing, all-dancing film adaptation of the Alice Walker novel earned Brooks her first Academy Award nod, too. For she once again stole the show in its Hollywood transfer as the strong-minded Sofia, a character first played on the big screen by Oprah Winfrey.

Bradley Cooper  

Bradley Cooper spent six years practicing conducting just six minutes of music for his portrayal of legendary composer Leonard Bernstein in acclaimed biopic Maestro. And the multi-talent's admirable commitment paid off when he received Academy Award nods for Best Original Screenplay, Best Picture, and Best Actor.

Cooper was also nominated in the latter two categories, along with Best Adapted Screenplay, five years ago for another musical, A Star Is Born, and earned two GRAMMYs for the same project. In 2019, he shared Best Pop Duo/Group Performance with Lady Gaga for "Shallow," the spellbinding ballad which also picked up a Record Of The Year nod. A year later, the same film triumphed in Best Compilation Soundtrack for Visual Media.

Billie Eilish  

Like Batiste, Billie Eilish has made an impressive GRAMMYs run in a short span of time. The alt-pop phenomenon has already picked up nine awards from 25 nominations (and she's only just turned 22!). And at her first GRAMMYs just four years ago, Eilish already cemented herself in GRAMMY history: not only did she become just the second artist to claim Best New Artist and Record, Song, and Album Of the Year, but she became the youngest artist to do so at 18 years old.

Eilish added to her GRAMMY legacy with two more wins at the 2024 ceremony, for "What Was I Made For?" [From The Motion Picture *Barbie*], which won the star her second golden gramophones for Song Of The Year and Best Song Written For Visual Media; her James Bond theme, "No Time To Die," won the latter in 2021.

"What Was I Made For?" —  played during the poignant scene where Margot Robbie's titular character meets her creator — has also enamored Oscar voters. In fact, it's the predicted favorite to clinch Best Original Song, which "No Time to Die" helped Eilish claim in 2022.

Ludwig Göransson

Ludwig Göransson is predicted to win his second Best Original Score Oscar this year thanks to his suitably intense arrangements for Oppenheimer; his first win came in 2019 for Black Panther. The Swedish composer has already won Best Score Soundtrack for Visual Media for the same projects at the GRAMMYs.

But it's in the realm of socially conscious hip-hop where Göransson has been a GRAMMYs awards trailblazer. Childish Gambino's "This Is America," a powerful state of the nation address which he co-produced, picked up both Song and Record Of The Year at the 2019 ceremony — marking the first time a rap track had won either accolade. Göransson's fruitful partnership with Gambino has also seen him receive nods for Album Of The Year and Best R&B Song.

Finneas O'Connell 

Finneas O'Connell might have eight fewer GRAMMY nominations than his sister (Billie Eilish), but he does have one more win under his belt. Indeed, having masterminded Eilish's blockbuster breakthrough, 2019's When We All Fall Asleep, Where Do We Go?, and hit the studio with artists such as Tate McRae, Camila Cabello, and Selena Gomez, the Californian picked up Producer Of The Year, Non-Classical at the 2020 ceremony. (Alongside the nine golden gramophones he's shared with his younger sibling — and primary collaborator — that takes his overall tally up to 10.)

As a co-writer on Eilish's James Bond theme "No Time to Die," Finneas and his sis will have two Oscars a piece should their co-written song, "What Was I Made For?" [From The Motion Picture Barbie], win Best Original Song as predicted.

Mark Ronson 

Mark Ronson first caught GRAMMYs attention for his behind-the-scenes efforts, winning Best Pop Vocal Album, Record Of The Year, and Producer Of The Year, Non-Classical in 2008 for his work on Amy Winehouse's seminal Back to Black. But eight years later, he scooped two GRAMMYs for his very own throwback, the Bruno Mars-featuring "Uptown Funk," and in 2019, picked up Best Dance Recording as part of the supergroup Silk City alongside Diplo and Dua Lipa.

Ronson and Lipa were once again nominated together at the 2024 GRAMMYs for their global chart-topper, "Dance the Night" [From The Motion Picture Barbie], which didn't receive a Best Original Song Academy Award nod. The DJ-turned-hitmaker still notched an Oscar nomination, though, thanks to a different Barbie number he co-wrote: the Ryan Gosling-sung "I'm Just Ken."

Martin Scorsese 

Here's a staggering fact: Martin Scorsese, widely regarded as one of the finest filmmakers in Hollywood history, has as many GRAMMYs to his celebrated name as he does Oscars: one.

The auteur received his GRAMMY in 2006, when his Bob Dylan documentary, No Direction Home, won in the Best Long Form Music Video Category. (He had been nominated the previous two years, in the same Category in 2005 for his PBS series Martin Scorsese Presents the Blues: A Musical Journey, and in the Best Compilation Soundtrack Album For A Motion Picture, Television Or Other Visual Media Category in 2004 for Gangs Of New York.)

His sole Best Director victory at the Academy Awards came not for Taxi Driver, Raging Bull, or Goodfellas, but for his 2006 remake of The Departed in what many interpreted as a career win. He earned his tenth nomination in the coveted category at the 2024 Oscars, for Killers of the Flower Moon.

Diane Warren 

Diane Warren is responsible for some of the all-time great movie power ballads: see the late '90s holy trinity of Celine Dion's "Because You Loved Me," LeAnn Rimes' "How Do I Live," and Aerosmith's "I Don't Want to Miss A Thing." However, the prolific songwriter has never won an Oscar outright (she was awarded an honorary one in 2022). She has another shot at the 2024 Oscars thanks to Becky G's "The Fire Inside" from the Cheetos-inspired Flamin' Hot, which earned Warren her 15th Best Original Song nomination.

The songwriting dynamo has received the same number of nods at the GRAMMYs, and celebrated a win in 1997, when "Because You Loved Me" (from 1996's Up, Close and Personal) took home Best Song Written Specifically for a Motion Picture or for Television.

John Williams 

Where to start with John Williams? The veteran composer received his 54th Academy Award nod this year, with his work on Indiana Jones and the Dial of Destiny recognized in Best Original Score. He remains second only to Walt Disney for the most Oscar nominations ever, he's the only individual to be recognized across seven decades in a row (his first came back in 1968 for Valley of the Dolls), and he became the oldest nominee ever in 2023 — a record which he topped again this year at 91.

And Williams has been even more successful at the GRAMMYS, picking up a remarkable 26 golden gramophones from 76 nominations. His latest came only last month when "Helena's Theme," the piece of music composed for Phoebe Waller-Bridge's character in Dial of Destiny, was crowned Best Instrumental Composition.

Dan Wilson 

Dan Wilson picked up the first of his six GRAMMY nominations with his own band Semisonic's anthemic "Closing Time." But following the alt-rock trio's initial split in 2001, all of his other nods have been for his work as an in-demand songwriter. Wilson has won two of the General Field GRAMMYs, first for Song Of The Year for Dixie Chicks' "Not Ready to Make Nice" in 2006 and Album Of The Year for his work on Adele's 21 in 2012.

And he added a third GRAMMY to his trophy haul this year, as his co-written Chris Stapleton track "White Horse" won Best Country Song. Thanks to his contribution to the aforementioned Batiste ballad, the hitmaker can also now call himself an Oscar nominee, too.

Andrew Wyatt 

Ronson co-produced and co-wrote "I'm Just Ken" [From The Motion Picture Barbie] with longtime collaborator Andrew Wyatt. The pair won the 2019 Best Original Song Oscar for their co-write on A Star Is Born cut "Shallow," and also picked up Best Song Written for Visual Media with the same tearjerker (alongside Cooper) at the GRAMMYs.

Wyatt, who first found fame as one-third of electronic trio Miike Snow before launching a solo career, has also enjoyed a taste of GRAMMY recognition elsewhere. The New Yorker's first nod came in 2012 when Bruno Mars' "Grenade," the emotive heartbreak anthem that counted him as one of six songwriters, was nominated for Song Of The Year.

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'On The Lips' Of Whistler Molly Lewis: How Her Debut Album Harnessed The Power Of Collaboration & Mood Lighting
Molly Lewis

Photo: Shervin Lainez

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'On The Lips' Of Whistler Molly Lewis: How Her Debut Album Harnessed The Power Of Collaboration & Mood Lighting

Molly Lewis' unique instrument has caught the ear of Dr. Dre and soundtracked a pivotal scene in 'Barbie.' Out Feb. 16, the whistler's first LP takes listeners to a less glamorous — but equally vivid — space: the Hollywood lounge.

GRAMMYs/Feb 16, 2024 - 07:36 pm

To properly consume her music, whistler Molly Lewis suggests incorporating the following into your listening experience: candlelight, cold libations and, if possible, a hot date.

Though all are merely suggested tips for conjuring an ideal mood, the 33-year-old Australian says her debut full-length album was conceived with these conditions in mind. On the Lips captures the oft ethereal, sometimes sensual energy of Lewis' live act, which she's honed for years in legendary Hollywood lounges.

“I thought it would be a good idea if my first LP was like the essence of my live show,” Lewis shared. “At one point, we even talked about putting clapping in between the songs to make it feel more like a live album.”

Lewis is hesitant to place any demands on listeners, though she holds firm in her belief that having the right lighting is always a plus. For proof, look no further than last fall, when Lewis performed at Children's Fairyland — a historic amusement park in Northern California credited as a source of inspiration for the original Disneyland.

Curated by Oakland experimental pop artist SPELLLING, the bill for September's Through the Looking Glass festival included a slot for Lewis, who was staged in an area decorated like The Wizard of Oz's Emerald City. Bathed in an eerie glow of green lights, Lewis emerged in a sparkling red evening gown and the crowd bewitched before she'd ever pursed her lips.

"That night [in Oakland] was very surreal and magical," Lewis recalled. "Lighting helps me get into the feeling of the music and, of course, it's helpful to the audience too. If I'm doing a show in L.A., I try to dress the stage and create an atmosphere. Obviously, with budget limitations, it never goes too far but maybe one day I'll get around to pyrotechnics."

Until that day arrives, the highlight of seeing Lewis perform is unquestionably the opportunity to hear her world-class whistling skills. From recording sessions with Dr. Dre to her sonic contributions to a pivotal scene in 2023 Oscar Best Picture nominee Barbie, Lewis continues to lend her lips to all manner of notable projects. At the same time, she's also simultaneously nurtured a solo career that's seen her grow from open mics at Canter's Deli to touring with Weyes Blood and taking calls from Mark Ronson

In an upbeat conversation via Zoom from her home in Los Angeles, Lewis detailed her roots as a whistler, mused on her skills as a raconteur, and paid tribute to the L.A. lounge legends who helped her pave a truly singular career.

**You recorded On the Lips in a studio equipped with a tiki bar and an open-door policy that saw a slew of talented folks swing by. What was the atmosphere like during those sessions?**

[Producer] Tom Brenneck and I have made my last three records together. Basically, one of my best friends in L.A. is an artist named Ariana Papademetropoulos. For many years, she was like, "Molly, you have to meet my brother-in-law, Tom. I feel like you guys would make such good music together." When we finally met up and worked on something, it was easy and fun. We obviously have very similar taste in music.

When I first got a small budget to record some music with, I didn't know where to start. Explaining music is a skill that you can learn and get better at, but when I first started, I didn't know how to articulate what I was feeling and wanting. It reminded me of when you go to the hairdresser and show them a photo of what you want, then they start cutting and you're like, "Ah, it doesn't look like that." But they're a professional, so you don't say anything, and then you get home and wish you'd said something.

Working with Tom was easy because he's very encouraging and generous. He really made me feel like I could do this. I'm not a trained musician. I don't know how to play a lot of instruments. I can play very basic guitar but I don't know how to read music. Sometimes I felt like I didn't belong, but Tom really encouraged me and helped me bring my little demo ideas to life. 

A lot of his musician friends and people he works with would come by to hang out and to see what was going on. [Samba guitarist and Latin GRAMMY nominee] Rogê would be over and we'd write a song together. Chester Hansen of BADBADNOTGOOD was there to work on his record and luckily, he was down to record with me too. It was a very relaxed atmosphere.

 To see you live is to also be treated to your exceptional stage banter. How did that element of your craft develop?

Thank you! It isn't something that was very thought out when I first started performing. When you're the singer — or the whistler, as it is with me — and you have a microphone in front of you, there are moments of silence between songs. I just started doing the thing I do when I'm nervous, which is to make some chit chat. 

I was always a bit jealous of musicians who could remain very mysterious and silent in between songs. That also says a lot and conveys something beautiful and mysterious and untouchable. I always felt like I really need to just shut up and be this other character on-stage — this ethereal whistler — and leave the other parts of myself, like the awkward silly chit chat, at home, but I didn't want to put on an act in that way.

I saw Mary Lattimore, this incredible harpist, perform once and I was just so taken by her playing this incredible, ethereal, magical instrument and, in between the songs, telling these funny anecdotes and stories about the [origins of] song names and little things about her life. It was such a wonderful contrast, and it's so wonderful to get to know the musician or artist in that way. I think that's when I realized that it is a nice thing to include banter and little stories and silly jokes. 

I try not to think too much about it because I don't want it to be rehearsed, but of course, I've got a few little tricks up my sleeve. It's fun to be on the spot and to see what happens. That also keeps it fun.

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