Dancing On My Own – Wikipedia

2010 single by Robyn

Dancing On My Own “ is a song by swedish singer-songwriter Robyn, released on 20 April 2010 as the jumper cable single from her fifth studio album, Body Talk Pt. 1 ( 2010 ), the first in her Body Talk series. “ Dancing On My Own ” was produced by Patrik Berger, co-produced by Robyn, and interracial by Niklas Flyckt, with Robyn and Patrik sharing writing credits. The song ‘s austere mid-tempo electropop adaptation from her album was the first version of the single released followed by a layer mid-tempo synth-pop edit designed for radio and a downtempo piano ballad recording for Radio 1’s Live Lounge – Volume 5 late that year. It depicts a female supporter in a push club fair before last call option who is dancing on her own while watching her ex-boyfriend who she sought out dancing with and embracing another woman, pondering confronting him for the end time before her time runs out. The birdcall was inspired by situations Robyn observed while on her previous go then clubbing throughout Stockholm, her favorite “ inherently deplorable gay disco anthems ”, [ 4 ] and the profligacy of her engagement. Critics praised “ Dancing On My Own ” as another bittersweet hymn for her birdcall canon, with some ranking it as the greatest song of the year and finally, the ten. respective reassessed its influence as Robyn ‘s signature song, a brave hymn, and “ the ultimate deplorable banger ” [ 5 ] of the poptimist bowel movement, with Rolling Stone ranking it at number 20 on their list of the 500 Greatest Songs of All Time in 2021. [ 6 ] “ Dancing On My Own ” became Robyn ‘s inaugural act one in her native state following its populate premiere on swedish television show Sommarkrysset and besides reached the top ten in Denmark, Norway and the United Kingdom former that month.

patronize collaborator Max Vitali directed its Rosie Perez -inspired music video recording, first released on 21 May 2010, that showed Robyn portraying the supporter in the sung ‘s lyrics in diverse club and rehearsal settings. The birdcall former earned a nomination for Best Dance Recording at the 53rd Annual Grammy Awards and was awarded Best song at the Grammisgalan in Sweden. Robyn ‘s midtempo versions were promoted well into the following decade on assorted media, including most prominently Saturday Night Live, the 2010 Nobel Peace Prize Concert, Mark Ronson ‘s Love Lockdown: Video Mixtape, 2018 film Teen Spirit, 2019 film Long Shot, 2021 film Swan Song, reality television receiver show RuPaul’s Drag Race ( 2009–present ), teen-drama series Gossip Girl ( 2007–2012 ) and comedy-drama series Girls ( 2012–2017 ), Orange Is the New Black ( 2013–2019 ) and Never Have I Ever ( 2020–present ). “ Dancing On My Own ” was covered by numerous artists and bands, with several releases, specially of Robyn ‘s downtempo translation. Inspired by the Southern rock ‘n’ roll ballad cover charge of it performed ( but not released ) by ring Kings of Leon, a top by Britain’s Got Talent dissenter Calum Scott was most prominently released on 15 April 2016. Calum ‘s cover was a mince sleeper hit throughout Europe following significant success in the UK, where it went viral on streaming services despite short initial radio receiver play. critical reception to it was polarized, with the majority of music journalists comparing it negatively to Robyn ‘s original. The first major test handout by controversial London -based AI algorithm -based A & R start-up Instrumental, its formula in finding Calum and releasing his breed would go on to revolutionize major pronounce signing based on early Internet engagement. An accompanying music video was released on 15 April 2016 that received over 400 million YouTube views in four years .

Background and creation [edit ]

Deep into sessions one “ dark ” week of November 2009 in Stockholm with longtime collaborator Klas Åhlund, [ 7 ] [ 8 ] Robyn ‘s “ stormy ” [ 9 ] date to Swedish MMA champion and contemporary ocular artist Olof Inger was starting to fray. [ 10 ] “ Tired of the broken heart ”, [ 5 ] Robyn returned to writing about “ deplorable love ”, a root that remained prevailing in her work because it was universal, so far continued to give her fresh ideas. [ 11 ] After launching her own pop-up book cabaret series in Hornstull Beach, Söder in January 2010, Konichiwa Bitches goes Tutti Frutti, [ 12 ] [ 13 ] modeled after christian Falk ‘s A Love Supreme, Robyn became inspired by DJing, clubbing and people-watching throughout Stockholm. [ 14 ] Recalling how much the “ dance universe ” had changed during the five years she spent promoting Robyn ( 2005 ), particularly in America, Robyn realized it was finally good for exploitation : “ It ‘s in truth going to have its time now and not barely be looked upon as kitsch. ” [ 15 ] Conceptualizing club acculturation, Robyn created narratives for past patrons she had seen from situations she had witnessed, including their “ expectations ” for the night to “ meet that person ”, reach a “ good high ”, or experience “ some kind of emotion ”, revisiting stories from Olof on his time as a doorkeeper describing how they ‘d act then reminiscing on her time in New York City in 1997 promoting Robyn Is Here as a “ lone misfit adolescent shoulder-shimmying alone in a glooming corner ” on Club Vinyl ‘s “ last ever ” Saturday night and Sunday afternoon, The Shelter, and the “ dear fabulous ” Body & SOUL, respectively. [ 16 ] [ 17 ] Robyn came to see clubs as “ an authoritative place for our generation—almost like a church or a place where we go to experience something that ‘s bigger than ourselves ”, [ 18 ] feeling it was n’t merely “ cool ” but “ significant ”, and even “ utopian “, that “ in the center of all these other people doing the lapp thing ” she could dance in her “ own space ” on her “ own terms ”, [ 17 ] [ 19 ] wanting “ to make a birdcall called ‘Dancing On My Own ‘ ” but still uncertain “ what it was going to be about ”. [ 5 ] [ 20 ] [ 21 ] Following the exemplar of the “ inherently deplorable, gay disco hymn ” she loved, including tracks by Donna Summer with Giorgio Moroder, Sylvester, [ 4 ] Billy Idol ‘s “ Dancing with Myself “ ( 1980 ), [ 11 ] Ultravox ‘s “ Dancing with Tears in My Eyes “ ( 1984 ), [ 4 ] and Sheila E ‘s “ A Love Bizarre “ ( 1985 ), [ 22 ] the birdcall ‘s storyline finally came to her, picturing “ the beastly impression of a womanhood who is watching her ex-husband catch with person raw at a club ”. [ 23 ] “ With an idea of a chorus in her mind, ” Robyn wanted to work far with Åhlund but could n’t stop “ toying ” with the song on her own, finally reaching out to prior collaborator Patrik Berger for a “ different perspective ”. Patrik had prepared for weeks before their beginning school term at his Stockholm studio apartment with a “ batch of electronic beats and tracks for Robyn to write over ”. All of this was for naught as the first gear thing she said was, “ Can we sit down and write a song on an acoustic guitar nowadays ? I ‘m indeed tire of writing over electronic beats and tracks. ” Their first gear solution was an “ acoustic ‘ campfire ‘ ” demonstration with three chords in the manner of a country song. The refrain came inaugural quickly, followed by the chords and parts of the melody. After days of “ fatten [ ing ] … up ” that show, the two of them realized “ … they preferred the original and stripped it all back down ” again. [ 23 ] [ 5 ] Patrik, facing press from swedish music diligence insiders “ telling him what he should do ” with the song, decided for the first fourth dimension that “ quite than following the gang ”, he ‘d write and produce the sung “ how he wanted to ”, following a new group of “ sonic scholars ” in the nation breaking away from Max Martin ‘s “ school of pop ”. [ 24 ] Swapping “ the acoustic guitar for synthesizers with rub edges and a beat that aimed for a TKO, ” [ 23 ] Patrik went “ raw and game ”, “ aiming for a ‘window ‘ of song ” that would capture its “ commercial appeal without destroying ” its “ myster [ y ] ”. [ 24 ] With this third show, entitled “ Right Over hera ”, compared by Robyn and critics to Glasvegas ‘ “ Geraldine “ ( 2008 ) [ 25 ] [ 26 ] and former heard in character in 2018 at the Red Bull Music Academy in New York, [ 22 ] Robyn and Patrik had finally settled on a blueprint for the final track. A “ lot of time ” was spent subsequently on “ the individual components of the song : the drums, the bass and the thump staccato it starts with ”. Lyrically, Robyn and Patrik were “ super finical ” and took even longer. compulsively trying to come up with the veracious words to not “ sugar-coat the experience ” of all of the “ messy moments of rejection, ” they both wanted “ uncomfortably honest ” lyrics designed to have each phrase read like a “ little poem ”. “ week ” were spent “ texting each other … on lines ” with “ a couple of days [ spent ] on each ” that filled a “ handful of notebooks ” by the goal, with one wholly “ scrapped ”, as “ every one word needed to feel right. ” [ 27 ] [ 23 ] [ 5 ] Soon after completion of the song, Robyn became “ conflicted ” about having her collaborators and friends hear it. Recalling her agitation upon initially “ sending the demonstration to the read label and telling them I thought we had a good single ”, its themes of “ nostalgia and mawkishness ” in review came across like a “ adolescent adaptation ” of herself she was “ happy to let go of ”. Robyn ended up deciding to include the sung on Body Talk Pt. 1, working through “ unmanageable ” early promotion as the themes did n’t “ always feel true ” to her. [ 5 ] many years belated Robyn and Patrik realized their leaps of faith with the song were worth it. After “ taking a step back from what she ‘d created ”, working through “ a batch of therapy ” where she “ worked on [ … ] and healed ” herself, then felt the “ birdcall was talking back to her ” when “ thousands of fans ” sang it back to her on her 2019 enlistment when she “ cut the song just before the chorus ”, she realized the song had “ moved on from its beginnings ” and was no longer “ conflicted ” about “ playing it populate ”, feeling it had become “ something that took on mean for a batch of people in different ways ”. [ 5 ] [ 27 ] meanwhile, Patrik was reaffirmed of his decision to break from Max Martin ‘s convention despite “ air national guard [ erbium ] ” from many of his peers in Sweden, as it became “ one of those songs where people came up to [ him ], talking about how much it mattered. ” [ 24 ]

typography and publish [edit ]

Robyn – “Dancing On My Own” (

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) A 28-second sample distribution of the midtempo album version, featuring parts of the in-between eight and chorus .

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“ Dancing On My Own ” was composed by Robyn and Patrik Berger. Featuring “ elements of ‘many different worlds ‘ ” she loves that make her “ gallant ” of the track, including “ 80s rock ‘n’ roll ballads “ and “ gay electronica “, [ 5 ] with the goal of releasing a record that would meet the standard of Prince, [ 22 ] two versions of the midtempo [ 27 ] ballad [ 28 ] were released for the album then for radio, where “ everything, bar Robyn ‘s vocal music, is electronic ”. [ 3 ] A third, downtempo, ‘pared toss off ‘, [ 29 ] piano -based version, recorded from her performance on 16 June 2010 on BBC Radio 1 [ 30 ] was then released individually from the project on Radio 1’s Live Lounge – Volume 5 on 22 October 2010. [ 31 ] Both electronic versions keep a tempo of 117 beats per minute in common time, [ 32 ] which NPR ‘s Sam Sanders implies was arranged measuredly as it was “ situate [ … ] pretty close to what scientists say is the prefer walk tempo for humans “. All three versions are in the key of G♭ major, following an “ immediately companion one-five-four ” [ 27 ] chord progress of G♭5–D♭5–C♭5 and traditional ABABCB structure except for one pre-chorus line following its beginning verse and one outro line of a assign of its chorus following its choral refrain that concludes the sung, with Robyn ‘s vocals spanning from D♭4 to E♭5. [ 33 ] [ 34 ]
Korg Mono-Poly ( MP-4 ) analogue synthesizer The “ beastly ”, “ direct ”, and “ minimal “ [ 3 ] electropop [ 1 ] album adaptation, the beginning version of the birdcall released, leaked on approximately 19 April, [ 35 ] then was released as a digital single the next day, [ 36 ] followed by its official liberation on 1 June 2010 as Body Talk Pt. 1 ‘s lead single. [ 37 ] Its concenter is on its “ persistent air hammer ” [ 3 ] “ iconic shudder bass backbone ” synth, made using the Korg Mono/Poly ( MP-4 ) analogue synthesizer. [ 24 ] That is followed by the use of a “ recoil drum “ on beats “ 1 and 3 ” and a “ trap ” on beats “ 1 and 4 ”, both of which last through the integral birdcall, accented with “ eight repeated, automatic, hihat quavers halfway through [ begin at 1:57 ], [ … ] little clave tinkles in the verses [ 1:36 ] and the curious crash cymbal ”. A “ sad piano theme ” accompanies the birdcall ‘s “ middle 8 ”, the “ one here and now in the traverse when you ‘re allowed to pause ”, then “ [ at 2:45 ] … the hesitate is broken by 16 snare hits, all at utmost volume, with no crescendo or dynamic, ” followed by a restitution to the choral refrain that closes out the song. [ 3 ] USC musicologist Nate Sloan highlighted the “ miracle ” of the “ lyrics [ … ] sparseness ” and the “ six seconds of secrecy between each tune in the verse ” which he observed “ was n’t a draw of time in the abstraction ” but “ eons ” on a pop song, which NPR ‘s Sam Sanders felt Robyn left to let the hearer “ know in that distance – to give you fourth dimension to insert all of your emotions and stories and feelings into the seconds between the lines ”. [ 27 ] The song ‘s second synth-pop [ 2 ] version, designed for radio and first hear accompanying its music television when it premiered on 21 May 2010, was released as a bonus path to Body Talk Pt. 1 ‘s iTunes secrete on 11 June 2010. [ 38 ] It mixes those elements at substantially unlike levels and most perceptibly adds “ an extra arpeggiated synth through the presentation and the verse “. [ 3 ] James Montgomery of MTV News described the radio version as “ a computerize kaleidoscope of chippy, chiming blips and piston-like drums. ” [ 39 ] Vanyaland ‘s Michael Marotta pointed out a belittled bell consequence resembling last call that rings at the climax of the sung in both electronic versions ‘ middle 8, interpreting its inclusion as an reading the protagonist ‘s time had run out in her last attempt to gain detect from the ex-lover. [ 40 ] Robyn ‘s “ love letter ” to Stockholm as indicate in her “ favorite lyric ” describing its weather in winter, a “ adult black sky over [ her ] town ”, [ 5 ] the song ‘s “ bittersweet, voyeuristic narrative ” is of “ a charwoman dancing alone in a crowded baseball club while her ex-wife and his new fan expression on ”, [ 41 ] with a consider “ bait and switch ” [ 27 ] of production that sounds in its opening “ life-affirming ” but in reality is backing what the hearer soon realizes is a “ bleak, wounded ” [ 41 ] “ separation song ” lyrically, a careful “ juxtaposition ” [ 27 ] “ of light and dark at the like time ” whose “ magic ” Robyn explained to Kindness at Red Bull Music Academy is what she ‘s “ drawn to when [ she ] make [ mho ] music ”, and is “ much more comforting ” to her than fair one impression or the other, which she ‘d found “ predictable ” and “ boring ”. [ 22 ] NPR ‘s Sam Sanders felt these contrasts of “ female authorization through angst ” [ 41 ] in “ lesser hands [ … ] might be confusing ” but “ [ tungsten ] hen Robyn does it, it ‘s human. ” [ 27 ] Outside its history of the “ sum outsider ” in “ love illness ” “ in the center of the club ” who ‘s still “ going to take care of herself and have a good time even though she ‘s pretty dramatic and brainsick ”, she left the rest of its narrative up for rendition, explaining to Z100 ‘s JJ Kincaid that revealing every detail would n’t have been “ as interesting ”, preferring writing that brings out “ emotion [ mho ] … .in a direction that enables the hearer to [ … ] connect to [ the sung ] in their own way ”. [ 11 ]

music video [edit ]

Robyn in Sandra Backlund knitted armor, located in rehearsal setting cut scene behind empty microphone stand The music video for “ Dancing On My Own ” premiered via Robyn ‘s official Vimeo explanation on 21 May 2010 [ 42 ] and was released to YouTube on 28 May 2010, accompanied by its radio adaptation. Directed by Max Vitali ( who previously worked with Robyn on the second music television for her 2005 single “ Be Mine ! “ ), and choreographed by longtime collaborator Maria “ Decida ” Wahlberg, the music video was produced by Nils Ljunggren and HSI Productions, with film by Erik Sohlstrom and editing by Johan Söderberg and Johan Wik. Wardrobe, hair, and constitution were done by Naomi Itkes, Ali Pirzadeh and Linda Öhrström, respectively. [ 43 ] According to Robyn, Max, and ‘Decida ‘ from a sub-rosa black-and-white preview posted to Robyn ‘s web site the sidereal day before its liberation, it ‘s meant to be a visually “ simpleton ” yet “ still … atmospher [ ninety-nine ] ” “ performance video ” aesthetically connected to her then “ approaching gigs and enlistment ” that depicts “ being deplorable on a dancefloor ” in a “ rave ” or golf club ” where early “ people are dancing ” and Robyn ‘s choreography is meant to “ [ bring ] out ” a “ pissed off [ … ] department of energy ”. [ 44 ] [ 45 ] Robyn portrays the protagonist depicted in the song ‘s lyrics while lip-syncing its lines in three scenes in the center of the club ‘s dance floor, in a blue hallway of that cabaret and in a separate “ harshly illuminated rehearsal ” setting. [ 23 ] The microphone stand with no microphone in the latter setting BBC ‘s Fraser McAlpine argued was a deliberate focus as a metaphor for the song ‘s narrative. [ 46 ] Robyn is occasionally watching her antique with another charwoman and trying to get his attention in both club settings anterior to leaving – though not overtly, nor is there an obvious citation in the video recording as to who the ex-wife and his girlfriend are among the golf club goers. [ 47 ] ‘Decida ‘ subsequently explained to Billboard that “ angry ” stage dancing was inspired by “ her own experiences as a adolescent ” channeling “ Rosie Perez ’ s dancing sequence in the open credits to Do the Right Thing ( 1989 ), ” [ 44 ] while another choreograph here and now of Robyn ‘s “ making out with yourself dance ” where she turns “ her back to the camera ” and feigns familiarity with another person by “ wrapping her arms around herself ” was meant as a “ moment of levity ” from her “ serious-faced ” attempts to get her antique ‘s attention, and she would continue to use both moves in subsequent survive performances of the song. [ 23 ] Reassessing her style in the video recording with i-D years late, Robyn said she “ sleep together ” her wardrobe consist of Philip Van De Roq jewelry chains attached to her ear and lapel, an change Alexander Wang dress, and Sandra Backlund knitted armor, and alone disliked her “ hair’s-breadth ”, which she found “ absurd ”, thinking she “ [ was n’t ] sure what we were thinking there ! ” [ 48 ] Ryan Dombal of Pitchfork wrote of the video recording, “ When you ‘re a star, sometimes all you need to do is put on a casually stylish equip, gaze into a lens, move your limb approximately in a rhythmical manner, and — precisely like that — a high-quality music video recording is born. Robyn is a asterisk. And that ‘s precisely what happens in this video. ” [ 49 ] Leslie Simon of MTV Buzzworthy named it a “ Video You Need To Know ” and wrote, “ Amid a sea of stroboscope lights and PDA-stricken couples, Robyn seems conservatively fed up with dancing solo. Sad. We ‘ll dance with you, dame ! ” [ 50 ] Jake Hall of Dazed saw the video ‘s “ stand-out moment ” as accompanying the song ‘s “ forge drum conversion into the final choir ”, when Robyn is shown “ ruthlessly throwing punches as stroboscope lights frame her wounded aggression. ” [ 51 ]

reception [edit ]

critical [edit ]

Luke Lewis of NME praised it as “ a comet-trail of sadness and exhilaration that ‘s easily the equal of Robyn ‘s discovery hit, ‘ With Every Heartbeat. ‘ [ 52 ] Fraser McAlpine of BBC Radio 1 was stunned at the about-face from the “ fragile waif ” displayed in that prior song, praising Robyn ‘s “ constantly [ … ] ready-packed ” spokesperson “ with a solid populace of pain and pain ”, the birdcall ‘s “ punishingly tough ” output and newly narrative, and her “ formidability ” which “ lies in her ability to express sum agony, and total assurance at the same meter, via the medium of a mournful chorus [ … ] 5/5 stars “ [ 46 ] Nick Levine of Digital Spy lauded the “ misty-eyed electro-disco tune ” he similarly found “ every act as affectional ” as her singles from Robyn, including “ ‘ Be Mine ! ‘ [ … ] If your bottom brim ‘s not quivering like the bassline by the time the second chorus hits, you ‘ve taken waaay excessively many mood stabilisers [ … ] 5/5 stars “ [ 53 ] Pitchfork ‘s Ryan Dombal appreciated it showed “ the scuffs on her scepter ” in comparison to her promotional singles from Body Talk Pt. 1, awarding it their ill-famed “ Best New Music ” label the day of handout, and the exit ‘s Tom Breihan during its promotion would deem it her “ Euro-pop masterpiece. ” [ 54 ] [ 55 ] The Guardian ‘s Michael Hann stated that birdcall ‘s “ pulse synths and electronic percussion wield to sound both jackbooted and ineffably melancholy. ” [ 56 ] Jer Fairall wrote for PopMatters that “ [ deoxythymidine monophosphate ] he aggressive stun-gun rhythm of ‘Dancing On My Own ‘ ca n’t hide a authoritative drama-played-out-on-the-dancefloor scenario inherited from standard bearers like ABBA ‘s ‘ Dancing Queen ‘ and Madonna ‘s ‘ Into the Groove ‘, nor is it cold enough not to melt at the touch of Robyn ‘s warm, yearning vocals or the birdcall ‘s shimmering keyboard chime. ” [ 57 ] Slant Magazine named “ Dancing On My Own ” the best song of 2010, writing : “ few artists risk Robyn ‘s emotional nakedness, and with ‘Dancing on My Own ‘ she reveals the exquisite flipside to her more endow ‘ With Every Heartbeat ‘ ”. [ 58 ] The Guardian named it the best sung of the year equally well, writing : “ ‘Dancing On My Own ‘ is an extraordinary addition to Robyn ‘s canon of skewed love songs ; thoughtful and romantic adequate for stuck-on-repeat heed, but with a popular sensitivity that makes you want to head out in research of a dancefloor. ” [ 56 ] Pitchfork named it the fourth best of 2010, saying that it “ attest [ s ] she is the Rocky Balboa of pop music. ” [ 59 ] Rolling Stone named it the twenty-sixth good song of 2010, writing : “ The swedish prima donna spots her beloved with another daughter – then turns her sadness into sparkling dad, arrant for solo freakouts. ” [ 60 ] The birdcall landed at number six on MTV ‘s Best Songs of 2010, with James Montgomery writing : “ arsenic soon as ‘Dancing ‘ gets to that bloodcurdling build up – a breathless rush of drums and adrenaline – you ‘re no longer thinking about what Robyn ‘s saying, very. ” In January 2011, the American music magazine The Village Voice ‘s Pazz & Jop annual critics ‘ poll ranked “ Dancing On My Own ” at number three to find the best music of 2010. The birdcall was nominated at the 53rd Grammy Awards in the category Best Dance Recording, [ 61 ] but lost to “ only Girl ( In the World ) “ by Rihanna. [ 62 ]

commercial [edit ]

“ Dancing On My Own ” debuted at phone number two on the Sverigetopplistan chart on the issue dated 11 June 2010. The following weeks, the birdcall ascended and descended between number two and number three, before reaching the top side on the issue dated 30 July 2010. [ 63 ] The song became Robyn ‘s foremost act one on the chart, deoxyadenosine monophosphate well as her seventh top-ten murder. [ 63 ] In Denmark, “ Dancing On My Own ” debuted at count thirty-three on the offspring dated 18 June 2010. After steadily ascending on the chart for several weeks, the song reached its extremum of number two on the exit dated 6 August 2010. It has since then been certified platinum by the International Federation of the Phonographic Industry in Denmark for selling over 30,000 units. [ 64 ] In Norway, the song debuted at numeral six, which became its bill. [ 65 ] The song peaked at number twenty-two on the European Hot 100 Singles chart, becoming her highest-peaking birdcall on the chart. On the UK Singles Chart, it debuted and peaked at number eight on the issue dated 26 June 2010, [ 66 ] immediately becoming Robyn ‘s best charting individual in the nation since “ With Every blink of an eye ” in 2007. [ 66 ] “ Dancing On My Own ” besides reached count three on the UK Dance Chart. [ 67 ] In the United States, “ Dancing On My Own ” debuted at issue forty on the Hot Dance Club Songs chart. On the topic dated 17 July 2010, it reached its top out of total three and stayed on that position for two weeks. [ 68 ]

Performances [edit ]

On 5 June 2010, Robyn gave her live premier of the track ‘s midtempo interpretation for Sommarkrysset on TV4 at the Stora Scenen in Stockholm ‘s Gröna Lund entertainment park. On 16 June 2010 Robyn premiered the downtempo version of the chase on BBC Radio 1 ‘s Live Lounge. [ 30 ] [ 69 ] The first live performance of the track on US television receiver was on the Late Show with David Letterman on 19 July 2010. [ 70 ] On 12 September 2010, Robyn performed a remix of the midtempo translation with DJ deadmau5 at the 2010 MTV Video Music Awards, truncated by a commercial fracture. [ 71 ] The two did not rehearse the performance until the good morning of the read, and Robyn said, “ I met him for, like, five minutes, and then we were playing. ” [ 72 ] In 2010–2011, Robyn performed the birdcall on early american television receiver shows such as Late Night with Jimmy Fallon, [ 73 ] The Tonight Show with Jay Leno, [ 74 ] The Ellen DeGeneres Show [ 75 ] Jimmy Kimmel Live! [ 76 ] and Saturday Night Live. [ 77 ] She besides performed it at the 2010 Nobel Peace Prize Concert in Oslo, Norway. [ 78 ] On 17 January 2011, Robyn attended the Grammisgalan to accept the awards for Best Song ( for “ Dancing On My Own ” ), Best Album, Best Female Artist and Best Composer. [ 79 ] On 15 March 2011 she performed the song along with “ Fembot “ and “ With Every Heartbeat “ at Studio Hamburg, Germany as part of a promotional mini-concert for Deutsche Telekom ‘s Telekom Street Gigs, subsequently broadcast on ProSieben ‘s We Love In Concert serial. [ 80 ]

bequest [edit ]

Anticipation among respective music journalists surrounding Robyn ‘s social media announcement on 27 July 2018 of her first gear dismissal of solo material in eight years, “ Missing U “, began a reappraisal of the forte of her Body Talk series ‘ “ anchor ”, [ 81 ] the original album version of “ Dancing On My Own ”, and more broadly, its impact on early melodious artists and the diligence as a solid in the years that followed. In June 2018, Rolling Stone ranked that translation of the song 19th on its list of ‘The 100 Greatest Songs of the Century – So Far ‘, [ 82 ] in July 2018, NPR ranked it as the 49th greatest song by a female or nonbinary artist in the twenty-first century, [ 83 ] in March 2020, after compiling over 35 ball-shaped outlets ‘ countdowns and 550 tracks, critics ‘ algorithmic collector Acclaimed Music named it as the greatest song of the 2010s, [ 84 ] and in October 2020, The Guardian ‘s Alexis Petridis called it “ the greatest popular single of the past 20 years ”. [ 85 ] The path was considered the greatest of the ten by Rolling Stone, [ 86 ] NME, [ 16 ] Stereogum, [ 87 ] Slant, [ 88 ] Consequence, [ 89 ] AP, [ 90 ] Insider, [ 91 ] Esquire, [ 92 ] iNews, [ 29 ] Vanyaland [ 40 ] and Audiofemme. [ 93 ] Time, [ 94 ] NPR listeners, [ 95 ] Paste, [ 96 ] Good Housekeeping, [ 97 ] The Interns [ 98 ] and The Wild Honey Pie [ 99 ] ranked it second, Pitchfork third, [ 100 ] Elle [ 101 ] and Treble [ 102 ] fourthly and USA Today ninth. [ 103 ] Gorilla vs. Bear ranked it 12th, [ 104 ] Crack Magazine 13th, [ 105 ] NBHAP 15th, [ 106 ] Uproxx 18th [ 107 ] and Harper’s Bazaar 22nd. [ 108 ] In September 2021, Rolling Stone, from a poll of more than 250 artists, musicians, producers, critics, journalists and industry figures, ranked “ Dancing On My Own ” at issue 20, between Billie Holiday ‘s “ Strange Fruit “ and John Lennon ‘s “ Imagine “, on their reissue list of “ The 500 Greatest Songs of All Time ”, the ten ‘s highest entrance on their list. [ 6 ] Released at what Harper’s Bazaar ‘s Natalie Maher deemed “ the stature of the crop up rebirth ” of the late 2000s/early 2010s, several columnists thought it took a ten for the song ‘s influence to be appreciated critically ascribable to the shrill contrast with its initial commercial reception, a consequence of several factors including its tonicity and subject. “ Seamlessly usher dance music to the forefront of the pop continuum by making a record and a single that was easily adaptable to radio play but did n’t alienate its sensitive emotions, delivering a certain border and undeniable melancholia ”, it arrived “ equitable when brainless EDM started taking off in the US ”, and as Treble ‘s Jeff Terich observed, “ the supporter of every other popular hit from the early half of the decade [ turned ] a possible sexual meet with a cabaret fling into the ‘Most Important Moment on Earth, ‘ ” ( and Robyn reminded us that “ no, it does n’t constantly work out that way ” ). [ 102 ] “ Never touching the Hot 100 ” as Pitchfork ‘s Ryan Dombal noted [ 109 ] Fawbert saw it taking “ another nine-and-a-half years ” to reveal its shock over the course of the decade after “ slowly unleashing its tentacles and hooking itself around the music world. ” The song “ heralded the end of the glitzy, VIP-filled, champagne-drenched ‘Club ‘ era of songwriting ” in Fawbert ‘s opinion, and it “ changed the trajectory of pop, indie and dance. ” Insider ‘s Callie Ahlgrim wrote that the song “ served as a lodestar for sol much of this ten ‘s start ” when “ the best work of countless female pop stars ” that followed “ beared the scar of her key signature poptimism “. Ahlgrim said that, without Robyn ‘s determine, there would be “ no Carly Rae Jepsen, no Charli XCX, no Lorde. ” [ 110 ] Max Martin ‘s coach said that Martin thought “ Dancing On My Own ” was “ one of the best start songs ever made, ” and years late at a dinner he told her that he continued to have a “ lot ” of female artists come into his studio, “ … put your album on the table, ” and say, “ I wan sodium make this ! ” Robyn described his response as “ Well, fuck you, go solve with her then ! ” which she found “ identical sweet. ” [ 5 ] In October 2020 The Guardian ‘s Alexis Petridis detailed the track ‘s “ brilliant electronic boot of the old disco trick whereby euphoric club music is paired with lyrical despair ” and Pitchfork ‘s Jamieson Cox saw a exchangeable moral force when comparing her output to fellow Swedes ABBA for a September 2019 retrospective of their iconic greatest hits compilation released in 1992, expressing that she “ became one of this ten ‘s big pop heroes by pinning down that like sad-ecstatic balance and welding it to modern, mesomorphic product. ” [ 111 ] NBHAP ‘s Norman Fleischer besides felt ABBA ‘s hymn “ Dancing Queen “ had “ last found a proper successor ” in Robyn ‘s track. [ 106 ] Seeing the domination over the music landscape by the close of the 2010s of this kind of song “ whose instrumental sets you up for estimable times, only to sucker punch your heart with lyrics of Biblical sadness, ” BBC ‘s Mark Savage entirely credited Robyn and the single, arguing the “ sad firecracker ” had intelligibly “ influenced an entire coevals of songwriters. ” [ 112 ] To that end, Lorde shared with Vice her “ friendly fixation ” with Robyn, including keeping a framed portrait of her on the piano during her performance of “ Liability “ on Saturday Night Live and in the studio apartment as a “ patron enshrine ” to watch over the Melodrama sessions. [ 113 ] [ 114 ] Héloïse Letissier of Christine & the Queens, who presented Robyn with the award for Songwriter of the Decade, said that “ as a songwriter I can alone marvel at a birdcall like ‘Dancing On My Own ‘ … it ‘s a muffin of pop. ” [ 5 ] Pop stars Charli XCX and Zara Larsson acknowledged Robyn ‘s influence, with Charli expressing that “ Robyn has decidedly been part of paving the means for pop stars who fall a little to the left of the Top 40 average, ” and Zara saying, “ She ‘s what I strive to be in a sense of making my own choices and staying true to myself. ” [ 115 ] Becoming what NME ‘s Eli Hunt described as the “ queen of the misfits, ” [ 116 ] Robyn has been described as a gay icon because of the popularity of “ Dancing On My Own ”, itself described as a homosexual hymn. [ 117 ] [ 118 ] Robyn said she “ felt connected to the cheery audience because there ‘s an element to the culture that you have had to think about or make up your heed about what it is to be an outsider … ” [ 119 ] By the late 2010s out singer/songwriter Sam Smith expressed that they thought the cut made Robyn “ a huge part of the LGBTQ community because we get to dance our trouble away. ” [ 112 ] Rolling Stone ranked “ Dancing On My Own ” at number 20 on their list of “ 25 substantive LGBTQ Pride Songs ”, describing the sung as “ deeply evocative to queer, marginalized people. ” [ 120 ]

Formats and track listings [edit ]

  • Australia digital download[121]
  1. “Dancing On My Own” (Radio Version) – 4:39
  2. “Dancing On My Own” (Rex the Dog Remix) – 6:25
  • Germany/UK CD single[122]
  1. “Dancing On My Own” (Radio Edit) – 3:37
  2. “Dancing On My Own” (Rex the Dog Extended Remix) – 7:28
  • Germany digital EP[123]
  1. “Dancing On My Own” (Radio Edit) – 3:37
  2. “Dancing On My Own” (Radio Version) – 4:36
  3. “Dancing On My Own” (Buzz Junkies Edit) – 4:06
  4. “Dancing On My Own” (Album Edit) – 3:37
  5. “Dancing On My Own” (Rex the Dog Remix) – 6:22
  6. “Dancing On My Own” (Azzido Da Bass vs. Dirty Disco Youth Remix) – 5:52
  7. “Dancing On My Own” (Jakwob Remix) – 4:10
  8. “Dancing On My Own” (Buzz Junkies Remix) – 5:57
  • Germany digital EP – Part 2[124]
  1. “Dancing On My Own” (Michael Woods Remix Edit) – 4:43
  2. “Dancing On My Own” (Michael Woods Remix) – 7:45
  3. “Dancing On My Own” (Michael Woods Remix Instrumental) – 7:46
  4. “Dancing On My Own” (Jakwob Remix) – 4:10
  5. “Dancing On My Own” (Fred Falke Radio Edit) – 4:21
  6. “Dancing On My Own” (Fred Falke Remix) – 7:30
  7. “Dancing On My Own” (Fred Falke Instrumental) – 7:30
  8. “Dancing On My Own” (Rex the Dog Extended Remix) – 7:28

  • Sweden/US digital download[125]
  1. “Dancing On My Own” – 4:48
  • Sweden digital EP – Remixes[126]
  1. “Dancing On My Own” (Fred Falke Remix) – 7:30
  2. “Dancing On My Own” (Jakwob Remix) – 4:10
  3. “Dancing On My Own” (Michael Woods Remix) – 7:45
  4. “Dancing On My Own” (Chew Fu Remix) – 5:05
  5. “Dancing On My Own” (Rex the Dog Remix) – 6:25
  • UK digital EP[127]
  1. “Dancing On My Own” (Radio Version) – 4:39
  2. “Dancing On My Own” (Rex the Dog Remix) – 6:25
  3. “Dancing On My Own” (Buzz Junkies Remix) – 6:00
  4. “Dancing On My Own” (Jakwob Remix) – 4:10
  5. “Dancing On My Own” (Azzido Da Bass vs. Dirty Disco Youth Remix) – 5:51
  6. “Dancing On My Own” (Fred Falke Remix) – 7:30
  7. “Dancing On My Own” (Michael Woods Remix) – 7:45
  • US digital EP – Remixes[128]
  1. “Dancing On My Own” (Michael Woods Remix Edit) – 4:42
  2. “Dancing On My Own” (Michael Woods Remix) – 7:44
  3. “Dancing On My Own” (Fred Falke Remix) – 7:30
  4. “Dancing On My Own” (Jakwob Remix) – 4:09
  5. “Dancing On My Own” (Rex the Dog Extended Remix) – 7:27
  6. “Dancing On My Own” (Rex the Dog Remix Edit) – 3:24
  7. “Dancing On My Own” (Buzz Junkies Remix) – 5:59

Credits and personnel [edit ]

  • Robyn – music, lyrics, co-production, instruments, programming
  • Patrik Berger – music, lyrics, production, instruments, programming
  • Niklas Flyckt – mixing

reservoir [ 129 ]

Charts and certifications [edit ]

Calum Scott version [edit ]

Before he became celebrated, Calum Scott posted a cover adaptation to his personal YouTube impart on 1 March 2014, and late performed the birdcall for his hearing on Britain’s Got Talent in April 2015, the original cartridge holder of which has garnered over 415 million YouTube views. “ primitive about the [ music ] diligence ” and worried his “ career was over ” after he was n’t signed to Simon Cowell ‘s Syco Entertainment when “ the picture was over and it went lull ”, Calum thought his “ opportunity was gone ”. [ 151 ] Tracking the data behind the sudden originate in battle and speed of new subscribers to Calum ‘s channel over respective months, A & R executive Conrad Withey encouraged him to release the song officially. With Conrad ‘s second, Calum signed independently with Warner Music Group, and the birdcall was released as his debut solo one on 15 April 2016, with a 3 June 2016 secrete in early territories under Capitol Records. With this early exposure, Conrad ‘s Instrumental, a London-based AI algorithm -based A & R start-up looking to streamline “ notoriously ineffective methods of endowment discovery ” using internet battle to cut costs with a “ data-driven ” chopine that would controversially prioritize “ popular [ ity ] ” over “ art ” in support of “ on-line date ”, “ internet stars ” and “ brand and message partnerships ” rather than “ musicians ”, reversing preconceive notions of build fanbases from start by capitalizing on those that already existed, went on to contract their services with all the ‘ big 3 ‘ and revolutionize A & R sign of artists. [ 152 ] [ 153 ] Scott ‘s covering was noted for its “ easy stress ”, [ 154 ] with critical reception being polarized, and streaming performance being very strong in the UK and Australia, followed by sleeper hit longevity throughout Europe. Two EDM remixes of the cover were commissioned and released by Calum ‘s label from Tiësto on 15 July 2016 [ 155 ] and Hull -based Ben Dooks on 29 October 2018. [ 156 ] Different music television were commissioned and released late in 2016 for Calum ‘s embrace a well as the Tiësto remix .

critical reception [edit ]

reception to Calum ‘s covering was polarized. Metro Weekly ‘s Sean Maunier called it a “ leading ” confessional, noting its “ insidious even potent ” slender lyric changes to “ reflect his own have as a gay man ” that were “ casual ” yet still “ matter-of-fact, and all the more outstanding for it, ” [ 157 ] Ones to Watch ‘s Miro Sarkissian praised it as “ sandbag ”, [ 158 ] and Digital Journal ‘s Markos Papadatos found it “ wrinkle and haunting ”. [ 159 ] BBC Newsbeat ‘s Steve Holden wrote that Calum ‘s “ irregular lease of life ” he gave the song reached “ a far wider hearing in the mid-2010s ”, and Robyn shared with Steve she was “ super felicitous ” for Calum ‘s success that got people to “ know the song a little bite more ”, praising his “ voice ” and “ rendition [ … ] in a direction that ‘made the sung come animated again. ‘ ” [ 5 ] On the other hand, both Noisey ‘s Grace Medford and Dazed ‘s Jake Hall wrote drawn-out editorials harshly comparing Calum ‘s cover to Robyn ‘s original, similarly noting the irony of Calum pursuing the “ commercial mechanism of the music industry ” [ 51 ] which Robyn had rejected then lamenting his “ undeserved praise ” and “ chart dominating ability [ … ] for casting a miserable, faux-ballad shadow over a well-crafted pop sung ”. The erstwhile excoriated it as “ the aural experience of walking knee-deep in wet cement ” with an instrumental that had “ all the exuberance of a John Lewis Christmas advert “, a “ nasal whine the likes of which have gone unheard since James Blunt “, and “ breathy ” syllables “ bite [ erectile dysfunction ] ”, “ overenunciat [ erectile dysfunction ] ” and “ split ” to sound more “ regional and everyman ”, like the “ diffident guy ” at “ clear mic ”, [ 160 ] while the latter damned it with dim praise, arguing that despite his “ undeniabl [ yttrium ] saturated, talented, amaze voice ”, the cover “ stripp [ erectile dysfunction ] the song of its initial context, ” deeming it a “ formulaic piano ballad ” which “ lost the duality which made the original so incredible. ” [ 51 ] The Guardian ‘s Alexis Petridis besides felt his cover “ gormlessly sandblasted away the original ‘s emotional complexity – a identical realistic mix of despair, steely determination and euphoria – in favor of mournful bloke-at-a-piano emote ” [ 161 ] and Pitchfork ‘s Jayson Greene besides found it “ doubtful ” and “ weepy ” in comparison to Robyn ‘s. [ 154 ] Tiësto ‘s remix of Calum ‘s cover besides had a polarize reception. USA Today ‘s Bryan Kalbrosky dismissed it outright as “ subscript ”, arguing there was plainly “ no rationality to listen ” to it “ sol long as Robyn ’ s [ original ] exists ” [ 162 ] while Vents Magazine ‘s RJ Frometa complimented its “ glitter blend ” of Tiësto ‘s “ trademark family blend with a bracing, blissed out vibration, ” [ 163 ] and We Rave You ‘s Petar Lazarevic appreciated Tiësto “ lento envelope [ five hundred ] ” so far distillery left “ plenty of board ” for Calum ‘s vocals, building “ the presence of the glossy guitar riffs in the drop ” which evoked “ the faineant and comfortable feelings that accompany the early hours of the dawn after a fantastic night ”. [ 164 ] In March 2018, Scott revisited the interracial reactions to his translation. He said that those complaining he had ruined Robyn ‘s sung were counterbalanced by positive responses, for exemplify one person that had “ just written to me and said that they ‘ve come out to their family because of my rendition ”. He said he “ did n’t change the pronoun of the sung ” because he wanted the interpretation to always come from a “ homosexual man ‘s perspective ”. [ 165 ] [ 166 ] He said the cheery community have thanked him repeatedly for the birdcall, saying “ how much it means to them that they have a voice in music. ” [ 167 ]

Chart performance [edit ]

The cover went viral on streaming services, with Spotify tracking it reaching phone number one in six countries while ranking in the acme 10 in over 20, peaking at number 2 in the Global Viral 50. On iTunes it charted in the top ten in more than 12 countries. The cut had its greatest reception in the UK, where, despite short radio airplay ( apart from West Hull FM ), it climbed into the lead 40 and lento reached number 4 in July. It was then added to BBC Radio 2 ‘s C List playlist and peaked at phone number 2 on the UK Singles Chart on 5 August. The track remained in the top three four months after its release and late that year it was revealed it was the most buy sung of the summer in the country. Scott told the Official Charts Company on its reception there that he was “ absolutely over the moon ” at the news program. The track went on to become the best-selling UK unmarried by a british alone artist in 2016. [ 168 ] [ 169 ] In the subsequent months and years, the path became a moderate sleeping car hit in Europe, including by mid-2018 reaching 550M streams and becoming certified platinum in at least four countries. [ 170 ] Scott said in a press statement upon signing with Capitol Records in the U.S. that “ when I recorded the birdcall in my bedroom, I never thought for a second that it would reach equally far as it has and bring this level of support from literally all over the ball … I ‘m wholly overwhelmed by it all. ” [ 171 ]

Music video recording [edit ]

self-generated by Calum Scott and directed by Ryan Pallotta, the television was released on 15 June 2016. A crowd of mum people dressed in white are looking towards a light source. Among them, Scott mouths the song lyrics. A man and a woman move through the crowd to find each early. By April 2020 the television had received over 400 million YouTube views. [ 172 ]
Haley Fitzgerald and Josh Killacky dance in the Tiësto remix The official television for the Tiësto remix was commissioned by Capitol Records and released on 4 October 2016. [ 173 ] Co-directed by Josh Killacky and David Moore, and edited by Alex Ditommaso, the television depicts a man pursuing a womanhood who is no longer his lover. With Moore shooting video recording while riding a hoverboard in a blunt studio space, Josh Killacky and Haley Fitzgerald perform a modern dance routine, choreographed by Killacky. [ 174 ]

Media [edit ]

The overlay aired on the twentieth sequence, “ Kill ’em All ” of The CW series The Vampire Diaries, broadcast 29 April 2016, while Caroline makes soup for Bonnie while ranting to Alaric about Stefan, commitment and blockage. It besides aired on the 24th episode, “ band of Fire ” of the ABC series Grey’s Anatomy, broadcast 17 May 2017, while Nathan asks Meredith details about Megan, then hugs her in celebration and drives off. Scott promoted the track throughout 2016 and 2017 most notably on Late Night with Seth Meyers, Good Morning America, Elvis Duran and the Morning Show, Good Morning Britain, The Ellen DeGeneres Show, and Dancing with the Stars. Following the tenth sequence “ Brainwave Jr. ” of the DC Universe series Stargirl in July 2020, the brood “ racked up 10.5 million U.S. on-demand streams, along with 3,000 digital downloads, according to Nielsen Music/MRC Data ”, topping The Hollywood Reporter’ second Top television Songs Chart. [ 175 ] During the 2021 MLB Postseason, the Boston Red Sox adopted the Tiësto remix of the sung as their postseason anthem, playing the song in their celebrations after their baseless Card Game win over their rivals, the New York Yankees, and their series acquire over the Tampa Bay Rays. [ 176 ]

Awards and nominations [edit ]

Year Award Category Result
2017 Brit Awards British Single of the Year Nominated

weekly charts [edit ]

year-end charts [edit ]

Chart (2016) Position
Australia (ARIA)[205] 21
Denmark (Tracklisten)[206] 87
Netherlands (Dutch Top 40)[207] 84
Sweden (Sverigetopplistan)[208] 59
UK Singles (Official Charts Company)[209] 12
Chart (2017) Position
Denmark (Tracklisten)[210] 88
Netherlands (Dutch Top 40)[211] 67
Netherlands (Single Top 100)[212] 92
Portugal Full Track Download (AFP)[213] 40
US Adult Contemporary (Billboard)[214] 42
Chart (2018) Position
Portugal Full Track Download (AFP)[215] 182
Chart (2019) Position
Portugal (AFP)[216] 351

Decade-end charts [edit ]

Chart (2010–2019) Position
Australia (ARIA)[217] 66
UK Singles (Official Charts Company)[218] 54

Certifications [edit ]

early versions [edit ]

belgian singer Kato Callebaut performed Robyn ‘s downtempo adaptation as part of her audition on Idool 2011 then released her studio apartment top, receiving a gold documentation for 10,000+ copies sold. [ 233 ] american rock band Kings of Leon performed but never formally released a cover of Robyn ‘s ballad during a session on Zane Lowe ‘s display on BBC Radio 1, officially posted by the show to their YouTube distribution channel on 10 September 2013, which Billboard ‘s Jason Lipshutz went on to describe as an “ injection ” of its “ brawny Southern rock ‘n’ roll stylings ” with “ meaty guitar riffs ”, “ Caleb Followill ‘s signature growl in full effect ”, and with the “ ‘Whoa-oh-oh ‘s ‘ echo on the chorus ”, a remember of the singer ‘s “ epic “ Use person “ outburst ”. [ 234 ] Instinct ‘s Jeremy Hinks slammed it as “ nails on a blackboard, ” [ 235 ] while Spin ‘s Marc Hogan praised it as “ disarmingly effective ” and having brought out Robyn ‘s “ chic songwriting ”, noting their connection to her “ profoundly conflict relationship with mainstream achiever ”. [ 2 ] American A cappella group Pentatonix released a cover charge of her mid-tempo translation in July 2017 with a music video, presenting their first track as a quartet rather of a quintet. [ 236 ] american actress Elle Fanning performed the mid-tempo interpretation as the character Violet in the film Teen Spirit, released in September 2018, and her record, described as “ retiring ” so far “ impressive ” by MTV, [ 237 ] was subsequently released in April 2019 as part of its soundtrack with a promotional music television depicting her role, aiming for toss off stardom. [ 238 ] Singer/songwriter Kelly Clarkson covered the downtempo adaptation on 28 February 2019 in Dallas, Texas, on her meaning of Life Tour. [ 239 ] Robyn went on to tell BBC Newsbeat in 2020 that she “ actually liked ” Kelly ‘s version, noting “ she has a very mighty voice. She recorded one of my front-runner Max Martin songs, Since U Been Gone, which I covered in the Radio 1 Live Lounge. So that ‘s amusing. ” [ 5 ] alternative rock band Grouplove released an indie pop cover of the midtempo interpretation in March 2020, described as “ electric ” and “ passionate ” by Flood Magazine, [ 240 ] promoting it on Cover Nation, [ 241 ] Sirius XM [ 242 ] and ALT 98.7. [ 243 ] american english tribe singer Willie Watson, erstwhile founding member of Americana and bluegrass band Old Crow Medicine Show, released a folk version of the song in May 2020, dedicating it in a live current performance of the song from his own studio apartment to everyone “ dancing on their own ” amidst the COVID-19 pandemic. [ 244 ] [ 245 ] In December 2020 English singer/songwriter and model Karen Elson released a downtempo option country version on her EP, Radio Redhead, Vol.1. [ 246 ] [ 247 ]

References [edit ]

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