On a TikTok stream of the show, Swift commented that she could have played the song “better in a higher key, so that’s technically a mess up. Swift has already hinted that this may be the case with “Clean,” which she dedicated to opener Gracie Abrams at her April 1 show in Arlington, Texas. Listen Now Browse Radio Search Open in Music. Stream songs including 'Invisible Cities', 'Bumbo' and more. With 10 studio albums under her belt, Swift said that she has enough songs to cover the 52-date trek without repeating any - but if she ever feels like she didn’t give a performance her all, there’s a chance she might give a certain song another go. Listen to Invisible Cities by Nomo on Apple Music. Since then, she has surprised audiences with songs including “State of Grace,” “Our Song,” “Cowboy Like Me” with special guest Marcus Mumford, “Sad Beautiful Tragic” and “The Lucky One.” British heavy metal legends IRON MAIDEN were presented with a gold disc by Tony Harlow, the head. with “Mirrorball” from “Folklore” and “Tim McGraw” from her 2006 self-titled debut album. Swift kicked off the tour in Glendale, Ariz. A first rate illustration of growing musical ambition and inventiveness.Ever since the first night of Taylor Swift’s Eras Tour - when the pop star announced she’d be performing two surprise acoustic songs at every show - fans have been waiting with bated breath to find out which gems from her discography will be unearthed next. The sparingly-used vocals enhance the instrumentation that, itself, moves between the minimal and the more full-blooded. It’s a record of successful explorations of musical avenues. The languid piano introducing “The Divided City” leads to an arresting, wholly-convincing swerve in the strings that, in turn, dies away before the rhythm picks up in the following track emphasising strings more fully, and then a delightful Bach-style cello theme brings in “There Is One of Which You Never Speak” collapsing into a fierce electrical sizzle. The consistent delicacy of Dustin O’Halloran’s piano often contrasts with some threatening industrial-type effects or thunderous orchestral surges. 2019s edition featured Invisible Cities, a sparkling new adaptation of Italo Calvinos 1972 novel. Invisible Cities were four friends operating bass, drums, guitar, viola, and sometimes a keyboard. That ambiguous area between the factual and the fictional is suggested from the outset on this album, as the swelling instrumental of the (significantly titled) “So That the City Can Begin to Exist” gives way to an angelic eight-voice choir sound of “The Celestial City” against a slightly discordant pulsing rhythm an uneasy balance of the kind that is so well handled across the record. This is echoed here, with the introduction of sound effects that are always interesting and never gratuitous, as they take themes and ideas in original directions. Calvino’s literary style is unorthodox, rarely offering a traditionally linear narrative instead, favouring structures and register shifts that call into question his readers’ usual assumptions. Such deliberately unsettling intrusions testify to AWVFTS’s willingness to go further beyond the more immersive that was a dominant characteristic of their earliest recordings. So, appropriately enough, “Thirteenth Century Travelogue” suggests a contrast between the real and the imagined (or between the genuine and the fraudulent), as the ambient texture is cross-cut by a slightly sinister metallic sound that uneasily breaks up the underlying majestic harmonies. The recognisable wide-angle instrumental soundscape now incorporates some intelligently-arranged vocal elements at key points, serving well to convey contrast and dramatic effects arising out of Marco Polo’s verbal images which have long exercised scholars’ views on the disputed matter of their truthfulness.
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