Ishawna – Equal Rights (Shape Of You Remix) EXPLICIT

I just got started
Wha’ you think one round can do?
Bumper to your forehead
Show me wha’ your tongue can do
If you no have it inna waist
You better have it inna face
Bright enough fi a look gyal fi shine you
And you no waan taste?
You have a clean mouth and your lips dem sexy
Treat me like a bottle a Pepsi
Your back nah no use and your face look cute
Deal with me like a bag juice
Me say, equal rights and justice
Nuff ignorant people a go cuss this
Me pussy tight, cut up your cocky like cutlass
But if you waan head, my youth, you haffi suck this
Bwoy, me nah go compromise
Me waan feel how your head feel between me thighs
Me waan look inna your dreamy eyes
When you a chew ‘pon me pum pum like french fries
You never hear ’bout foreplay?
A modern times now, boy, relax, it’s okay
If me ever bring it up inna the group chat
You get the threesome for your birthday
Cah you have a clean mouth and your lips dem sexy
Treat me like a bottle a Pepsi
Your back nah no use and your face look cute
Deal with me like a bag juice
Me say, equal rights and justice
Nuff ignorant people a go cuss this
Me pussy tight, cut up your cocky like cutlass
But if you waan head, my youth, you haffi suck this
Me love it when the man dem brave up
Cah nuff man have them good tongue a save up, hmm-mmm
That me like, when you eat me right
When you do it, me galang outrageous
Put your lips ‘pon me clit, make me gear up
Let out your inner freak, no bother cage up, hmm-mmm
That we like, when you eat we right
When you do it, we galang outrageous
You have a clean mouth and your lips dem sexy
Treat me like a bottle a Pepsi
Your back nah no use and your face look cute
Deal with me like a bag juice
Me say, equal rights and justice
Nuff ignorant people a go cuss this
Me pussy tight, cut up your cocky like cutlass
But if you waan head, my youth, you haffi suck this
Me no ‘fraid a nobody
And when me a talk, me no care who no like me
Me shave up me body
Me drink me pineapple juice nightly
Me take care a me body
So him supposed to nyam me nightly
Me no ‘fraid a nobody
Who no like me, dem fi bite me!
Cah you have a clean mouth and your lips dem sexy
Treat me like a bottle a Pepsi
Your back nah no use and your face look cute
Deal with me like a bag juice
Me say, equal rights and justice
Nuff ignorant people a go cuss this
Me pussy tight, cut up your cocky like cutlass
But if you waan head, my youth, you haffi suck this

Ishawna lyrics are copyright by their rightful owner(s) and Jah Lyrics in no way takes copyright or claims the lyrics belong to us.
Jah Lyrics exists solely for the purpose of archiving all reggae lyrics and makes no profit from this website.

Rihanna’s 10 Best Songs

At just 27 years old, Rihanna has dropped her eighth studio album Anti — meaning we have seven previous albums worth of songs to choose from to find her 10 very best.

We’ve combed RiRi’s vast catalog to collect her most iconic singles. There are a lot of tough choices to be made — after all, she didn’t become the first artist ever to sell 100 million songs for nothing. The pop powerhouse has done it all, from EDM to R&B to power ballads, and with assists from some of the biggest producers and songwriters in the business.

Here are the 10 best Rihanna songs so far, NOT including tracks on Anti — since that album just dropped, we’re letting it sit with us for a bit before we start considering it in the context of her full career.

10. Rihanna – “Diamonds” (2012)

The seventh-highest-charting single of her career, Rihanna’s foray into power balladry featured one of her most memorable vocal performances to date (it formed a neat companion to “Stay,” her next single off Unapologetic). “Diamonds” found the singer embracing dancefloor inflections in new way. With help from Sia, Benny Blanco and StarGate, Rihanna created an evocative pop smash that didn’t need nightclub appeal to hit the top of the charts.

9. Rihanna – “S&M” (2010)

“Na-na-na, come on,” is RiRi’s unflinching invitation on this sexual provacateur’s refrain. The thematic sequel to 2009’s “Rude Boy,” the single was a (still irresistible) walk on the wild side for Rihanna. She approaches the taboo with a radio-friendly wink, making it impossible (no matter your own preferences) not to sing along.

8. Rihanna – “SOS” (2006)

Taking the best part of “Tainted Love” and putting a modern spin on its theme of crazy-making affection, “SOS” was Rihanna’s first Billboard Hot 100 chart-topper. The intoxicating Rihanna song confirmed the singer’s status as the pop chameleon to beat — R&B chops over a retro, synthpop beat, combined to create a dance track ripe for international success.

7. Rihanna – “Hard” (ft. Jeezy) (2009)

Rihanna’s swagger anthem found the singer turning up the dial on her Barbadian accent to match the street-wise growls of Atlanta’s Jeezy — and it worked. “Hard” was the sugar-free single, all clanging cymbals and ominous synths courtesy of frequent collaborators The-Dream and Tricky Stewart. “I can’t just let you run up on me like that,” she sang, a self-defense likely directed at the clamoring media more than even her then-recent ex Chris Brown.

6. Rihanna – “What’s My Name?” (2009)

A comparatively gentle love song, “What’s My Name?” was Rihanna’s half of the two collaborations that resulted from her team-up with Drake (“Take Care” was his). She outshines his rote verse by a mile with her goofy refrain, her earnest affection bolstered by StarGate’s fairly restrained production. It’s RiRi at her most lilting — island-inflected R&B that’s as romantic as it is radio-friendly.

Rihanna Raises Over $3 Million & Lionel Richie Reclaims ‘Hello’ at Diamond Ball

5. Rihanna – “Rude Boy” (2009)

RiRi takes the reins on “Rude Boy,” the least explicit of her sex-positive singles (and, it should be noted, not an indictment of anyone’s politeness but rather the Caribbean’s rough equivalent of “gangster”). Backed by the echoes of steel drums, the singer insists on her sexual prowess while showing off her gift for unforgettable refrains.

4. Rihanna – “Only Girl (In the World)” (2010)

An uptempo, all-purpose dance song, “Only Girl” is saved from being a flash in the pan by Rihanna’s throaty, insistent singing. She manages to be both authoritatively seductive and coyly deferential, punctuating every persuasion with a breathy “uh” or “yeah” — combined with the song’s relentless pulse, it’s a universally-appealing, fist-pump-ready confection.

3. Rihanna – “Pon De Replay” (2005)

“Pon De Replay” may have been Rihanna’s debut single, but it was built on top of an already too-big-to-fail framework: Lenky’s undeniable “Diwali” riddim, the guts of crossover hits “Get Busy” (Sean Paul) and “No Letting Go” (Wayne Wonder) among many others. Stripped down, sexy and impossible not to move to, it’s pop-dancehall at its finest.

2. Rihanna – “We Found Love” (ft. Calvin Harris) (2011)

However you feel about Calvin Harris, this soaring house single is undeniable. It’s Rihanna’s diva moment — simple, but still unstoppable. It’s no wonder that this is her biggest single so far.

1. Rihanna – “Umbrella” (ft. Jay Z) (2007)

RiRi’s ride-or-die anthem is memorable from the first fat hi-hat. An easy metaphor and some “ellas” later, the world was under Rihanna’s spell. The-Dream and Tricky Stewart had concocted yet another R&B crossover hit — and the Jay Z assist didn’t hurt either. Undoubtedly the song that established her as a mainstream force to be reckoned with, “Umbrella” remains as simultaneously fresh and sweeping today as it did nine years ago.

6 Songs You Wish Were the New Rihanna Single

Rihanna’s long-awaited album Anti took a step toward the finish line with the release of her new Drake collaboration “Work,” on Wednesday. Given the three-plus year wait for a new Rihanna LP, any new material from the singer is welcome. But… “Work” is a tepid offering from a singer more beloved for her of-the-moment dance-pop bangers than her ballads. No matter how “timeless” she promises her incoming album will be, sometimes the Navy just wants to sweat. In that case, here are a few songs that will fill the void on your gym playlists:

“The Right Song” by Tiësto and Oliver Heldens featuring Natalie La Rose

If you’ve been asking “Where have you been?” to Rihanna’s EDM days, you can find love with this all-star collaboration straight out of the Netherlands: Dutch DJ-producer Tiësto, his wunderkind protege, Oliver Heldens and “Somebody” singer Natalie La Rose offer up a spring-loaded club-thumper that’ll make you feel like the only girl (or boy) in the world for just a few minutes.

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“I’m in Control” by AlunaGeorge featuring Popcaan

The English duo’s tropical new single features the kind of pulse-spiking bass drop more suited for hitting the beach, not a dark club. And yeah, it’s got some “Lean On” vibes going on, but Rihanna could have settled that territory first—Diplo originally offered the Major Lazer track to her team before releasing the song with MØ’s vocals.

“Cheap Thrills” by Sia

Of all the songs on Sia’s new album This Is Acting, which is made up of rejected tracks Sia wrote for other artists, none announces its intended singer like “Cheap Thrills”—the buoyant party anthem couldn’t be more Rihanna-esque unless Rihanna sang it herself. Ultimately, neither party thought it was a perfect fit: “I realized just as soon as I was cutting it that it sounded a little bit too Brit-pop for her,” Sia recently explained. “It’s more Icona Pop.”

“Reaper” by Sia

Yup, another Rihanna reject. Sia admits that she didn’t think the song was up the par, telling Rolling Stone, “I thought there was something about the chorus that seemed fun about this song, but I never thought it would see the light of day.” That’s Rihanna’s loss: “Reaper,” co-produced and co-written by Kanye West, is actually one of the best songs on This Is Acting.

“Lush Life” by Zara Larsson

As TIME declared last June, this 18-year-old’s island-pop stunner “Lush Life” was “the Rihanna-Style Summer Jam We Deserve.” Though Larsson hails from Sweden, far, far away from Rihanna’s home country of Barbados, she’s been dealing with Rihanna comparisons since the beginning of her career: “It’s just funny to me, because I’ve never idolized Rihanna the way I do Beyoncé,” she told PopCrush. “When I first released my music I did get that comparison a lot … it’s a good thing.”

“Hello Bitches” by CL

This solo track from a member of K-pop group 2NE1 is more focused on highlighting CL’s rap abilities than her singing skills, but with so many references to a jet-setting life of luxury, it’s basically Rihanna’s Instagram in song form—one that’s probably best enjoyed on a pair of $9,000 golden headphones.

Most Popular on TIME

Write to Nolan Feeney at [email protected]

Anti-Everything: The Culture Of Resistance Behind Rihanna’s Latest Album

Rihanna in October 2015, in front of the cover art for her album, Anti. Christopher Polk/Getty Images hide caption

toggle caption Christopher Polk/Getty Images

Rihanna in October 2015, in front of the cover art for her album, Anti.

Christopher Polk/Getty Images

The release of Rihanna’s much anticipated Anti was a mistake. Or it was on purpose? The album is “adrift,” “confused,” “not what we expected at all.” What’s Rihanna doing anyhow? Review after review has seemed to struggle with the Barbadian superstar — the coolest girl in the world is being just plain frustrating. But maybe that’s the whole point.

“That all these songs exist side by side reaffirm that Rihanna is our least aesthetically consistent — least aesthetically committed? — major pop star”, wrote Jon Caramanica in The New York Times. But could it not be that Rihanna’s aesthetic project might be consistently committed to representing Barbados and the Caribbean? As Rihanna’s fame grows, there seems to be less and less of a reference to the relevance of her Bajan roots. Yes, she’s super popular worldwide — despite the bumpy release of Anti, the album sold 124,000 copies last week, making it Rihanna’s second No. 1 album — but she is also from Westbury Road, Bridgetown, Barbados. And this matters. To understand Barbados and the Caribbean is central to understanding Rihanna.

“Rihanna wants to remind us of those Caribbean, Barbadian roots,” says Heather D. Russell, co-editor of Rihanna: Barbados World-Gurl in Global Popular Culture a 2015 book of scholarly essays on the phenomenon that is Robyn Rihanna Fenty, the most famous Bajan on the planet. Rihanna shouts out Barbados at awards shows, features her island home in videos, makes sure she’s always back home for the annual Crop Over Carnival, and soundtracks perfume launches with local soca. These roots in the Caribbean, however, are arguably front and centre on Anti, and it’s not just because there’s a cover of a 20-year-old dancehall reggae riddim that’s the foundation for the first single, “Work.”

Featured prominently as part of the album art — and featured in much of Rihanna’s recent self portraiture — is the crown of Neptune. It’s hard not to see this as a direct reference to the trident on the Barbadian flag. And on the wall of the first “room” in the Samsung-sponsored series of “ANTIdiary” videos — a room filled with white sand that would match the beaches in Rihanna’s home country — is a crayoned map of the world with Barbados, indicated in big letters, clearly between America and Africa. The historical relationships are not hidden.


The album is called Anti. It’s anti-establishment, anti-expectations, but it’s also anti-colonial. Is Anti also a wide-ranging commentary on relationships? Sure it is. That’s part of what makes it a consistent, coherent representation of the postcolonial. It doesn’t have to be (or want to be) one thing. Rihanna is a one-woman argument for the importance of cultural studies.

Jamaican-born cultural studies scholar Stuart Hall revolutionized his field by calling for the decoding of meaning from popular messages. From this perspective, Anti provides perhaps Rihanna’s most obvious pop music expression of postcoloniality. There are layers to the lyrics, the videos, the imagery on her Instagram to decode. “I do advise you,” Rihanna sings, “Run it back, run it on back, when you breaking it down for me”.

The struggle that reviewers seem to be experiencing seems to really be a struggle with language to frame her artistic output. The use of the fraught, exoticizing term “tropical” is emblematic of this difficulty to describe. People don’t know what to do with Anti and its lack of coherence. “And I think that’s radically Caribbean!” exclaims Russell. “They want to fix it into defined, pre-determined categories and they can’t. That resistance to conformity, that resistance to needing and pleasing and placating the global marketplace is absolutely very much situated within her context. Anti is actively telling you, song after song, that it’s not trying to fit.”

Listeners are presented with stripped down, early-2000s left field hip-hop on “Consideration,” folky guitar on “Never Ending,” the ’60s doo-wop swing of “Love On the Brain,” the smoky piano ballad “Close to You,” the dancehall rhythm of “Work” and that’s only a few. The range of stylistic experimentation serves to reinforce Anti’s resistance. Why can’t the record be more than one thing at once? “That persistent discomfort and dealing with ambiguity,” Russell says, “is something that Caribbean people have always been more comfortable with. Given the long history of imposed colonial culture, you are consistently challenging … you are working within to escape. That resistance to conformity, that resistance to needing and pleasing and placating the global marketplace is absolutely very much situated within her context.” Indeed, the challenge to borders and boundaries is part of the history and culture of the Caribbean.

One of the ways her roots and connection to the postcolonial space of the Caribbean has been successfully read in her music is through demand for reparations. Rihanna engages with repayment, entitlement and owing — and not just in the single “Bitch Better Have My Money,” as Doreen St Felix’s pointed out in her excellent piece “The Prosperity Gospel of Rihanna,” describing Rihanna as a “black wom recouping historical debts.” Sure, it can be read in the context of relationships, but her songs demand, to quote the title of the new album’s first track, “Consideration” — an analysis that perhaps sees a metaphorical discussion.

And in the context of Barbados, the demand for reparations is particularly significant. Rihanna’s demands for repayment are reflected in recent Caribbean conversation. “Barbados has a long history of public discourse and public activism,” says Russell, “The reparations discourse is not some Ivory tower thing. It has filtered into everyday talk. CARICOM has formalized its process. To assume that she would not be privy to this discourse would be naïve.” Months after Sir Hilary Beckles, historian and vice-chancellor of the University of the West Indies, released his book-length argument for reparations entitled Britain’s Black Debt, Ta-Nehesi Coates’s landmark article “The Case for Reparations” lodged additional and important support. Beckles, more than incidentally, is a Rihanna fan. He co-edited Rihanna: Barbados World-Gurl in Global Popular Culture alongside Russell. Right after a book on reparations, Beckles wrote about Rihanna.

With this in mind, take a listen to lyrics from the slow woozy R&B jam “Needed Me”. A third of the way in, Rihanna asks the question “Didn’t they tell you that I was a savage?”, following up with “F*** ya white horse and ya carriage / Bet you never could imagine / Never told you you could have it.” These phrases are framed as the beginning of a conversation between lovers — and the song has been hailed a female empowerment anthem of sorts — but Rihanna is also speaking against the larger narrative of colonialism and her work responds with multiple counter narratives.

Thus there are further layers to Rihanna’s project. From Bob Marley to Usain Bolt, the most visible space of the Caribbean in the popular imagination is Jamaica. But Rihanna is a Bad Gal from Bimshire, not a Bad Gyal from Jamrock. With her insistence on repping Barbados, it is always clear that Rihanna is a Bajan person who is interpolating Jamaican music and language — she chats Jamaican, not Bajan patois on “Work,” for instance — as well as numerous other types, styles, genres. This means that she not only challenges pop music, but also specific assumptions of that which equals Caribbeanness. It’s important to note, says Russell, that “some commentators and even scholars are guilty of presenting a dichotomy of Barbados as the little England, the ruly, conformist, conservative space and Jamaica as outlaw, unruly. Rihanna’s work radically disrupts that binary, and that’s important.”

Rihanna plays with her positionality as Bajan and Caribbean, but also American. She’s a huge star in the U.S.A., but she’s still speaking from foreign. The chemistry that exists between the Canuck Drake and the Bajan Riri is well acknowledged, but could it also be explained by seeing how the two are consistently speaking from spaces as outsider insiders? Canada and Barbados exist externally to the juggernaut that is American culture, but Aubrey Drake Graham and Robyn Rihanna Fenty have been able to navigate the waters of the U.S. pop music industry. Their collaborations, with “Work” being the most recent, act as a story of negotiation and navigation: from a ditty demanding name recognition, to a promise to protect each other through to Anti’s acknowledgement that continued resistance takes work. Cultural studies demands we take a look at this; saying “it’s only a song” holds us back from valuable analysis. The fact that she seems to continually produce these complicated cultural products means that it’s not possible to deny layers. Discussions of Anti in the context of how the pop music industry functions or should function leaves out the possibilities of situated, nuanced arguments that place her solidly within the frameworks of Barbados world girl.

Guyanese-Canadian poet Cyril Dabydeen has written of the “many selves” of Caribbean migrants. Rihanna presents a consistent, coherent aesthetic representation of this multiplicity of identities. She experiments with style, image, voice; evoking roots and staking out routes while challenging colonial, Caribbean and gender narratives, resisting fixity at every turn. And all this takes work, work, work, work, work.

Erin MacLeod teaches Caribbean Literature in Montreal, Canada.

Rihanna : ANTI World Tour – Stade de France, Paris (2016)

30 July 2016 – Rihanna : ANTI World Tour – Stade de France, Paris

Rihanna, it’s a bit the artist we love to hate. This tour is no exception to the rule : the singer is under fire from critics since its launch. Lack of investment, and unbalanced short setlist, scenography worthy of a fair, short, we have all heard 😅 As well tell you right away, I’m far from this view ! Yes, I too was disappointed by Rihanna, but it was 2010, when she was encumbered by a staging terribly expected, a far cry from what I witnessed Saturday night at Stade de France. To put things in context, ” ANTI “, it’s an album that I love – I think it marks a real turning point in his career, at all levels. And I guess that’s what she is trying to relay through this tour leaving out the tubes, and highlighting more intimate pieces of fundamentally different way.

It is 18 hours when you come around the stadium. Our tickets in golden circle in hand, one quickly finds among the other spectators in the space reserved for us. After a few minutes of waiting, DJ Mustard arrives for an inaudible set before being replaced by Big Sean. I would have much preferred The Weeknd who cowardly abandoned the tour a few months ago. It is a pity 😢 21 hours when the first part ends : patience is required until 9:50 p.m., time that Rihanna finally decided to enter the arena !

On the scene, absolute vacuum. Only a kind of giant mirror, which proves to be a screen, Overlooking the pristine white plate. One can see some pictures in black and white while the introduction of ” Stay ” starts in parallel. The side panels which broadcast the concert to the remotest spectators, Rihanna show through the crowd and joining the central stage behind us. She is dressed in white from head to toe : she wears a kind of hooded cape that allows him to conceal his face. Once arrived at his pillar in the middle of the stadium, it opens the evening by performing ” Stay ” which we had already heard a few notes before. At the end of the song, she takes the time to greet the crowd surrounding, before moving on another ballad : ” Love the Way You Lie “. She’s very voice and looks set to close the beak to the gossips accusing him of not knowing sing. To reach the main stage, it offers a walk over us on a glass platform on which she interprets ” Woo ” and ” Sex With Me ” you can find the video at the bottom of the article. I never thought I could see it as closely ! It’s literally a meter above our heads ! She seems happy to be there ! She is smiling, sexy, she moves like never : it promises an evening of thunder 👌

A raised platform is welcome on arrival, an opportunity for her to begin ” Birthday Cake ” accompanied by his dancers for a more sensual choreography. She left her jacket for a white body and a matching pair of waders. It is sublime ❤ She goes on one of my favorite songs : ” Pour It Up “. Spectators will have eyes only for her. On the scene, there is still nothing : she is alone with her two dancers. And I can assure you that it captures all the attention ! At the end of the song, she is joined by two other dancers ” Numb “. The atmosphere is tops in the pit and I’m quite surprised by the “civility” of spectators. It has room, it does not grow, it does not consuming : we rarely such good conditions in stage ! While the excellent ” Bitch Better Have My Money ” started, musicians are finally arriving on stage via a platform that rises gently from the bottom of the tray. They are six and are accompanied by three singers, all dressed in white, of course. The piece puts a crazy atmosphere in the public ! Rihanna multiplies sexy attitudes and faces at the audience’s attention. The title is clearly one of the highlights of the show, even if it is regrettable sound slurry in which voice is embedded.

She lets the dancers every effort to ensure the musical interlude, while in parallel the scene found scuba strobes. When she returns to ” Consideration “, she is dressed in a pale pink combination together with a long tail that it throws upon medley ” Live Your Life / Run This Town / All of the Lights “. She followed that with a small piece of ” Umbrella ” who has surely frustrated over a … Me, I’m not particularly unhappy that she had truncated, but I can understand disappointment ! She then welcomed us (it was time 😂), and we thank you for coming to see. She asks who listened to the album “ANTI”. obviously, most people raises his hand and shouts. With a big smile, she says her question and asked that truly bought the record She goes on 😆 ” Desperado ” before leaving the stage and make way for his guitar solo rock ‘n’ roll.

The atmosphere changes completely everything to the next section. On a remix ” Man Down “, three of his dancers contort come before us by multiplying the impossible movements. When she returns, she wears a new outfit – probably the most beautiful of the whole show : a semi-transparent combination spangled, together with a huge purple cape, she gets rid from the end of the title to follow on ” Rude Boy “. She is really beautiful 😍 Parallel, four huge inflatable bubbles are appearing on stage. Good, we do not know why they are there or really what they are for … but they create some movement in this minimalist set design. This is all smiles she moves on ” Work ” that puts a crazy atmosphere in the stadium ! She tells us that ” Party time ! ” and asks us to put our picture and our phones devices … unless it’s to take pictures of her 😜

The stage is adorned with a multicolored coat. Rihanna is joined by two voguing dancers who offer us an exceptional show on a remix ” Take Care ” the Drake. It’s great fun ! While a huge transparent fabric stands upstage and visual atmosphere takes a psychedelic twist, we recognize ” We Found Love ” that boasts a completely new arrangement. Rihanna tries steps from voguing with her dancers mingling its flagship few extracts ” How Deep Is Your Love ” one of the latest success of Calvin Harris. But the real highlight, Then he comes up with ” Where Have You Been ” – PERFECTION AT ALL LEVELS ! I loved the choreography, l’arrangement tribal, visual atmosphere, and above all the atmosphere of crazy that there was in the audience this time ❤

Contortionists dancers are back for sure next interlude while musicians meet again under the stage. They are reappearing with Rihanna, for ” Needed Me “. The club atmosphere gives way to a much more sedate atmosphere and it feels even holding the singer. She is dressed in a brown suit – too big for her – involves a strapless and a huge pair of sunglasses. There she can wear that stuff 😂

The following, this is one of my favorite songs of “ANTI” : its recovery Tame Impala, ” Same Ol’ Mistakes “. To accompany, include psychedelic projections club section. She then took a break to say a few words on the attacks that took place in France, in November, especially near the Stade de France, Nice and just a few days, and we dedicate ” Diamonds “. A full sequence of emotion you can find at the end of this article. Behind her, it is a real curtain of foam that starts to drip …. At the beginning, seeing the pictures of the tour, I thought it was a video projection, but also absurd as it sounds, these are genuine mounds of foam tumble on stage. She says she loves to give concerts in Paris because she knows that we are always at the rendezvous, and the atmosphere is always excellent. It then presents his team quickly before noticing a sign in front of her … She asked the hold. It is stated there ” Robyn, do you want to smoke with me ? “, to which she responds naturally : ” YES YES ! “.

She goes on ” FourFiveSeconds ” causing a wave of euphoria in the stadium : the song seems especially appreciated by the public. Everybody sing from beginning to end ! It’s amazing for such a different way from the rest of his repertoire. I really like the simplicity with which it evolves on stage on this tour, including those pieces then. It allows him to reveal another facet of his talent and personality. The audience then calling him ” Love On The Brain ” who is, according to her, his favorite of “ANTI”. Vocally, And she assures me 👍, I got ahead of the release of the concert to the house ! This register fits like a glove. While the foam begins to accumulate at the bottom, it’s time for Rihanna to close the evening with a last title, become over the plays my favorite of all time : ” Kiss It Better “. It’s magic ! At the end of the song, it takes a few minutes to greet the crowd, and thank us for coming to attend the concert. She crosses the stage from both sides for several minutes : it’s something I really enjoyed. This is quite unexpected share. 1h30 any battery concert, it’s better than what I expected : and I honestly prefer a short and intense show rather than long and exhausting. But everyone will not agree with me 😉

That’s my version of the story. I know it differs from many other chronic, but you know me, I do not usually adapt my opinion based on what I read and what I hear. I hope I have given you want to discover this tour because it reveals a very interesting facet of Rihanna and I wish to continue on this path.

Regarding the setlist, it lacks effective things, I found it quite balanced, the sequences are fluid, the show gives pride to his latest album, and its stage adaptation is particularly successful. What I would have liked to hear more, c’est ” This Is What You Came For “, featuring with her Calvin Harris : it would be integrated into the “club” section. The scenography now. Being particularly close to the stage, I could see all the little things, and enjoyed the different ideas they have put in place on this tour. Me the minimalist side does not bother me, reminded me of Kanye West, that I love, and is doing very well with nothing …. But I also put in the place of people in bleachers, and wondered what it could make it “by far”. Surely not much 😕 The show would probably have benefited from being seen in the dining room rather than stage.

On another side, through this staging, she proved she was sufficient unto itself. What I had criticized tour 2010, was that there were too many things and finally we did not see. Here it is the opposite, we see it and it’s so much better 😍 She is sublime, she sings well, she moves well, she seems to have fun, me that’s enough ! She has this little sparkling eyes and a mischievous smile throughout the show, It’s nice to see. Vocally she is doing very well, there are always a few falsehoods, and she has this thing to blackmail the public about half the songs that can irritate. But we also want to participate, non ?! And that’s exactly what it gives us. Short, I spent a great evening, I loved the show 2013 and I liked this one too. This is not the same thing and after all better : I can not stand the artists who offer exactly the same show every time and I have lots of examples of artists who are struggling to renew tour after tour. If it does not like you, maybe the next will please you or vice versa. There was also a lot of waiting I think, it is easily projected onto what we want to see, what we want to hear, and it is frustrating when it does not just falls. I had seen some images of the show before you go, So I was not surprised by the bias, but the person with whom I had not seen and loved the show from start to finish. There are really no rules.

It ends with the photos and videos of the evening. Continue to leave your comments : I am always very happy to talk with you ! I also invite you to discover the minutes of the previous tours I attended just by clicking here : Diamonds World Tour – Stade de France, Paris (2013) and Last Girl on Earth Tour – Halle Tony-Garnier, Lyon (2010). See you in September with a big surprise. Follow me on social networks – Facebook, Twitter and Instagram – if you want to know more, for I will give you some clues in the coming days … I think it will please you much 😛

Setlist : Stay / Love The Way You Lie / Woo / Sex With Me / Birthday Cake / Pour It Up / Numb / Bitch Better Have My Money / Consideration / Live Your Life / Run This Town / All Of The Lights / Umbrella / Desperado / Man Down / Rude Boy / Work / Take Care / We Found Love / How Deep Is Your Love / Where Have You Been / Needed Me / Same Ol’ Mistakes / Diamonds / FourFiveSeconds / Love On The Brain / Kiss It Better

Also available in video YouTube : Sex With Me – Bitch Better Have My Money – Kiss It Better

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