8/1/2023 0 Comments Tai verdes stuck in the middleVerdes posted a teaser to “Stuck In The Middle” on TikTok. The artist’s new manager, Ryan Chisholm, highlights the rarity of the artist’s strategy: “I’ve never seen an artist use TikTok as a storytelling mechanism the way he does,” he said. Verdes has critically assessed TikTok, which he uses to draw listeners into the music-making experience and even acquaint them with Verdes as a persona. The unadulterated delight “TV” ladles on listeners is the product of an individual going all in: to his sound, songwriting, and even marketing - and even when spreading the word means using TikTok in a manner previously untried. From TikTok to Spotify: Commercial Strategy The album evokes the image of friends chilling by the pool, talking and laughing together, as well as the feeling of alone-in-the-bedroom catharsis. Simply put, “TV” relates contradictory feelings - and this resonates with his audience, who experience the same thoughts every day.Įasy-on-the-ears appeal coats such unpleasant thoughts and emotions, as sonically rich tunes and a few fun sound effects make “TV” a delightful pill to swallow. Half of him enjoys drugs with abandon - while the other half looks on, askance, guilty, and scared to tell his parents. He admires his girlfriend yet fears to commit to the future. Verdes’ speaker knows that he should pursue a career in music instead of graduating college to work in corporate America, yet he still feels left out about it. One of the greatest strengths of “TV” is its lyrical tension. “My therapist would be so proud of me/ Oh, I’m writing all of my feelings down.” In “DRUGS,” Verdes says of marijuana that he “only need it sorta kinda.” “Something To Cry About,” for example, unapologetically asserts the artist’s codependency: “I’m loving you so unhealthily,” Verdes sings. In other moments, Verdes’ honesty elicits laughter. The artist’s first-person lyrics don’t sugarcoat reality, with enough specificity for listeners to wonder how Verdes managed to share his creation with the world, especially the parents and ex who figure in the narrative. “’Cause now, I’m sensitive as f-.” The music pauses then, as a kind of defensive afterthought, Verdes adds, “b-.” The rapid beat of “rEaL WOrLD” slows as Verdes drops words like descending steps on an escalator: “I’m only taking really, really positive, constructive comments, he says. His speaker knows that he made the right choice but feels left behind nonetheless, an experience as “irrational” and persistent as feeling ghost limbs after amputation. In opener “rEaL WOrLD,” for example, Verdes examines his battling emotions about dropping out of college to pursue a musical career. Verdes’ lyrics explore many themes: weakness, affection and a strong desire to do better, as well as an inborn sense that he will, somehow, turn out “A-O-K.” Insecurity, however, dominates the word count. They expose the selfish and petty motives of each listener - and, as a result, create a cathartic sense of freedom. Though the album’s sounds lift serotonin levels with simple bodily pleasure, Verdes’ lyrics invoke a more complicated response. Later, when the choruses swing into motion, guitar, claps and piano implore listeners to get out of their seats and into the kind of dancing that raises the heart rate but doesn’t break a sweat. Listeners will find themselves bobbing and swaying before the first words of the album even reach their ears. “TV” is simply groovy, groovy to its bones. The album also resembles the Rodrigo track because of its quick, bouncy rhythm.
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