One of the best things I have ever seen, aesthetically, was the part in the last Shania Twain tour during which she rode a circle around Montreal's Bell Centre on a pink neon saddle. Now, her first record since 2002, is like that pink neon saddle: over the top, laden with high femme significance, riotous and beautiful.
On first listen, there's a lot going on — reverb, hand claps, delicate keys, grids of percussion laid over augmented vocals, Spanish tunings, sing-along choruses, piano, weeping strings. It's all kind of historically ….
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