After a chance meeting with an aspiring singer/songwriter, she managed to secure some studio time in Elton John's Rocket Studios, and, after hearing what she could do, she was subsequently picked up by Elton's management company Rocket Music. Anne-Marie released a demo in 2013 entitled Summer Girl, which drew some attention to the singer, most notably garnering a fan in Ed Sheeran. Despite the encouraging start to her solo career, things were put on hold to give her more time to develop as an artist.
Having guested on tracks by dubstep supergroup Magnetic Man, London-based garage duo Gorgon City, and progressive house trio Raized by Wolves, Anne-Marie caught the attention of Brit and MOBO award winners Rudimental. She was featured alongside Dizzee Rascal and Will Heard on two tracks from their second album, 2015's We the Generation, and spent two years touring with the band, playing some of the world's biggest stages and best-known festivals.
The summer of that year also saw the release of Anne-Marie's debut EP on Rudimental's then-new record label, Major Tom's. The aptly titled Karate EP featured three tracks and a Chloe Martini remix, and producers Josh Record and Two Inch Punch worked with her on the record. Both the lead single "Karate," a slick fusion of electro-grime and R&B, and the follow-up "Gemini," garnered some very positive reviews and led Anne-Marie to gigging as a solo artist. In early 2016, the single "Do It Right" reached the U.K. charts, and several months later "Alarm" hit the Top 40 in several charts around the world.
In 2017, Anne-Marie scored a hit single when she featured on Clean Bandit's multi-platinum "Rockabye" with Sean Paul. The song topped the charts across Europe and in Australia, breaking into the Top Ten in Canada and the U.S. She followed with the solo singles "Ciao Adios" and "Heavy," which both charted in the U.K. and Ireland. Both tracks appeared on her debut full-length, Speak Your Mind, which saw release in April 2018. The record also featured the track "Friends," written and recorded with American dance producer Marshmello.
What's Love Got to Do with It
Anne-Marie Lyrics
Jump to: Overall Meaning ↴
After the torture, you must then stand aside and watch the flowering blossom of genius grow
This has nothing to do with love
As the growth continues you must remember to stunt the child
So that there will be more room for the genius to grow
This has nothing to do with love
Any outside interference will not be necessary
The genius is strong enough to continue to grow while feeding on the body independently
This has nothing to do with love
The genius is not like a virus or a parasite
It does not need a living child to ensure it's life
The genius will kill the child, inhabiting the body and live, as it were, as befits a living genius
Having disposed of the child within it may find a great relief in the devouring of others
This has nothing to do with love
The genius cannot go on forever
At the height of its strength and power, it is weakest
When the genius begins it's ascent there is a limit
When it's reached its limit there is nowhere to go but down
In the end, the body will die
Not enough within itself
The body takes the genius to death as well
Thus we see the genius a self-fulfilling prophecy of doom
Nourishing not the child, which ultimately is capable of knowledge that will never die
But itself, which is but a shadow which from the knowledge falls
Nourish the child, not the genius
Nurture the child
The lyrics of Anne-Marie's song "What's Love Got to Do with It" explore the destructive nature of nurturing a genius at the expense of a child's well-being and emotional development. The first verse suggests that in order to cultivate a genius, one must subject the child to torment and suffering, which implies that greatness comes at a cost. However, once the torture ends, the genius is allowed to flourish and grow independently, while the caretaker merely observes. Love is dismissed as irrelevant in this process, emphasizing that the focus is solely on the genius's development.
The second verse delves deeper into this approach, stating that the child must be deliberately stunted to make room for the genius's growth. Again, love is disregarded as insignificant. The accelerated rate of the genius's progress suggests a relentless pursuit of greatness, wherein the genius eventually replaces any need for external influences or assistance. The cruel and solitary path undertaken by the genius is detached from any concept of love.
The third verse portrays the genius as a parasitic force that thrives on the destruction of others. Unlike a virus, the genius does not require a host or living child to sustain itself. Instead, it consumes the child within, resulting in the genius living through the body it inhabits. Love is once again dismissed, emphasizing the absence of any positive emotions or connections in this process.
The fourth verse contemplates the limitations of the genius's existence. Despite its strength and power, it is inherently vulnerable and destined to decline. This inevitability is portrayed as the genius's downfall, as it reaches its peak and subsequently descends. The lyrics suggest that this decline ultimately leads to the demise of the body as well, emphasizing the destructive nature of the genius's presence.
In the closing lines, the song presents a contrasting perspective. It suggests that rather than nourishing the genius, one should focus on nurturing the child and providing them with the support and love they need to develop their own exceptional qualities. The genius is portrayed as a fleeting and insignificant shadow compared to the potential knowledge and immortality present within an enlightened and nurtured child. This shift in mindset highlights the importance of love and care in fostering growth, while cautioning against the detrimental consequences of solely pursuing the development of a genius.
Lyrics © O/B/O DistroKid
Written by: Anne Feinsod
Lyrics Licensed & Provided by LyricFind
@sinforgreatness
You should've included a cameo or a few scenes with Mike O'Hearn.
@antionettegagliardi9067
😊
@hassjaff5212
But good job son
@antoniohagopian213
What is roids?
Mike can't hurt me
Can't hurt me
With his fake balls
@abhishekakki2
First thing come in my mind
@mgwmkmobile7259
Baby don't Hearn me 😄
@sajasadique
Nothing will ever beat the 90's original one
@mariaushavkova8734
i came here just to find THIS comment. All they do is take old classics and make some modern bullcrap that doesn't sound half as good
@jubeikubegami
They could've feat Chris Kattan and Will Ferrell in the vid at the very least.
@gabrielxancogarcia2652
Yes, Mike O'Hearn