What kind of music sara bareilles

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Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Articles Features Interviews Lists. In Bareilles was added as a celebrity judge to the third season of The Sing-Off. She left the show prior to its fourth season, and went on to release projects like Once Upon Another Time and The Blessed Unrest The youngest of three girls, childhood was not always easy for Bareilles.

I still often feel I just don't want anyone to notice anything about me. Still, despite a preference to go unnoticed, Bareilles had an unmistakable passion for music and theater. She performed in her school choirs and played Audrey in a high school production of Little Shop of Horrors. Following high school, she attended the University of California, Los Angeles, where she majored in communications.

More importantly, she found her singing voice as a member of an a cappella group at the school. After graduating in , Bareilles, who remained in southern California, set out to pursue her dream of making it as a musician. Over the course of the next three years, she worked the club scene, performing at open-mic nights, landing a few paid gigs and eventually performing at festivals. And Bareilles — a singer-songwriter who first emerged in Los Angeles at the beginning of the millennium — wrote the score to the hit musical adaptation of the late Adrienne Shelly's hit movie, all about a server who's trapped in a small Southern town and who bakes her dreams inside her famous handmade pies.

Inclusive, emotionally engaging and kind-hearted, "Waitress" is emblematic of a number of trends on Broadway, not the least of which is an increasingly sophisticated understanding of how crucial it is to appeal to women, who buy the vast majority of tickets to Broadway shows.

But working-class characters are still relative rarities in the theater, where creative teams are increasingly dominated by the highly educated, and "Waitress" remains one of the few shows that understands life in America's small towns and approaches those oft-struggling citizens without big-city condescension.

The piece also creates an atypically intimate relationship between the cast and the band — the director, Diane Paulus, freed the band from the orchestra pit and stuck the musicians inside the diner, which might sound like a contrivance but, in fact, worked beautifully, as it still does every night.

That choice to let singers and musicians share their space added to one of the show's crucial achievements within the historical trajectory of Broadway musicals — an uncommon level of intimacy. Bareilles' music — her songs often function as interior monologues and are suffused with hope — was the key factor. Bareilles did not so much write a traditional Broadway score as a song cycle, very much within the existing style that had gained her so many fans.

And she threw out the rule book when it came to scale and style, focusing musically on a key group of empathetic characters, the dramatic power of human longing, and the wrestling within the hearts of ordinary people.

As a result, "Waitress" proved able to communicate with a depth that most musicals never achieve. I had just moved to New York City, I had just blown up my relationship, my band, my professional relationships, and I had left my manager.

This is the song I won a Grammy for; I got best American roots performance last year for it. We recorded that song in one take in a studio—I was working with T Bone Burnett, who is someone I had always wanted to make a record with.

He encouraged me to just sing and play with the band. It was something I was always really nervous about doing. I felt like, What if I make a mistake? But he was really encouraging, so I did it.

And we got the song. I really believe in this message—we are healed by what is true. I do feel like the truth can set us free.

I am as honest in my personal life as I am in my music, probably to the detriment of my relationships. I try to frame it in kindness. I really believe that for me to preach about living an authentic life, I need to show up that way. Jenny Singer is a staff writer for Glamour. You can follow her on Twitter. Rewards Free Stuff Promos.