Connie Constance has returned with the empowering new single ‘The Offering’ – check it out below.
The track was written alongside Dan Rothman from London Grammar, SOHN and Theo Hutchinson and it sees the Watford indie singer-songwriter baring all as a female artist, singing defiantly about her independence over a warm, textural indie pop backing and echoey vocals.
‘The Offering’ came into existence in London Grammar’s studio and Constance’s home in North London, while inspiration came during the artist’s walks through Queen’s Wood in Highgate.
Listen to ‘The Offering’ here:
Speaking about the themes in the song, Constance has said: “This woman that I am, who comes with uncertainties, insecurities, strength, intellect sometimes, silliness more often, is my offering. I will not preserve myself for anyone other than my own desires.”
“Before words and sounds, I knew I wanted to create something that starts intimate and erupts,” she added. “It’s about allowing myself to be loud, messy, soft, and unapologetically me.”
“It’s about how talking about what we’re going through can bring us closer. Only we can choose the empathy, love, and peace that we share with each other.”
“Women go through great changes at many stages of our lives, and each time feels just as mighty as the time before,” Constance continued. “I hope this song can be a space for listeners to feel seen and not alone.”
Constance’s last album was 2022’s ‘Miss Power’, the follow-up to her acclaimed debut ‘English Rose’ in 2019.
Reviewing ‘Miss Power’, NME wrote: “Woven from a great many creative ideas, ‘Miss Power’ could have felt messy. But through Constance’s skilful bird’s eye view, it instead twists the key in the pandora’s box of her potential, re-introducing her unique take on the world. If this is her coming of age, who knows what powers she might unleash next?”
More recently, Constance appeared on Kae Tempest’s latest album ‘Self Titled’, which was released in July.
‘ The preceding article may include information circulated by third parties ’
‘ Some details of this article were extracted from the following source www.nme.com ’
