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"Never Give Up" is a song recorded by Sia, from the soundtrack of the Garth Davis-directed film, Lion (2016). Written by Sia and her producer Greg Kurstin, the song was released on 18 November 2016. [1] It was nominated for a Grammy Award for Best Song Written For Visual Media. [2] It is an electropop ballad, with influences of Indian Music.
"Don't Bring Me Down" [45] † Sia: Sia Furler Blair MacKichan: Colour the Small One: 2003 [24] "Don't Get Me Started" Sia: Sia Furler Jesse Flavell OnlySee: 1997 [5] "Don't Give Up" † Sam I featuring Sia, Busta Rhymes and Vic Mensa: André Laudz Jose Henrique Pinheiro Sam Spiegel Sia Furler Trevor Smith, Jr. Victor Mensah: Random Shit from ...
"Drink to Get Drunk" is a song by Sia. It was included on her album Healing Is Difficult (2001). The song was released as a single in 2001 after it was remixed by Gino Scaletti and Quinn Whalley (also known as DifferentGear).
Its singles included "Don't Bring Me Down", "Breathe Me", "Where I Belong" and "Numb". "Breathe Me" was the most successful single from Colour the Small One, peaking at number 19 in Denmark, number 71 in the United Kingdom and number 81 in France. In 2008, Sia released her fourth studio album, Some People Have Real Problems.
Electronic duo Odesza released a "choppy, chillwave" remix of "Big Girls Cry" on 5 December 2014. [1] [2] On 15 October 2014, Sia performed the song at The Recording Academy. [3] On 2 April 2015, "Big Girls Cry" was released as the third single in the United Kingdom. Sia performed it live on Australian television show Sunrise on 21 April 2015. [4]
Sia is back with a remix of "Hey Boy" that features Burna Boy, which comes from her forthcoming eighth studio album Music - Songs From And Inspired By The Motion Picture. She also shared the ...
Sia Furler. Frazer Harrison/Getty Images Singer Sia has cemented herself as the ultimate Survivor superfan as she began the tradition of rewarding her favorite players with a generous donation.
Sia and Greg Kurstin may have written the song even before the massacre. But in the context of Orlando, the possible platitude of the chorus becomes gutting: "I'm free to be the greatest / I'm alive." She's pepping the listener up, but she's also defining the value of life, marking the human potential that's been lost. [7]