“Call Me Queen” by Ebb & Nova is an anthem that demands attention from its very first note, unashamedly strutting onto the stage with a royal swagger. With an electrifying guitar performance that would have even Jimmy Page nodding in approval, the track ushers the listener into a dramatic journey accompanied by textured drums and melodics thick with drama. Right from the beginning, the song sets out to be an unapologetic assertion of personal autonomy, with Lauren Padgett’s rich opening lines: “You’re in my world, you walk in my shoes, I’m seeing red…“
What starts as a complex guitar-and-drumline dance soon crescendos into an epic cinematic adventure. It’s not music-it’s a narrative, one that seems hauntingly familiar but strikingly new. The hook of the lyrics, “You call me a witch, but I’m a queen…” is a punch to the gut of strength, instantly evoking comparisons with the classic reinterpretation of The Wizard of Oz. And just as Dorothy’s ruby red slippers, this song has a sheen you cannot help but notice.
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A Wicked Perspective
Few songs have ever had the sensation of jumping straight from the pages of a novel or the drapes of a Broadway play, but “Call Me Queen” accomplishes exactly that. Commissioned as an anthem for the Wicked Witch of the West in a live stage production of The Wizard of Oz in Maryland, the song reimagines a character more often reviled. Rather than cackling evil, Ebb & Nova depict her as a strong woman with a story of her own—one of determination, courage, and uncompromising self-value.
The brilliance of Padgett and Matthew Purpora shines through in how they’ve written these lyrics that break free from the Wicked Witch’s journey and speak on a universal level. Haven’t we all ever been brushed off or misread only to come back better and sport our scars as a crown? This is a song that doesn’t merely say it for a fictional figure, but for anyone who’s ever taken back their story.
Instrumental Alchemy
Although the tale is interesting, the instrumentation is where the song’s magic is. The marriage of rock, pop, and folk sounds gives the song a sense of earthiness and something else. The guitar playing, which draws its inspiration from such legends as Black Sabbath and Coheed and Cambria, lends the song a raw edge, while the introduction of cello and theremin provides an ethereal quality that remains long after the song fades away.
The theremin, specifically, is pure genius. It lingers in the background like a ghostly figure, imbuing the track with a near-mystical feel. It’s as if the music itself is sentient, bringing life to the Wicked Witch’s tale in a way that mere words couldn’t. And don’t forget the soaring vocals that appear to reach the rafters—Lauren Padgett’s voice is a force of nature, equal parts fragile and forceful, delivering every line with conviction that brooks no argument.
Cinematic Aspirations
If there’s one thing that hit home listening to “Call Me Queen,” it’s how naturally beautiful it is on the silver screen. Imagine this: Cynthia Erivo or Idina Menzel singing this anthem in Wicked: For Good. It’s easy to imagine-it seems inevitable. The swelling crescendos, the classic guitar solos, the over-the-top intensity-it’s all made for a grand, cinematic or theatrical moment.
Actually, it’s almost a crime that “Call Me Queen” hasn’t yet been snatched up for a blockbuster soundtrack. It’s got all the makings of the kind of iconic musical number that brings you chills in the cinema and lingers with you after you leave the theatre.
Manifesto of Empowerment
What makes “Call Me Queen” more than just a good song is its underlying manifesto. It’s not just about being misunderstood or dismissed-it’s about owning those labels and turning them into badges of honour. The Wicked Witch isn’t a villain; she’s a queen. And by the time the song’s final notes fade, you’ll feel like one too.
This empowering aspect is further amplified by the production of the song, courtesy of award-winning producer Tony Correlli at Deep End Studio. All aspects feel painstakingly placed to enhance the message of the song. The sharp percussion emulates the rhythm of defiance, and the cello and theremin take it to a transcendental level, transforming the track into an experience and not a mere listen.
A Star on the Rise
No surprise that “Call Me Queen” was a box office success on the opening night of The Wizard of Oz stage production. The song, not just pop music material but self-expression, has not only placed Ebb & Nova in the spotlight but cemented their position within the Maryland music scene and far beyond. Shows at the Maryland State Fair and festivals have only ensured they are remembered as a band to keep an eye on.
Final Thoughts
“Call Me Queen” is not just a song- it’s a proclamation, a revolution, and a party all in one. It’s the type of song that insists on being played loud, its words screamed from rooftops. Ebb & Nova have succeeded in creating something that sounds both ageless and completely unique, a difficult accomplishment in the music world today.
In a world full of imitators, “Call Me Queen” by Ebb & Nova stands tall as a trailblazer. It’s a song that doesn’t just ask for your attention-it commands it. And once you’ve heard it, you’ll understand why. All hail the queen!
