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On Tour: Hanson Hits The Road With Their Most Ambitious Album Ever
It’s a rare thing for a band to actually grow up with their fans. Many mature, several age, but few literally grow up from adolescence to adulthood alongside the people who listen to them. They call them boy bands for a reason, as they often splinter and dissolve before they become men, but a bond of brotherhood has made Hanson an unusual exception, a band that has grown in sound and in family size throughout the twenty-six years since their inception.
“We saw that really early on, our fans were our peers, and they were engaging and connecting before they were even defining their adult identity” drummer Zac Hanson explains. “That’s been a huge thing that’s been positive for us, because despite the fact that some of those fans have become doctors and some have become tattoo artists, they still have these connections from being fans for a long time, of us.”
“Now we see those fans who were ten, bringing their kids and that’s a really cool thing. We’ve really never wanted our music to be pigeonholed to a stereotype or a group of people or something that someone can sell a product to. For us it’s about life, and being multi-generational, looking out into a crowd and seeing people from all different walks of life, that’s kind of the goal.”
Related: On Tour: The Shape Of Songs With Ed Sheeran
With that kind of loyalty built in, it would be easy for Zac Hanson and his brothers to rest on their success, continue cranking out holiday albums every other year and celebrating album anniversaries, but the landmark of twenty-five years as a band brought about a new wave of ambition for Hanson.
On November 9th the band will release String Theory, a double album featuring a fifty-five piece orchestra and the reimagining of some of their songs over the years. Add in a few fan favorites that have been reworked, a few new songs in the mix, and a tour around the country that has ballooned your band from four to nearly sixty people, and you’ve got a brand new challenge for the three brothers from Tulsa.
“It seemed like looking at that quarter-century, there was really an opportunity to start the next phase, the next chapter, in a way that really set the stage” Zac says of the band’s new project. “You almost have this free pass to think about your legacy for a second when you get to be a band for twenty-five years.”
Rather than just add instruments and arrangements to their songs, Hanson opted to tell a story, using the material they have written over the years to present a cohesive chronicle of chasing your dreams and overcoming the challenges along the way. They wanted to justify their choices, both in which songs they chose and in the orchestra incorporation.
“You’re trying to find this intricate balance of keeping what’s core to the song, keeping what’s important” describes Zac of the song selection process, weaving the band’s catalog in this new story. “We never want to run away from where we’ve been, that’s part of our history. So we want people to feel that appreciation when you create a new arrangement.”
String Theory is available everywhere on November 9th, and Hanson is currently on tour with an orchestra for the new album. You can find the full list of dates here.
To hear more from Zac about the “clash of culture” when touring with an orchestra, and the ever-growing family between the Hanson brothers, you can check out the full interview below.
‘MMMBop’ with an orchestra: Hanson’s Philly tour stop sees the former teen idols backed by strings
It may be hard to believe, but it’s been more than 25 years since Hanson became a band. Their infectious hit “MMMBop” is now 22 years old. But Isaac, Taylor, and Zac Hanson, originally from Tulsa, Okla., show no signs of slowing down. This week, they released their newest album, String Theory, which features their biggest hits and some deep cuts — all reworked into full orchestral arrangements with the help of Oscar-winner David Campbell (who also happens to be Beck’s dad). The band is following the release with a tour that includes a full orchestra. They’ll perform on Sunday at the Tower Theater in Upper Darby. Ahead of this performance, Taylor took some time to chat about Hanson’s newest musical direction, what it’s like to be part of a band that’s had such a long career, and what their fans look like now.
The original kernel of the idea really began as we were thinking about the future as we celebrated our 25th anniversary. You have these ideas as you go through your career, like things you’d like to do. It’s rare to reach a point where you see the stars align. After we finished our last tour, we felt like it was time to just take it up a notch.
We felt like it was important to tell a story and to challenge our fans and to put something truly different in the trajectory. The reason why we’re doing what we’re doing, we’ve always made each project, judged it based on our interests, sometimes it aligns with what’s popular and sometimes not. But you have to do what’s interesting and challenging to you so you can bring that to your audience.
It’s truly a musical experience from top to bottom. The String Theory show is one long arc, musically. As for the actual sound of it, it’s a fusion of pop craftsmanship with grand symphonic interpretation. We want people to take away a sense of awe and feel like they’re being taken away by the music and lifted up by it. So much of what you do with music is creating a connection with someone. Songs are one of the things that people feel like they have ownership over because it’s connected with experiences that they have. They transport you. You can be in a certain place and the music can pull you into a different place. String Theory is taking that core idea of transporting and just bringing in all this musical arsenal.
When you were digging through your back catalog for unreleased songs or hits to turn into string versions, what did that process look like?
It was a big task to figure out what not to include. There were so many potential songs. We agreed to include historic songs and new ones. We tried to focus on the story and the lyrics so we could take the audience through an evolving journey, beginning with the idea of aspiration and reaching for the dreams that seem impossible. After we crystallized what songs to include, it came down to a combination of lyrics, musical mood, the build, the rise and the fall. We staggered songs that lift you up and songs that take you to a moodier place, and we were excited to put in songs that people know well.
It definitely stretched us and it was exciting because so often you’re really insular when you write an album in a studio. You’re doing it alone, maybe with a few other collaborators. In this case, you’re sharing your ideas, versions, and arrangements. It was a very fluid but challenging process because you think you know what the song is going to be, but then the key needs to change. You thought this song should be here, but it’s too long, so you have to change the length.
The reason why we started as young as we did was because we were already motivated. Making music and being creative is in each of us. For me, it’s a part of who I am. It’s a part of who we are. That’s an aid to the longevity of a career. All you can do is to show up each day and give something. Then you turn around and look back and it’s like, ‘Wow we have 20 years behind us now.’ It’s hard to do anything at a high level. It’s hard to maintain any career, and so one thing that was a real aid to us was learning about work ethic and not dodging the work. There was never a point where we thought this would be really easy, so when it’s hard, it’s not surprising.
What that song is about rings more true now than ever. It really is about holding on to what really matters. Time flies by and you sort of have to find those few things that really count. You have to invest in people and experiences that are really meaningful. That song is in the show for that reason, and we play it with acoustic guitar and percussion, just the way it was written. You can hear the lyrics and the little bit of melancholy that’s in that song.
We lived a pretty unorthodox life, so it definitely has its strangeness. Being heartthrobs was never something we clung to. It was never a goal to have our faces plastered on bedroom walls. I know what it’s like to be a fan of something. It’s very humbling and meaningful to realize that we have connected with different people at different points in their lives. There are fans who have grown up with us and now they’re parents and have their kids, and there are people who have discovered us along the way. I’ll look out over the crowd and see someone and I’m like, ‘I think you’re younger than our first record.’ [Laughs] You can’t control how people connect with your music. You can only control what you put out into the world and enjoy getting to be a part of their stories.
Strings attached: Hanson on their orchestral album and the surprising struggles behind ‘MMMBop’
Twenty-one years ago, when Hanson released one of the earwormiest singles of the ’90s, the Jackson 5-reminiscent “MMMBop,” the song was summarily dismissed by many music snobs as a novelty hit, mere boy-band fluff. However, a new orchestral version of the perennial pop classic on String Theory — the brotherly trio’s career-retrospective double-album featuring gorgeous symphonic arrangements by Beck’s father, Oscar-winning composer/conductor David Campbell — not only puts the focus on Hanson’s impeccable popcraft and musicianship in general, but on “MMMBop’s” surprisingly dark and downright existential lyrics, which come into sharp relief when backed by Campbell’s lush strings.
“You have so many relationships in this life/Only one or two will last/You go through all the pain and strife/Then you turn your back and they’re gone so fast,” the Hansons bittersweetly harmonize. “So hold on the ones who really care/In the end they’ll be the only ones there/And when you get old and start losing your hair/Can you tell me who will still care?”
Sure, they’re all married fathers in their mid-30s now, but Isaac, Taylor, and Zac Hanson were only 16, 14, and 11, respectively, at the time of “MMMBop’s” release — and they were even younger when they wrote it. (Hanson have been a band for more than 25 years, and they actually made three local records before they ever landed a major-label deal.) Why on earth were they worried about losing their loved ones — and their hair! — when they were barely preteens?
“We had already experienced some trauma,” Zac, age 33, tells Yahoo Entertainment, referring to the many childhood sacrifices he and his older brothers made when they decided to chase their professional dreams. “We were seeing that we were outcasts.”
“We were traumatized. … We knew we were weird, and we knew we were making choices that were about the long tail,” adds 37-year-old Isaac — noting that “Weird,” another early composition that eventually appeared on Hanson’s breakthrough album, Middle of Nowhere, was also inspired by the brothers’ boyhood showbiz struggles.
“We were already having to make these decisions that were based on a love of music, a love of this craft, but also seeing that to do something you love, to pursue this thing, you have to give up other things,” says Zac, who was 8 years old when Hanson started gigging around the group’s native Tulsa, Okla. “You have to give up the crowd of friends for the future, of what could be, with not a lot of guarantees. It could just as easily have become a failure as it could be a lifestyle.”
“It’s the getting up every day, and trying, and realizing that you’re not necessarily going to get applause at the end of it. … We got turned down by pretty much every label there was,” says Taylor, 35, recalling Hanson’s demoralizing early gigs. “But the show that ultimately got us with an A&R person, that heard it and said, ‘Yeah, I want to sign it,’ that was a show that I would never hope anyone saw. It was terrible! There was like four people, watching paint dry.”
“All you have to say is: We opened for a girl singing karaoke,” Zac quips.
“Karaoke to Garth Brooks! It was on the flatbed of a truck, at a little festival,” Taylor chuckles. “The crummy show turns out to be the one where just the right person that understands gets on board and helps you take the next leap.”
The struggles weren’t over for Hanson once they got that big break and signed to Mercury/PolyGram Records. Middle of Nowhere did go on to sell 10 million copies worldwide, and “MMMBop” went to No. 1 in 27 countries, earned a Grammy nomination for Record of the Year, and topped critics’ polls in the Village Voice, Rolling Stone, and Spin — but many other rockist critics were less kind. Then, shifts in the record business caused Hanson’s excellent follow-up album, This Time Around, to get lost in the shuffle, after the trio was transferred to Island Def Jam following the merging of PolyGram and Universal in 1999.
“We all watched the music industry start to crumble, with label mergers happening, and we were right at the heart of it. We were one of the bands that had been successful, so we were held onto as opposed to dropped,” Taylor explains, to which Isaac adds: “But we wish we would’ve been dropped, man! Holy crap.”
By the time Hanson released their third album, 2004’s Underneath, they’d gone independent — one of the first massive mainstream bands to do so — setting up shop with their own Tulsa-based 3CG Records. At the end of that album’s tour, Hanson played Carnegie Hall “as a statement to that whole project,” says Taylor, and the critical tides continued to turn. “We then began to set different [goals] throughout the career, because we need to keep reminding our audience, and ourselves, what this band’s about. So, we’ve continued to try to put ourselves out there and try new things.” The 23 tracks (several new or previously unreleased) on String Theory comprise Hanson’s sixth 3CG Records album, their most ambitious and joyfully noisy to date.
“We were already having to make these decisions that were based on a love of music, a love of this craft, but also seeing that to do something you love, to pursue this thing, you have to give up other things,” says Zac, who was 8 years old when Hanson started gigging around the group’s native Tulsa, Okla. “You have to give up the crowd of friends for the future, of what could be, with not a lot of guarantees. It could just as easily have become a failure as it could be a lifestyle.”
“It’s the getting up every day, and trying, and realizing that you’re not necessarily going to get applause at the end of it. … We got turned down by pretty much every label there was,” says Taylor, 35, recalling Hanson’s demoralizing early gigs. “But the show that ultimately got us with an A&R person, that heard it and said, ‘Yeah, I want to sign it,’ that was a show that I would never hope anyone saw. It was terrible! There was like four people, watching paint dry.”
“All you have to say is: We opened for a girl singing karaoke,” Zac quips.
“Karaoke to Garth Brooks! It was on the flatbed of a truck, at a little festival,” Taylor chuckles. “The crummy show turns out to be the one where just the right person that understands gets on board and helps you take the next leap.”
Hanson performing in the 1990s. (Photo: George De Sota/Redferns)
The struggles weren’t over for Hanson once they got that big break and signed to Mercury/PolyGram Records. Middle of Nowhere did go on to sell 10 million copies worldwide, and “MMMBop” went to No. 1 in 27 countries, earned a Grammy nomination for Record of the Year, and topped critics’ polls in the Village Voice, Rolling Stone, and Spin — but many other rockist critics were less kind. Then, shifts in the record business caused Hanson’s excellent follow-up album, This Time Around, to get lost in the shuffle, after the trio was transferred to Island Def Jam following the merging of PolyGram and Universal in 1999.
“We all watched the music industry start to crumble, with label mergers happening, and we were right at the heart of it. We were one of the bands that had been successful, so we were held onto as opposed to dropped,” Taylor explains, to which Isaac adds: “But we wish we would’ve been dropped, man! Holy crap.”
By the time Hanson released their third album, 2004’s Underneath, they’d gone independent — one of the first massive mainstream bands to do so — setting up shop with their own Tulsa-based 3CG Records. At the end of that album’s tour, Hanson played Carnegie Hall “as a statement to that whole project,” says Taylor, and the critical tides continued to turn. “We then began to set different [goals] throughout the career, because we need to keep reminding our audience, and ourselves, what this band’s about. So, we’ve continued to try to put ourselves out there and try new things.” The 23 tracks (several new or previously unreleased) on String Theory comprise Hanson’s sixth 3CG Records album, their most ambitious and joyfully noisy to date.
“There’s a funny thing when you start to analyze our career and our music,” Zac muses. “String Theory is this story about sort of aspiration, and fortitude, and fighting, and coming out the other side with your life’s conclusion. But when you look at our songs, what’s ‘MMMBop’ about? What’s ‘Where’s the Love’ about? What’s ‘I Will Come to You’ about, and ‘Weird,’ and — work all the way through the Hanson catalog — even songs like ‘Get the Girl Back’? They’re really all about ‘What am I gonna do? What am I gonna do?’ That’s the story in so many of our songs.”
Despite their career ups and downs, Hanson managed to avoid the scandals, meltdowns, and general pitfalls suffered by many other child stars because, as Zac puts it, “We had the opposite of ‘stage parents.’ They weren’t trying to make us realize some dream they had. It was our dream.” Ruminating about other artists who weren’t so lucky, from Michael Jackson to Justin Bieber, who did go off the rails, Taylor adds: “I would argue, in most of those cases, it’s a really challenging situation internally that happens on a huge scale. Meaning those relationships, with the family, were toxic — way before there was success. There’s plenty of [notorious child star] names we all know where you’re like, ‘Not super-surprised about that one.’”
This explains why Isaac, Taylor, and Zac have been so supportive of their much-younger brother, 24-year-old Mac Hanson, the sixth of the total seven Hanson siblings — who is finally pursuing his own music career, on his own terms, with his rock ‘n’ soul band Joshua & the Holy Rollers. “Benevolent big brother” Isaac even produced the Holy Rollers’ debut single, “Hey Hey.”
“For a long time, we’ve all known [Mac] was super-musical and very creative,” says Zac. “I think he finally reached a point where, through the combination of it being too compelling to avoid it anymore, and his no longer afraid to be ‘the other Hanson brother,’ he finally went, ‘S*** I’m just gonna do this!’ It shouldn’t be surprising that he’s musical, considering we all have the same genes.”
On the subject of family — and genes — Isaac, Taylor, and Zac incredibly have a dozen children between them, with Taylor and his wife of 16 years currently expecting their sixth child. It’s quite likely that at least one member of this new Hanson generation will decide to pursue music as well, and Taylor in particular is to prepared to help his kids down that bumpy road, with which he is all too familiar.
“I for sure know my oldest son and my third boy, they’re musically gifted, very interested in music. I know there’s musicality across the spectrum,” Taylor says. “If you’re going to be a musician, you’re going to have to do music because that’s who you are. So the question is, whether you’re able to survive the music business side while being who you are. It’s really almost like accepting a disease you have. Nature is really strong. Nurture is there, but you show up with the package: This is who you are. And so if it’s in you, it’s more a matter of: What do you need to do to be sane?”
Looking back on their own atypical childhoods, however, Hanson wouldn’t change a thing. “There’s one thought, really. The whole thing is giving you a total takeaway, which is essentially is it’s worth trying,” Taylor asserts. “It’s worth reaching. It’s worth the fight, the struggle, the challenge. At the end of it, even though you’ve been through highs and lows and ups and downs, that little kernel that you started with — which is a song, just a simple song — it’s still worth going through all of that crazy in order keep doing it.”
First Listen: Hanson, ‘String Theory’
There must be a dozen ways to process the idea of a double-length, career-spanning album in which the long-running pop band Hanson performs while backed by an orchestra. You could study the new symphonic arrangements, courtesy of Oscar winner David Campbell (a.k.a. Beck’s dad), and pick apart how they compare to the originals. You could examin the trend of veteran bands performing with orchestras – even Hanson’s pal “Weird Al” Yankovic is doing it – as a way of refreshing their catalogs. You could question the appear of the idea to anyone outside a preexisting pool of diehards.
But in the case of String Theory, it’s perhaps best to view the concept as a means of highlighting Hanson’s remarkable songcraft. Hanson has been a band for more than 25 years, and has had a serious commercial legacy to live u to ever since Middle of Nowhere and the inescapable “MMMBop” sold millions back in 1997. When that record came out, brothers Isaac, Taylor and Zac Hanson were 16, 14 and 11, respectively – and, as a result, were widely viewed outside their fan base as a prefab boy band. But even then, they were accomplished players and songwriters, capable of airtight arrangements and impeccable sibling harmonies. Now that they’re in their 30s (and still writing new records, selling out theaters and even brewing their own line of beer), they’re better positioned to demonstrate what’s long been obvious: These guys write hooks sturdy enough to hold up any kind of arrangement you can name.
On String Theory, that can simply mean making a pop song sound statelier – or just slower – by letting the strings swoop in and out. But at their best, Campbell’s new arrangements lend force as well as beauty. In a reworking of the band’s terrific 2017 single “I Was Born,” a rich surge of strings and percussion gives way to the full weight of the orchestra in the chorus, transforming a rousing song into something approaching a cataclysm.
Over the course of its 23 songs (several of which are new and/or previously unreleased), String Theory unfolds kind of like a Hanson live show: It ebbs and flows through reworked hits, fan favorites and other optimistic odes to tenacity and self-reliance; tosses off “MMMBop” near the beginning, as if to check a box and cast it aside; and escalates the grandiosity in what feel like long-anticipated encores. Even in a studio, backed by an orchestra, these guys know how to work a room.
Review: Hanson, the kings of ‘MMMBop,’ turn to orchestras
Washington Post
The Hanson boys have done everything in their power to get you to listen beyond “MMMBop.” They’ve put out solid new music, live CDs, Christmas albums – OK, lots of Christmas albums – greatest hits collections, and even covers of songs by U2 and Radiohead. Now they’ve gone uptown – they’ve gone orchestral.
The 23-track double album, “String Theory,” finds Isaac, Taylor and Zac Hanson reworking past songs and unreleased ones for swaths of strings, woodwinds, brass and percussion. One new song, “Siren Call,” uses a full 46-piece orchestra.
Snark if you must, but anything that gets Hanson’s music a fresh listen is welcomed. Why this talented trio has never matched the success of “MMMBop” is one of those mysteries that go unsolved in the modern music business.
Many of the songs, thankfully, aren’t overwhelmed by the Prague-based orchestra or often see its influence melt away, like on “Where’s the Love” or “This Time Around.” Sometimes it’s all a tad forced, like on “Something Going Round.” And sometimes, truth be told, the original is just better, like “Yearbook.”
“String Theory” is not another greatest hits collection. Some Hanson songs that have appeared on such previous compilations – like “Get the Girl Back” and “Penny & Me” – have not been picked to be orchestra-tracked. New or unreleased songs include “Reaching for the Sky,” “Battle Cry,” “Breaktown,” and the really nice “No Rest for the Weary.”
But you really want to know what happened to “MMMBop,” don’t you? The new version is slower, more complex and yet still fun and catchy, even though it’s been given a lushness rarely offered on other pop songs. We hope you listen. Maybe consider staying awhile?
Tuesday Trivia
Isaac is the Hanson to blame for separate social media accounts as he was tweeting too much on the band account about basketball!
What Isaac lead song was almost a Taylor lead?
Gibberish Lyrics
EISENBERG: So this game is called Gibberish Lyrics. Jonathan and I will perform a dramatic reading of nonsensical song lyrics. Ring in and identify the artist who made the song famous. And if you can’t get it from our reading, we’ll play you a clip of the original song. Lauren, stay in the lead, and you are in the final round. Avi, you need to get more points, or you have to go to a craft beer bar and order an IPA but pronounce it Ippa (ph).
(LAUGHTER)
EISENBERG: Here we go. (Reading) Ba duba bop ba du bop, ba duba dop ba du bop, ba duba dop ba du (ph), yeah.
(SOUNDBITE OF BELL)
EISENBERG: Lauren.
MACDONOUGH: “Blue.” Oh.
EISENBERG: I’m sorry. That is incorrect. Avi, do you want – we can play the clip for you – or if you can just answer.
ZACHERMAN: I forgot the name of the artist.
EISENBERG: All right. Let’s play the clip.
(SOUNDBITE OF SONG, “MMMBOP”)
HANSON: (Singing) Mmmbop, ba duba dop ba du bop, ba duba dop ba du bop…
ZACHERMAN: Hanson.
EISENBERG: That is correct. That is…
(APPLAUSE)
EISENBERG: …Hanson’s “MMMbop.” So sometimes, these things represent real concepts or words to the artist. And supposedly, Zac Hanson said that Mmmbop and all those words represented the futility of life.
(LAUGHTER)
JONATHAN COULTON: Those kids were deep, man.
EISENBERG: I think he was, like, 14 or something (laughter).
COULTON: Yeah. He’s, like, what’s the point?
EISENBERG: Yeah, exactly.
COULTON: Why even write lyrics to this dumb song?
EISENBERG: I’m doing well, and I don’t care.
Disney fans ‘MMMBop’ to music of Hanson, Sugar Ray at ’90s Epcot concerts
Twenty-one years had passed since “MMMBop” was a No. 1 hit — but a few dozen of their devoted fans stalked out front-row seats hours in advance for a Hanson concert at Walt Disney World.
“I’ve loved them since I was like 9,” said Tiffany Rae, of Nassau County, who planned a week-long vacation to see Hanson. “I’m 30 now.”
Her seat was next to a high school science teacher who skipped her planning period to be there.
The concerts, a series called Eat to the Beat during the Food and Wine Festival, are helping revive attendance at Epcot, some Disney followers say.
Hollywood Studios debuted its Toy Story Land in June, and there’s a buzz about Star Wars land next year. Animal Kingdom attendance has surged with crowds visiting the World of Avatar expansion. Magic Kingdom is still Magic Kingdom, the most popular park in the world.
But what about Epcot?
A makeover for 36-year-old Epcot is coming in 2019 and beyond with plans for a new fireworks show, gondola rides into the park and an indoor roller coaster based on “Guardians of the Galaxy” movies.
Until then, the festivals and concerts give locals a reason to visit, said Jeremy Stein, who co-hosts the Main Street Magic and The Dis Dudes podcasts.
“It’s kind of keeping Epcot alive,” Stein said.
Disney fact
Eat to the Beat, the concert series at Epcot’s Food and Wine Festival, began in 2002. Starship, famous for “We Built this City on Rock & Roll,” is the longest running act, playing 15 of those years, according to Disney
The music has become so popular that Disney expanded the concerts at Epcot’s Flower and Garden Festival from four days a week to seven in 2019, said David Baldree, a Disney show producer.
For the first time at this year’s Food and Wine Festival, contemporary Christian acts were booked, and 98 Degrees — a popular boy band from the late 1990s in the next tier after *NSYNC and Backstreet Boys — also performed at the concert series.
“We want to hit as many musical genres as we can,” Baldree said.
What makes the concerts work, Stein said, is that Disney draws many well-known musicians with hits that date back. But the lyrics stick in people’s brains, never forgotten.
“It’s part of that nostalgia, and that’s what Disney is so good at,” Stein said.
Back before Mandy Gimenez was an adult, before all the responsibilities of looking at sonograms for her job at an OB-GYN or raising her own family, she was just a teenager going through a phase. She popped in a CD from the band Sugar Ray in her car, and freedom was hers.
Now age 35, Gimenez planned her trip to Epcot during her Disney vacation around Sugar Ray in late September.
Even though he is now 50, Sugar Ray lead singer Mark McGrath moved with the frenzied energy of a much younger man on stage. He took selfies with the crowd and poked fun at the band’s heyday when he was known for his frosty-tipped hair.
“Welcome to the ‘90s!” McGrath exclaimed. “I wish some of us never left!”
Gimenez sang along with every lyric, her hand raised in the air.
“I felt like I was a teenager again and having the best time,” said Gimenez, who lives in Connecticut.
Her 5-year-old daughter, Alexa, looked bored at what was her first concert but the catchy choruses stuck in her head afterward.
HANSON: String Theory On Demand
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