{"id":3550,"date":"2025-11-08T17:49:04","date_gmt":"2025-11-08T17:49:04","guid":{"rendered":"https:\/\/tmbglobal.news\/index.php\/2025\/11\/08\/renee-rapp-performs-in-sterling-heights\/"},"modified":"2025-11-08T17:49:10","modified_gmt":"2025-11-08T17:49:10","slug":"renee-rapp-performs-in-sterling-heights","status":"publish","type":"post","link":"https:\/\/tmbglobal.news\/index.php\/2025\/11\/08\/renee-rapp-performs-in-sterling-heights\/","title":{"rendered":"Rene\u00e9 Rapp performs in Sterling Heights"},"content":{"rendered":"<p><\/p>\n<div>\n<p>The old Rene\u00e9 Rapp can\u2019t come to the phone right now. Why? Because now, six-odd years after starting to make headlines for her starring roles in Broadway\u2019s production of \u201cMean Girls\u201d and HBO\u2019s \u201cThe Sex Lives of College Girls,\u201d Rapp has entirely cast her gaze away from the acting world in favor of a career in the music industry. At her recent concert in Sterling Heights, one thing was made clear amid the intricate stage production and her powerhouse vocals: Rapp has completed her full transformation into a bona fide pop star, and she\u2019s not planning to go anywhere.<\/p>\n<p>After a perilous journey to the Michigan Lottery Amphitheatre (the highways in Metro Detroit are no joke), I arrived just in time for a tasteful set from opener Syd, who took the stage promptly and performed a combination of original songs and covers, including a rendition of \u201cIntimidated\u201d by Kaytranada. The chill electronica of the song encapsulated Syd\u2019s musical universe well, which is often steeped in dreamy synths and understated vocals. Later in the night, Rapp went on to say that she\u2019s a huge fan of Syd personally, and her influence can be easily felt in Rapp\u2019s introspective lyrics and R&amp;B sound.<\/p>\n<p>Suddenly, the screens on either side of the stage came to life and began playing a short video displaying numerous versions of Rapp deep in argument: There was a brunette Rene\u00e9 dressed in a suit; a jock Rene\u00e9 with a backwards baseball cap; a Rene\u00e9 whose outfit recalls one of <a href=\"https:\/\/www.youtube.com\/watch?v=opbGZPAgRdk\">the most iconic scenes of \u201cMean Girls.\u201d<\/a><em> <\/em>Finally, Rene\u00e9 as we know her appeared, wearing a simple blue T-shirt and screaming for everyone to \u201cshut the fuck up!\u201d before getting up and attacking the camera.<\/p>\n<p>Everything went dark for a moment before we saw a shot of her being interrogated for this crime. Her response? A smug proclamation of her need to be left alone. Suddenly, the curtain dropped and the real Rene\u00e9 appeared on stage, expressing the same desire in song form by diving straight into a performance of her recent single \u201cLeave Me Alone.\u201d It felt like a rebirth. She\u2019d finally killed off all these past versions of herself and a new version of the singer \u2014 clad in black leather and accompanied by roaring guitars \u2014 has risen from the ashes.\u00a0<\/p>\n<aside class=\"scaip scaip-1    \">\n\t\t<\/aside>\n<p>Rapp\u2019s jaw-dropping vocal abilities are what originally brought her into the public eye during her days in the musical theatre industry, and they remain today the most dazzling aspect of her music. Her voice at the show proved to be just as spectacular as ever, a shape-shifting beast flitting effortlessly from low, sultry R&amp;B to gorgeous falsetto to what was practically screaming during certain climactic moments. One of the biggest highlights of the performance was her rendition of \u201cSnow Angel,\u201d the title track of her 2023 album of the same name. A song with a slow-burning killer buildup, the song started simply with light piano and ended with Rapp belting flawlessly at the reaches of her upper register over heavy-hitting guitar. It\u2019s an emotional song to begin with, but Rapp poured so much pathos into the live rendition that it might be difficult to listen to the studio recording again.\u00a0\u00a0<\/p>\n<p>Rapp\u2019s setlist drew heavily from her newest album, the tour\u2019s eponymous <em>Bite Me<\/em>. She performed all 12 of its tracks, which approach a relatively pure-pop sound interspersed with R&amp;B and rock influences. The songs that leaned away from the classic pop-song formula and into these niches actually proved to be the highlights of the show: The grungy guitar echoing the melody of \u201cLeave Me Alone\u201d has undeniable bite, and the swinging melody and frequent vocal runs of \u201cWhy Is She Still Here\u201d are catchy and unique. While listening to some of the other material from the album, however, it was hard not to feel like her talents were being underutilized: Songs like \u201cAt Least I\u2019m Hot\u201d and \u201cKiss It Kiss It\u201d are pleasant enough on the ears, but didn\u2019t do much to stand out from any other pop song you might hear on the radio. After witnessing her vocal and songwriting abilities firsthand on the aforementioned highlights, I found myself missing such dynamic moments on tracks like these.<\/p>\n<p>With a lesser concentration on material from 2023\u2019s <em>Snow Angel<\/em> and her 2022 EP <em>Everything to Everyone<\/em>, which have produced some of Rapp\u2019s most popular songs, it\u2019s clear that she is taking control of her musical universe \u2014 she\u2019s not here to play her biggest hits or cater to an audience\u2019s desires, but rather remind us that it\u2019s <em>her<\/em> show we\u2019re attending, and the music she wants to play will be what we listen to. Rapp is focused on the present and the future of her career and would rather sacrifice some oldies-but-goodies than bend to her audience\u2019s nostalgic whims.\u00a0<\/p>\n<p>The most blatant illustration of this decision occurred at the end of the show, when she began performing \u201cNot My Fault\u201d (a favorite among fans and her highest-charting single) only to stop halfway through and express her open dislike of the song. Claiming to be tired of performing it, she started the band back up without finishing the track and concluded the show with \u201cAt Least I\u2019m Hot,\u201d a lesser-known cut from <em>Bite Me<\/em>. Given that \u201cNot My Fault\u201d was born from her \u201cMean Girls\u201d days, it felt like the ultimate rejection of what everyone wants her to be \u2014 the theatre kid, movie star, teen-drama character. Rene\u00e9 is finally at a point in her career where she is completely forging her own path forward, and her concert in Sterling Heights made evident both her thirst for pop stardom and her unwillingness to compromise on the way up.\u00a0<\/p>\n<p><em>Daily Arts Contributor Max Janevic can be reached at <a href=\"https:\/\/www.michigandaily.com\/arts\/music\/renee-rapp-is-reborn-with-her-bite-me-tour\/mailto:janevicm@umich.edu\">janevicm@umich.edu<\/a><\/em>. <\/p>\n<aside class=\"scaip scaip-2    \">\n\t\t<\/aside>\n<aside>\n\t\t<\/aside>\n<p><h3 class=\"jp-relatedposts-headline\"><em>Related articles<\/em><\/h3>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>The old Rene\u00e9 Rapp can\u2019t come to the phone right now. Why? Because now, six-odd years after starting to make headlines for her starring roles in Broadway\u2019s production of \u201cMean Girls\u201d and HBO\u2019s \u201cThe Sex Lives of College Girls,\u201d Rapp has entirely cast her gaze away from the acting world in favor of a career [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":3551,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[3581,3579,3578,3577,3580],"class_list":{"0":"post-3550","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-entertainment","8":"tag-heights","9":"tag-performs","10":"tag-rapp","11":"tag-renee","12":"tag-sterling"},"_links":{"self":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/3550","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/comments?post=3550"}],"version-history":[{"count":1,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/3550\/revisions"}],"predecessor-version":[{"id":3552,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/posts\/3550\/revisions\/3552"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/media\/3551"}],"wp:attachment":[{"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/media?parent=3550"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/categories?post=3550"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/tmbglobal.news\/index.php\/wp-json\/wp\/v2\/tags?post=3550"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}