Dancing on My Own

Deep into sessions one "dark" week of November 2009 in Stockholm with longtime collaborator Klas Åhlund, Robyn's "stormy" engagement to Swedish MMA fighter and contemporary visual artist Olof Inger was starting to fray. "Tired of the broken heart", After launching her own pop-up club series in Hornstull Beach, Söder in January 2010, Konichiwa Bitches goes Tutti Frutti, modeled after Christian Falk's A Love Supreme, Robyn became inspired by DJing, clubbing and people-watching throughout Stockholm. Recalling how much the "dance world" had changed during the five years she spent promoting Robyn (2005), especially in America, Robyn realized it was finally ripe for exploitation: "It's really going to have its time now and not just be looked upon as kitsch." Conceptualizing club culture, Robyn created narratives for past patrons she had seen from situations she had witnessed, including their "expectations" for the night to "meet that person", reach a "good high", or experience "some kind of emotion", revisiting stories from Olof on his time as a doorman describing how they'd act then reminiscing on her time in New York City in 1997 promoting Robyn Is Here as a "lonely misfit teenager shoulder-shimmying alone in a gloomy corner" on Club Vinyl's "last ever" Saturday night and Sunday afternoon, The Shelter, and the "near mythological" Body&SOUL, respectively. Robyn came to see clubs as "an important place for our generation—almost like a church or a place where we go to experience something that's bigger than ourselves", feeling it wasn't just "cool" but "important", and even "utopian", that "in the middle of all these other people doing the same thing" she could dance in her "own space" on her "own terms", wanting "to make a song called 'Dancing On My Own'" but still unsure "what it was going to be about". Following the example of the "inherently sad, gay disco anthems" she loved, including tracks by Donna Summer with Giorgio Moroder, Sylvester, the song's storyline eventually came to her, picturing "the god-awful feeling of a woman who is watching her ex get with someone new at a club". "With an idea of a chorus in her mind," Robyn wanted to work further with Åhlund but couldn't stop "toying" with the song on her own, eventually reaching out to prior collaborator Patrik Berger for a "different perspective". Patrik had prepared for weeks before their first session at his Stockholm studio with a "slew of electronic beats and tracks for Robyn to write over". All of this was for naught as the first thing she said was, "Can we sit down and write a song on an acoustic guitar today? I'm so tired of writing over electronic beats and tracks." Their first result was an "acoustic 'campfire'" demo with three chords in the manner of a country song. The chorus came first quickly, followed by the chords and parts of the melody. After days of "fatten[ing]...up" that demo, the two of them realized "...they preferred the original and stripped it all back down" again. Swapping "the acoustic guitar for synthesizers with frayed edges and a beat that aimed for a TKO," and later heard in part in 2018 at the Red Bull Music Academy in New York, Soon after completion of the song, Robyn became "conflicted" about having her collaborators and friends hear it. Recalling her excitement upon initially "sending the demo to the record label and telling them I thought we had a good single", its themes of "nostalgia and sentimentality" in retrospect came across like a "teenage version" of herself she was "happy to let go of". Robyn ended up deciding to include the song on Body Talk Pt. 1, working through "difficult" early promotion as the themes didn't "always feel true" to her. Many years later Robyn and Patrik realized their leaps of faith with the song were worth it. After "taking a step back from what she'd created", working through "a lot of therapy" where she "worked on [...] and healed" herself, then felt the "song was talking back to her" when "thousands of fans" sang it back to her on her 2019 tour when she "cut the song just before the chorus", she realized the song had "moved on from its beginnings" and was no longer "conflicted" about "playing it live", feeling it had become "something that took on meaning for a lot of people in different ways". Meanwhile, Patrik was reaffirmed of his decision to break from Max Martin's formula despite "ang[er]" from many of his peers in Sweden, as it became "one of those songs where people came up to [him], talking about how much it mattered." ==Composition and release==

"Dancing on My Own" was composed by Robyn and Patrik Berger. Featuring "elements of 'many different worlds'" she loves that make her "proud" of the track, including "80s rock ballads" and "queer electronica", were released for the album then for radio, where "everything, bar Robyn's vocal, is electronic". A third, downtempo, 'pared down', piano-based version, recorded from her performance on 16 June 2010 on BBC Radio 1 was then released separately from the project on ''Radio 1's Live Lounge – Volume 5'' on 22 October 2010. Both electronic versions keep a tempo of 117 beats per minute in common time, which NPR Sam Sanders implies was arranged deliberately as it was "situated [...] pretty close to what scientists say is the preferred walking tempo for humans". All three versions are in the key of G major, following an "immediately familiar one-five-four" The "brutal", "direct", and "minimal" then was released as a digital single the next day, followed by its official release on 1 June 2010 as Body Talk Pt. 1's lead single. Its focus is on its "relentless jackhammer" It mixes those elements at substantially different levels and most noticeably adds "an extra arpeggiated synth through the intro and the verse". Vanyaland Michael Marotta pointed out a small bell effect resembling last call that rings at the climax of the song in both electronic versions' middle 8, interpreting its inclusion as an indication the protagonist's time had run out in her last effort to gain notice from the ex-lover. Robyn's "love letter" to Stockholm as indicated in her "favorite lyric" describing its weather in winter, a "big black sky over [her] town", with a deliberate "bait and switch" of production that sounds in its opening "life-affirming" but in reality is backing what the listener soon realizes is a "bleak, wounded" "breakup song" lyrically, a deliberate "juxtaposition" "of light and dark at the same time" whose "magic" Robyn explained to Kindness at Red Bull Music Academy is what she's "drawn to when [she] make[s] music", and is "much more satisfying" to her than just one feeling or the other, which she'd found "predictable" and "boring". NPR's Sam Sanders felt these contrasts of "female empowerment through angst" in "lesser hands [...] might be confusing" but "[w]hen Robyn does it, it's human." Outside its story of the "total outsider" in "love sickness" "in the middle of the club" who's still "going to take care of herself and have a good time even though she's pretty dramatic and crazy", she left the rest of its narrative up for interpretation, explaining to Z100's JJ Kincaid that revealing every detail wouldn't have been "as interesting", preferring writing that brings out "emotion[s]....in a way that enables the listener to [...] connect to [the song] in their own way". ==Music video==

The music video for "Dancing on My Own" premiered via Robyn's official Vimeo account on 21 May 2010 and was released to YouTube on 28 May 2010, accompanied by its radio version. Directed by Max Vitali (who previously worked with Robyn on the second music video for her 2005 single "Be Mine!"), and choreographed by longtime collaborator Maria "Decida" Wahlberg, the music video was produced by Nils Ljunggren and HSI Productions, with filming by Erik Sohlstrom and editing by Johan Söderberg and Johan Wik. Wardrobe, hair, and makeup were done by Naomi Itkes, Ali Pirzadeh and Linda Öhrström, respectively. According to Robyn, Max, and 'Decida' from a behind-the-scenes black-and-white preview posted to Robyn's website the day before its release, it's meant to be a visually "simple" yet "still...atmospher[ic]" "performance video" aesthetically connected to her then "upcoming gigs and tour" that depicts "being sad on a dancefloor" in a "rave" or club" where other "people are dancing" and Robyn's choreography is meant to "[bring] out" a "pissed off [...] energy". Robyn portrays the protagonist depicted in the song's lyrics while lip-syncing its lines in three scenes in the center of the club's dance floor, in a dark hallway of that club and in a separate "harshly lit rehearsal" setting. Robyn is occasionally watching her ex with another woman and trying to get his attention in both club settings prior to leaving – though not overtly, nor is there an obvious reference in the video as to who the ex and his girlfriend are among the club goers. 'Decida' later explained to Billboard that "angry" choreography was inspired by "her own experiences as a teenager" channeling "Rosie Perez’s dance sequence in the opening credits to Do the Right Thing (1989)," Ryan Dombal of Pitchfork wrote of the video, "When you're a star, sometimes all you need to do is put on a casually stylish outfit, gaze into a lens, move your limbs around in a rhythmic manner, and-- just like that-- a high-quality music video is born. Robyn is a star. And that's exactly what happens in this video." Leslie Simon of MTV Buzzworthy named it a "Video You Need To Know" and wrote, "Amid a sea of strobe lights and PDA-stricken couples, Robyn seems cautiously fed up with dancing solo. Sad. We'll dance with you, lady!" Jake Hall of Dazed saw the video's "stand-out moment" as accompanying the song's "hammering drums transition into the final chorus", when Robyn is shown "ruthlessly throwing punches as strobe lights frame her wounded aggression." ==Reception==

Critical "Dancing on My Own" received acclaim from music critics. Fraser McAlpine of BBC Radio 1 was stunned at the about-face from the "fragile waif" displayed in that prior song, praising Robyn's "always [...] ready-packed" voice "with a whole world of pain and anguish", the song's "punishingly tough" production and new narrative, and her "toughness" which "lies in her ability to express total agony, and total assurance at the same time, via the medium of a plaintive chorus [...] " Pitchfork Ryan Dombal appreciated it showed "the scuffs on her scepter" in comparison to her promotional singles from Body Talk Pt. 1, awarding it their famous "Best New Music" label the day of release, and the outlet's Tom Breihan during its promotion would deem it her "Euro-pop masterpiece." The Guardian Michael Hann stated that song's "pulsing synths and electronic percussion manage to sound both jackbooted and ineffably melancholy." Jer Fairall wrote for PopMatters that "[t]he aggressive stun-gun rhythm of 'Dancing On My Own' can't hide a classic drama-played-out-on-the-dancefloor scenario inherited from standard bearers like ABBA's 'Dancing Queen' and Madonna's 'Into the Groove', nor is it cold enough not to melt at the touch of Robyn's warm, yearning vocals or the song's shimmering keyboard chime." Slant Magazine named "Dancing on My Own" the best song of 2010, writing: "Few artists risk Robyn's emotional nakedness, and with 'Dancing on My Own' she reveals the exquisite flipside to her more empowered 'With Every Heartbeat'". The Guardian named it the best song of the year as well, writing: "'Dancing On My Own' is an extraordinary addition to Robyn's canon of skewed love songs; thoughtful and romantic enough for stuck-on-repeat listening, but with a pop sensibility that makes you want to head out in search of a dancefloor." Rolling Stone named it the twenty-sixth best song of 2010, writing: "The Swedish diva spots her beloved with another girl – then turns her sadness into sparkling pop, perfect for solo freakouts." The song landed at number six on MTV's Best Songs of 2010, with James Montgomery writing: "as soon as 'Dancing' gets to that hair-raising build – a breathless rush of drums and adrenaline – you're no longer thinking about what Robyn's saying, really." In January 2011, the American music magazine The Village Voice Pazz & Jop annual critics' poll ranked "Dancing on My Own" at number three to find the best music of 2010. The song was nominated at the 53rd Grammy Awards in the category Best Dance Recording, but lost to "Only Girl (In the World)" by Rihanna. Commercial "Dancing on My Own" debuted at number two on the Sverigetopplistan chart on the issue dated 11 June 2010. The song ascended and descended between number two and number three over its first seven weeks, before reaching the top position on the issue dated 30 July 2010 where it remained for two weeks. In Norway, the song debuted at number six, which became its peak. "Dancing On My Own" also reached number three on the UK Dance Chart. In the United States, "Dancing On My Own" debuted at number 40 on the Hot Dance Club Songs chart. On the issue dated 17 July 2010, it reached its peak of number three and stayed on that position for two weeks. ==Live performances==

On 5 June 2010, Robyn gave her live premiere of the track's midtempo version for Sommarkrysset on TV4 at the Stora Scenen in Stockholm's Gröna Lund amusement park. On 16 June 2010 Robyn premiered the downtempo version of the track on BBC Radio 1's Live Lounge. The first live performance of the track on US television was on the Late Show with David Letterman on 19 July 2010. On 12 September 2010, Robyn performed a remix of the midtempo version with DJ deadmau5 at the 2010 MTV Video Music Awards, truncated by a commercial break. The two did not rehearse the performance until the morning of the show, and Robyn said, "I met him for, like, five minutes, and then we were playing." In 2010–2011, Robyn performed the song on other American television shows such as Late Night with Jimmy Fallon, The Tonight Show with Jay Leno, The Ellen DeGeneres Show Jimmy Kimmel Live! and Saturday Night Live. She also performed it at the 2010 Nobel Peace Prize Concert in Oslo, Norway. On 17 January 2011, Robyn attended the Grammisgalan to accept the awards for Best Song (for "Dancing on My Own"), Best Album, Best Female Artist and Best Composer. On 15 March 2011 she performed the song along with "Fembot" and "With Every Heartbeat" at Studio Hamburg, Germany as part of a promotional mini-concert for Deutsche Telekom's Telekom Street Gigs, later broadcast on ProSieben's We Love In Concert series. On 14 February 2025, Robyn performed the track live with David Byrne at the SNL 50 Homecoming Concert at Radio City Music Hall. ==Impact and legacy==

Anticipation among several music journalists surrounding Robyn's social media announcement on 27 July 2018 of her first release of solo material in eight years, "Missing U", began a reassessment of the strength of her Body Talk series' "anchor", the original album version of "Dancing on My Own", and more broadly, its impact on other musical artists and the industry as a whole in the years that followed. In June 2018, Rolling Stone ranked that version of the song 19th on its list of 'The 100 Greatest Songs of the Century – So Far', in July 2018, NPR ranked it as the 49th greatest song by a female or nonbinary artist in the 21st century, and in October 2020, The Guardian Alexis Petridis called it "the greatest pop single of the past 20 years". The track was considered the greatest of the decade by Rolling Stone, NME, Slant, Consequence, AP, Insider, Esquire, iNews, Time, NPR listeners, Paste, Good Housekeeping, The Interns and The Wild Honey Pie ranked it second, Pitchfork third, Elle and Treble fourth and USA Today ninth. Gorilla vs. Bear ranked it 12th, Crack Magazine 13th, NBHAP 15th, Uproxx 18th and ''Harper's Bazaar 22nd. In September 2021, Rolling Stone'', from a poll of more than 250 artists, musicians, producers, critics, journalists and industry figures, ranked the original album version of Robyn's "Dancing on My Own" at number 20, between Billie Holiday's "Strange Fruit" and John Lennon's "Imagine", on their reissued list of "The 500 Greatest Songs of All Time", the decade's highest entry on their list. Fawbert saw it taking "another nine-and-a-half years" to reveal its impact over the course of the decade after "slowly unleashing its tentacles and hooking itself around the music world." The song "heralded the end of the glitzy, VIP-filled, champagne-drenched 'Club' era of songwriting" in Fawbert's view, and it "changed the trajectory of pop, indie and dance." Insider Callie Ahlgrim wrote that the song "served as a lodestar for so much of this decade's pop" when "the best work of countless female pop stars" that followed "bears the mark of Robyn's signature poptimism". Ahlgrim said that, without Robyn's influence, there would be "no Carly Rae Jepsen, no Charli XCX, no Lorde." Max Martin's manager said that Martin thought "Dancing on My Own" was "one of the best pop songs ever made," and years later at a dinner he told her that he continued to have a "lot" of female artists come into his studio, "...put your album on the table," and say, "I wanna make this!" Robyn described his response as "Well, fuck you, go work with her then!" which she found "very sweet." Robyn has been described as a gay icon because of the popularity of "Dancing on My Own", itself described as a gay anthem. Robyn said she "felt connected to the gay audience because there's an element to the culture that you have had to think about or make up your mind about what it is to be an outsider..." By the late 2010s out singer/songwriter Sam Smith expressed that they thought the track made Robyn "a huge part of the LGBTQ community because we get to dance our pain away." ==Formats and track listings==

• Australia digital download • "Dancing on My Own" (Radio Version) – 4:39 • "Dancing on My Own" (Rex the Dog Remix) – 6:25 • Germany/UK CD single • "Dancing on My Own" (Radio Edit) – 3:37 • "Dancing on My Own" (Rex the Dog Extended Remix) – 7:28 • Germany digital EP • "Dancing on My Own" (Radio Edit) – 3:37 • "Dancing on My Own" (Radio Version) – 4:36 • "Dancing on My Own" (Buzz Junkies Edit) – 4:06 • "Dancing on My Own" (Album Edit) – 3:37 • "Dancing on My Own" (Rex the Dog Remix) – 6:22 • "Dancing on My Own" (Azzido Da Bass vs. Dirty Disco Youth Remix) – 5:52 • "Dancing on My Own" (Jakwob Remix) – 4:10 • "Dancing on My Own" (Buzz Junkies Remix) – 5:57 • Germany digital EP – Part 2 • "Dancing on My Own" (Michael Woods Remix Edit) – 4:43 • "Dancing on My Own" (Michael Woods Remix) – 7:45 • "Dancing on My Own" (Michael Woods Remix Instrumental) – 7:46 • "Dancing on My Own" (Jakwob Remix) – 4:10 • "Dancing on My Own" (Fred Falke Radio Edit) – 4:21 • "Dancing on My Own" (Fred Falke Remix) – 7:30 • "Dancing on My Own" (Fred Falke Instrumental) – 7:30 • "Dancing on My Own" (Rex the Dog Extended Remix) – 7:28 • Sweden/US digital download • "Dancing on My Own" – 4:48 • Sweden digital EP – Remixes • "Dancing on My Own" (Fred Falke Remix) – 7:30 • "Dancing on My Own" (Jakwob Remix) – 4:10 • "Dancing on My Own" (Michael Woods Remix) – 7:45 • "Dancing on My Own" (Chew Fu Remix) – 5:05 • "Dancing on My Own" (Rex the Dog Remix) – 6:25 • UK digital EP • "Dancing on My Own" (Radio Version) – 4:39 • "Dancing on My Own" (Rex the Dog Remix) – 6:25 • "Dancing on My Own" (Buzz Junkies Remix) – 6:00 • "Dancing on My Own" (Jakwob Remix) – 4:10 • "Dancing on My Own" (Azzido Da Bass vs. Dirty Disco Youth Remix) – 5:51 • "Dancing on My Own" (Fred Falke Remix) – 7:30 • "Dancing on My Own" (Michael Woods Remix) – 7:45 • US digital EP – Remixes • "Dancing on My Own" (Michael Woods Remix Edit) – 4:42 • "Dancing on My Own" (Michael Woods Remix) – 7:44 • "Dancing on My Own" (Fred Falke Remix) – 7:30 • "Dancing on My Own" (Jakwob Remix) – 4:09 • "Dancing on My Own" (Rex the Dog Extended Remix) – 7:27 • "Dancing on My Own" (Rex the Dog Remix Edit) – 3:24 • "Dancing on My Own" (Buzz Junkies Remix) – 5:59 ==Credits and personnel==

The liner notes of the album Body Talk Pt. 1 provide the following credits: • Robyn – music, lyrics, co-production, instruments, programming • Patrik Berger – music, lyrics, production, instruments, programming • Niklas Flyckt – mixing ==Charts==

Weekly charts Year-end charts ==Certifications==

Before he became famous, British singer Calum Scott posted a cover version to his personal YouTube channel on 1 March 2014, and later performed the song for his audition on ''Britain's Got Talent'' in April 2015, the original clip of which has garnered over 415 million YouTube views. "Naive about the [music] industry" and worried his "career was over" after he wasn't signed to Simon Cowell's Syco Entertainment when "the show was over and it went quiet", Scott thought his "opportunity was gone". Tracking the data behind the sudden rise in engagement and speed of new subscribers to Calum's channel over several months, A&R executive Conrad Withey encouraged him to release the song officially. With Conrad's endorsement, Calum signed independently with Warner Music Group, and the song was released as his debut solo single on 15 April 2016, with a 3 June 2016 release in other territories under Capitol Records. With this early exposure, Conrad's Instrumental, a London-based AI algorithm-based A&R start-up looking to streamline "notoriously inefficient methods of talent discovery" using internet engagement to cut costs with a "data-driven" platform that would controversially prioritize "popular[ity]" over "artistry" in support of "online engagement", "internet stars" and "brand and content partnerships" rather than "musicians", reversing preconceived notions of building fanbases from scratch by capitalizing on those that already existed, went on to contract their services with the 'Big 3' and revolutionize A&R signing of artists. with critical reception being polarized, and streaming performance being very strong in the UK and Australia, followed by sleeper hit longevity throughout Europe. Two EDM remixes of the cover were commissioned and released by Calum's label from Tiësto on 15 July 2016 and Hull-based Ben Dooks on 29 October 2018. Different music videos were commissioned and released later in 2016 for Calum's cover as well as the Tiësto remix. Critical reception Reception to Scott's cover was polarized. Metro Weekly Sean Maunier called it a "stellar" confessional, noting its "subtle yet powerful" slight lyric changes to "reflect his own experience as a gay man" that were "casual" yet still "matter-of-fact, and all the more striking for it," Ones to Watch Miro Sarkissian praised it as "stunning", and Digital Journal Markos Papadatos found it "crisp and haunting". BBC Newsbeat Steve Holden wrote that Calum's "second lease of life" he gave the song reached "a far wider audience in the mid-2010s", and Robyn shared with Steve she was "super happy" for Calum's success that got people to "know the song a little bit more", praising his "voice" and "interpretation [...] in a way that 'made the song come alive again.'" and Pitchfork Jayson Greene also found it "dubious" and "weepy" in comparison to Robyn's. while We Rave You Petar Lazarevic appreciated how Tiësto "slowly envelope[d]" yet still left "plenty of room" for Calum's vocals, building "the presence of the glossy guitar riffs in the drop" which evoked "the lazy and comfortable feelings that accompany the early hours of the morning after a fantastic night". In March 2018, Scott revisited the mixed reactions to his version. He said that those complaining he had ruined Robyn's song were counterbalanced by positive responses, for instance one person that had "just written to me and said that they've come out to their family because of my interpretation". He said he "didn't change the pronouns of the song" because he wanted the interpretation to always come from a "gay man's perspective". He said the gay community have thanked him repeatedly for the song, saying "how much it means to them that they have a voice in music." Chart performance The cover went viral on streaming services, with Spotify tracking it reaching number one in six countries while ranking in the Top 10 in over 20, peaking at number 2 in the Global Viral 50. On iTunes it charted in the top ten in more than 12 countries. The track had its greatest reception in the UK, where, despite little radio airplay (apart from West Hull FM), it climbed into the top 40 and slowly reached number 4 in July. It was then added to BBC Radio 2's C List playlist and peaked at number 2 on the UK Singles Chart on 5 August. The track remained in the top three four months after its release and later that year it was revealed it was the most bought song of the summer in the country. Scott told the Official Charts Company on its reception there that he was "absolutely over the moon" at the news. The track went on to become the best-selling UK single by a British solo artist in 2016. In the subsequent months and years, the track became a moderate sleeper hit in Europe, including by mid-2018 reaching 550M streams and becoming certified platinum in at least four countries. Scott said in a press statement upon signing with Capitol Records in the U.S. that "when I recorded the song in my bedroom, I never thought for a second that it would reach as far as it has and bring this level of support from literally all over the globe...I'm completely overwhelmed by it all." Music videos in the crowd Self-produced by Calum Scott and directed by Ryan Pallotta, the video for the original version was released on 15 June 2016. A crowd of silent people dressed in white are looking towards a light source. Among them, Scott mouths the song lyrics. A man and a woman move through the crowd to find each other. By April 2020 the video had received over 400 million YouTube views. The official video for the Tiësto remix was commissioned by Capitol Records and released on 4 October 2016. Co-directed by Josh Killacky and David Moore, and edited by Alex Ditommaso, the video depicts a man pursuing a woman who is no longer his lover. With Moore shooting video while riding a hoverboard in a stark studio space, Josh Killacky and Haley Fitzgerald perform a modern dance routine, choreographed by Killacky. Media The cover aired on the 20th episode, "Kill 'em All" of The CW series The Vampire Diaries, broadcast 29 April 2016, while Caroline makes soup for Bonnie while ranting to Alaric about Stefan, commitment and closure. It also aired on the 24th episode, "Ring of Fire" of the ABC series ''Grey's Anatomy, broadcast 17 May 2017, while Nathan asks Meredith details about Megan, then hugs her in celebration and drives off. Scott promoted the track throughout 2016 and 2017 most notably on Late Night with Seth Meyers, Good Morning America, Elvis Duran and the Morning Show, Good Morning Britain, The Ellen DeGeneres Show, and Dancing with the Stars. Following the 10th episode "Brainwave Jr." of the DC Universe series Stargirl in July 2020, the cover "racked up 10.5 million U.S. on-demand streams, along with 3,000 digital downloads, according to Nielsen Music/MRC Data", topping The Hollywood Reporter'''s Top TV Songs Chart. During the 2021 MLB postseason, the Boston Red Sox adopted the Tiësto remix of the song as their postseason anthem, playing the song in their celebrations after their Wild Card Game win over their rivals, the New York Yankees, and their series win over the Tampa Bay Rays. During the 2022 MLB postseason, the Philadelphia Phillies also adopted the Tiësto remix of the song as their own postseason anthem, with the team carrying it over into the 2023 season as well. Awards and nominations Weekly charts Year-end charts Decade-end charts Certifications == Release history ==

Belgian singer Kato Callebaut performed Robyn's downtempo version as part of her audition on Idool 2011 then released her studio cover, receiving a gold certification for 10,000+ copies sold. American rock band Kings of Leon performed but never officially released a cover of Robyn's ballad during a session on Zane Lowe's show on BBC Radio 1. The cover was officially posted by the show to their YouTube channel on 10 September 2013, which Billboard Jason Lipshutz described as an "injection" of Kings of Leon's "muscular Southern rock stylings" with "meaty guitar riffs", with "Caleb Followill's signature growl in full effect" and the "'Whoa-oh-oh's' echo on the chorus", recalling the singer's "epic "Use Somebody" flare-ups". American actress Elle Fanning performed the mid-tempo version as the character Violet in the film Teen Spirit, released in September 2018, and her recording, described as "unassuming" yet "impressive" by MTV, was subsequently released in April 2019 as part of its soundtrack with a promotional music video depicting her role, aiming for pop stardom. Singer/songwriter Kelly Clarkson covered the downtempo version on 28 February 2019 in Dallas, Texas, on her Meaning of Life Tour. Robyn went on to tell Newsbeat in 2020 that she "really liked" Kelly's version, noting "she has a really powerful voice. She recorded one of my favorite Max Martin songs, "Since U Been Gone", which I covered in the Radio 1 Live Lounge. So that's funny." promoting it on Cover Nation, Sirius XM and ALT 98.7. American folk singer Willie Watson, former founding member of Americana and bluegrass band Old Crow Medicine Show, released a folk version of the song in May 2020, dedicating it in a live stream performance of the song from his own studio to everyone "dancing on their own" amidst the COVID-19 pandemic. In December 2020 English singer/songwriter and model Karen Elson released a downtempo alternative country version on her EP, Radio Redhead, Vol.1. Los Angeles-based garage punk band the Regrettes released a cover of the midtempo version in March 2023. Tove Lo covered the song in October 2022 for Like a Version on Australian radio station Triple J with the cover subsequently being released on the station's YouTube channel as well as music streaming services. Canadian alternative rock band Arkells covered the song in May 2024 on their album Disco Loadout, Volume I. ==See also==