"“I was thinking about this next song, and I was thinking about Anaheim,” she continued. “Do you know where Anaheim is?” The song, of course, was “Just a Girl,” which Stefani said she wrote “out of pure innocence in a time where I was just becoming aware of myself and my surroundings.” She added that she'd always assumed she'd outgrow the song - that someday it would feel disconnected from the life of a woman who went on to become a pop star with a clothing line and a gig on TV."
"“You tell me if you think it's still relevant,” she said. In a built-to-please town where old hits are welcome on any stage - not least Sphere's, which these days also hosts the Eagles and the Backstreet Boys - the crowd's verdict was no surprise. Yet this was a more committed look back than might have been expected, with a loose narrative arc tracing No Doubt's ascent (rather than its peak) and a set list filled with deep cuts well beyond the catchy singles that once blanketed KROQ and MTV."
"Beneath a massive wraparound screen that flickered with vintage camcorder-style footage from the early 1990s, the group played “Excuse Me Mr.” and “New” and “Total Hate '95”; Stefani and her bandmates - guitarist Tom Dumont, bassist Tony Kanal and drummer Adrian Young - did “Trapped in a Box,” “End It on This” and “The Climb,” which No Doubt heads on the internet say they hadn't performed live in nearl"
Gwen Stefani introduced “Just a Girl” by connecting it to Anaheim and asking the crowd whether the song still felt relevant. She described writing the song with innocence while becoming aware of herself and her surroundings, and she said she once assumed she would outgrow it. The performance took place during No Doubt’s monthlong residency at Sphere near the Las Vegas Strip, where the venue hosts major legacy acts. The set included early-1990s material and deeper tracks beyond the band’s biggest singles, supported by vintage camcorder-style visuals. Songs performed included “Excuse Me Mr.,” “New,” “Total Hate ’95,” “Trapped in a Box,” “End It on This,” and “The Climb.”
Read at Los Angeles Times
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