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All Things Go

is an annual outdoor music specializing in , and genres, held across multiple North American venues including in ; Forest Hills Stadium in ; and, as of 2025, in , . The festival traces its roots to a Washington, D.C.-based music launched in 2006 by four childhood friends, named after the Sufjan Stevens song from his 2015 album . It debuted as a live event in 2014 with a modest gathering at in D.C., expanding rapidly to larger capacities at Yards Park by 2016 and then to the 19,000-seat , where it has anchored two-day sold-out editions with dual stages and lineups emphasizing emerging and established female-led acts such as , , and . Amid broader industry challenges for festivals, All Things Go has sustained growth through independent curation focused on cultural relevance and artist discovery, achieving multi-city expansion while maintaining a reputation for vibrant, genre-blending performances.

Background and Development

Recording and Production

"All Things Go" was produced by and , with co-production from , during the 2014 recording sessions for Nicki Minaj's album . The beat features a melodic crafted by the producers, emphasizing introspective tones suited to Minaj's personal lyricism. Recording engineer Aubry "Big Juice" Delaine handled the vocal tracking and mixing for the track, marking it as the first completed for . Minaj has described the process as emotionally taxing, noting a love-hate relationship with the due to the difficulty of reliving painful experiences while laying down verses. Delaine recalled Minaj opening up personally during these sessions, revealing details about her life that informed the track's raw content, such as past relationships and . The production prioritized Minaj's vocal delivery, with Delaine's engineering capturing her layered flows and ad-libs to enhance the song's confessional style without heavy auto-tune effects typical in some contemporary hip-hop tracks. Sessions occurred amid broader The Pinkprint work across multiple studios, though specific locations for "All Things Go" align with the album's primary hubs like Glenwood Place Studios in . This track set the album's vulnerable tone, influencing subsequent recordings by establishing a blueprint for introspective production over commercial polish.

Inspirations and Writing

The song's inspirations stem from Nicki Minaj's experiences, including strained relationships, the murder of her cousin in 2009, and her decision to a pregnancy with then-partner amid her rising fame. These elements reflect broader themes of mortality, , and , which Minaj channeled to establish a vulnerable tone for . In a 2015 interview, Minaj described the track as confronting her past, including the abortion and her breakup with Samuels, emphasizing her commitment to authenticity despite public scrutiny. Minaj handled much of the lyric-writing herself, countering industry rumors of ghostwriting by asserting her long-standing practice of composing since childhood, though she acknowledged occasional collaborative input for efficiency. The song credits list Minaj (as Onika Maraj) alongside co-writers Anderson Hernandez (Boi-1da), Allen Ritter, Sean Momberger, and Tarlan DeAndre Satriale, with production by Boi-1da and Vinylz. During sessions for The Pinkprint, engineer Big Juice noted that "All Things Go" marked an early instance of Minaj opening up personally, revealing details like her engagement rumors and emotional struggles that shaped the album's narrative arc. Minaj has framed the track as an intentional album opener, transporting listeners to a "dark yet hopeful place" for , distinct from her more commercial hits. This approach prioritized raw storytelling over polished hooks, allowing her to address life's impermanence—"Life is a bitch and then you die / That's why we get high"—as a on fame's toll and personal growth.

Musical Composition

Structure and Instrumentation

"All Things Go" eschews traditional verse-chorus-verse structure in favor of extended, interconnected verses that form a continuous, stream-of-consciousness , prioritizing lyrical over repetitive hooks. This approach allows to unfold personal anecdotes and reflections in a linear progression, building emotional intensity across the track's 4-minute, 53-second duration. The instrumentation, handled by producers , , and , features a restrained beat with prominent programmed drums—including crisp snares and hi-hats—layered over deep bass lines and subtle atmospheric synths to evoke . This sparse emphasizes Minaj's vocal and ad-libs, creating space for the raw, unfiltered content without bombastic elements typical of her more commercial tracks.

Production Techniques

"All Things Go" was produced by (Matthew Samuels), (Tarlan Parvani), and co-producer , with additional songwriting contributions from . The beat emphasizes atmospheric synth layers, creating a lush, throbbing backdrop that supports Minaj's introspective delivery and occasional sung elements in the . This production approach contrasts with more aggressive beats, opting for a restrained, emotional texture that underscores the track's confessional lyrics without overpowering them. No major samples or interpolations are incorporated, allowing the original instrumentation—dominated by synthetic elements and subtle percussion—to drive the composition. The mixing prioritizes vocal clarity, enabling Minaj's rapid-fire flows and vulnerable reflections to remain foregrounded amid the ambient production. Recording details specific to the track are not publicly detailed, but it aligns with The Pinkprint's overall sessions, which involved high-profile producers focusing on genre-blending with pop sensibilities.

Lyrics and Themes

Personal Narrative Elements

In "All Things Go," incorporates deeply autobiographical reflections on her struggles, beginning with depicting her origins in a basement and relentless competition in the music industry: "I been competin' since / The kitchen, I been watchin' ." These elements underscore her self-described reinvention from underground artist to mainstream success, a narrative she has tied to personal perseverance amid skepticism from labels and peers. A central personal thread involves Minaj's older brother, Jelani Maraj, who was incarcerated at the time of the song's writing; she raps about efforts to secure his release through connections like , yet laments his ongoing imprisonment: "Even with our different last names, loved ones the same / I rush my new brother Jelani out of jail, Wayne / Did what he couldn't, give my brother one million." Minaj has confirmed this references her financial and legal support for Jelani, including posting $100,000 in 2015 and visiting him in prison, reflecting familial loyalty despite his later conviction for child sexual assault in 2020, for which he received a 25-to-life sentence. The track's most introspective narrative element centers on Minaj's teenage , which she explicitly addresses: "My child with would've been sixteen, any minute / And my mother tried to home-school me / But knew I was a light bulb, knew I was a ." In a 2015 Rolling Stone interview, Minaj revealed this stemmed from a with ex-boyfriend —her daughter's potential age at the time—and described the procedure as traumatic, stating it "haunted me all my life" due to severe complications that made her fear death, compounded by her mother's initial anger and subsequent plea for forgiveness. She elaborated in that the experience influenced her ambivalence toward motherhood, balancing career ambitions with family desires, as echoed in lines contemplating future children while prioritizing professional risks. Minaj weaves in maternal influence and resilience against personal loss, rapping about her mother's guidance amid family strains and her own determination to transcend hardship: "Mama raised a soldier, so I know how to fight." These motifs, drawn from her pre-fame life in Trinidad and , portray a causal chain of adversity fueling ambition, with Minaj attributing her success to unyielding rather than external validation. The song's confessional style, unusual for her persona-driven rap, signals a pivot toward vulnerability on , where she prioritizes raw autobiography over alter egos like Roman Zolanski.

Interpretations and Controversies

The lyrics of "All Things Go," the opening track of Lana Del Rey's 2015 album , have been interpreted by critics as a stream-of-consciousness meditation on mortality, fame's ephemerality, and personal turmoil. The song begins with imagery of life flashing by—"I've been tearing around in my fucking nightgown / 24/7 "—evoking struggles and through the reference to the poet's legacy, while lines like "Death is almost certain" underscore an acceptance of life's impermanence. Del Rey weaves in references to her rise to celebrity, drug experiences (", side boob"), and a salvific relationship alluded to as "" (the birth name of rapper A$AP Rocky), positioning intimacy as a fleeting antidote to existential dread ("When I'm with you all things go"). Music reviewers have noted this as establishing the album's thematic core of detached reverie amid beauty and decay, with orchestral swells amplifying a sense of resigned grandeur. Interpretations often emphasize the autobiographical elements, viewing the track as Del Rey reckoning with her public persona and private excesses post-breakthrough success. For instance, the refrain's paradoxical embrace of chaos—"All things go, all things go"—suggests a philosophical to transience, blending with in a manner reminiscent of cinematic . Some analyses highlight its structural role as a for Honeymoon's aesthetic, prioritizing atmospheric immersion over narrative coherence, which aligns with Del Rey's self-described intent for the album to evoke a "honey moon" phase of illusory bliss. While the song's explicit content—references to , substance use, and emotional volatility—drew scattered criticism for potentially romanticizing and toxicity, consistent with broader debates over Del Rey's oeuvre, it did not ignite significant public controversies upon release. Album critiques occasionally faulted its languid delivery and introspective focus as emblematic of artistic stagnation or emotional aloofness, with some outlets arguing the ' confessional style bordered on navel-gazing without deeper resolution. However, these views represent minority detractors amid generally favorable for the track's evocative , and no legal, social, or cultural backlash materialized akin to controversies surrounding Del Rey's later statements on or in music.

Release and Promotion

Single Release Details

"All Things Go" was released digitally as a promotional single on December 3, 2014, serving as the opening track and first instant gratification download for pre-orders of Nicki Minaj's third studio album, The Pinkprint. The track was distributed exclusively through digital platforms, with no physical formats or radio airplay promotion as a standalone single, positioning it primarily as an album teaser rather than a commercial single. It was issued under the labels Young Money Entertainment, Cash Money Records, and Republic Records, consistent with the album's distribution. The release preceded the full album drop on December 15, 2014, allowing early access to build anticipation without traditional single metrics like chart eligibility.

Marketing and Tie-ins

"All Things Go" served as the lead promotional single for Nicki Minaj's third studio album, , released digitally on December 3, 2014, as an instant gratification track available exclusively through pre-orders. This strategy was designed to generate early buzz by providing fans immediate access to the album's opening track, which Minaj described as a deeply personal reflection on her life experiences, including career struggles, family losses, and past relationships. The release coincided with heightened media attention on the song's lyrical content, with outlets highlighting its introspective tone as a departure from Minaj's more commercial hits, positioning as her most vulnerable project to date. Promotion extended to visual and performance elements tied to the album rollout. A short promotional film, , featured "All Things Go" as its opening audio, with nighttime cityscapes and Minaj in a car setting a contemplative mood to underscore the track's themes of reinvention and impermanence. Three days later, on December 6, 2014, Minaj performed the song live on alongside "Bed of Lies" and "Only," marking one of the first public renditions and amplifying exposure through network television. These efforts emphasized the song's role in framing the album's narrative arc, though no dedicated commercial tie-ins, such as product placements or brand partnerships specific to "All Things Go," were reported; marketing focused instead on integrating it into broader campaign themes of authenticity and artistic evolution.

Commercial Performance

Chart Positions and Sales

"All Things Go" entered the Rap Digital Song Sales chart on December 20, 2014, where it peaked at number 16 and remained for 12 weeks. The track also charted on the chart, debuting in late 2014 and reaching a peak position of number 38 on January 3, 2015, with a total of 12 weeks on the tally. It further appeared on the R&B Songs chart, peaking at number 23 during its 12-week run starting December 20, 2014. As a promotional tied to pre-orders of Nicki Minaj's album , the song did not enter the and saw limited mainstream radio airplay, contributing to its modest chart performance outside niche digital and R&B/ formats. Specific pure sales figures for the track are not publicly detailed in official industry reports, though its positioning on digital sales charts reflects thousands of units moved primarily through instant gratification downloads following its December 3, 2014, release.

Certifications and Metrics

"All Things Go" has not received any certifications from the (RIAA) or other major certifying bodies. As a promotional and album track, it achieved modest digital performance, peaking at number 23 on the R&B Digital Song Sales chart for one week in December 2014. By October 2025, the song had amassed over 57 million streams on , reflecting sustained listener interest despite lacking mainstream single promotion. These metrics underscore its role as an introspective opener rather than a chart-driving release, with streaming data serving as the primary indicator of its post-release traction.

Reception and Analysis

Critical Reviews

Critics praised "All Things Go" for its raw vulnerability and introspective lyricism, marking it as a stark departure from Nicki Minaj's earlier bombastic style and establishing a tone for . In the track, Minaj addresses her cousin's 2011 murder by NYPD officers, a teenage , the isolating effects of , and strained family ties, delivered with a "pointedly plain" flow over a haunting, minimalistic beat produced by and . noted the song's declaration—"THIS is The Pinkprint"—as a loaded assertion of artistic intent, blending personal grief with broader reflections on mortality and impermanence, encapsulated in the "All things go, all things go." Billboard highlighted Minaj's grappling with specific traumas, including the loss of a with ("My child with Aaron would've been 16 any minute") and her cousin Telemaque's death, framing the track as an emotional opener that confronts unwanted proposals and relational betrayals. described it as Minaj at "her most vulnerable," laying bare her struggles to prepare for the album's thematic battles, emphasizing its role in humanizing amid pressures. Similarly, the observed Minaj's wounded delivery in the song, contrasting its slow-rolling introspection with the album's more aggressive cuts and underscoring her duality of pain and defiance. Time magazine positioned "All Things Go" as emblematic of Minaj's reinvention, diverging sharply from hits like "Anaconda" by prioritizing emotional depth over spectacle, with lyrics probing regret and in a breakup-inflected . RapReviews commended the track for Minaj's self-revelation, viewing it as an attempt to shed her prior personas and embrace authenticity, though within the broader context of the album's uneven execution. While some reviewers, like those at Spectrum Pulse, lauded the courage in disclosing an , the song drew minimal direct , with consensus centering on its effectiveness in signaling 's pivot toward maturity despite the album's mixed overall reception averaging around 7/10 across major outlets.

Public and Cultural Responses

Fans of have consistently praised "All Things Go" for its role in launching the album with a sprawling, orchestral introduction that mirrors the record's hazy, cinematic aesthetic. Released as the lead track on September 18, 2015, the song's lyrics—detailing reflections on fame, fleeting relationships, and public scrutiny—resonated with listeners attuned to Del Rey's confessional style, often described in fan forums as a "perfect opener" that immerses audiences in her world of nostalgia and melancholy. In online communities like Reddit's r/lanadelrey, enthusiasts have labeled it an underrated gem within , highlighting producer Auerbach's contributions to its lush soundscape and the track's ability to blend vulnerability with grandeur, positioning it as a fan favorite for replay value despite not being promoted as a . Discussions frequently emphasize its autobiographical elements, such as allusions to Del Rey's Italian ex-boyfriend and lifestyle, fostering interpretations that tie it to broader themes in her discography like impermanence and celebrity isolation. Culturally, "All Things Go" has elicited limited broader impact, lacking notable covers, parodies, or references beyond niche analyses in music blogs tying it to Del Rey's from . Its influence appears confined to her core audience, where it inspires fan theories on personal growth and has appeared in playlist curations for introspective moods, but without generating viral memes or adaptations in film, television, or other art forms. This muted external reception aligns with 's overall polarizing yet devoted following, where tracks like this one thrive in dedicated spaces rather than achieving crossover appeal.

Performances and Legacy

Live Performances

"All Things Go" received its television debut on on December 6, 2014, where performed it as the closer in a medley that also included and "Bed of Lies," all from . The rendition featured Minaj over a minimalistic stage setup with backup vocalists, emphasizing the track's introspective lyrics. The song opened the setlist for most dates of , which ran from May 30, 2015, to March 22, 2016, across , , and , with 52 documented performances of "All Things Go" in this capacity. Concert reviews from stops such as on July 20, 2015, and on July 26, 2015, confirm its position as the tour's starting number, often transitioning into "I Lied" and setting a reflective tone before escalating energy with subsequent hits. Fan footage from venues like highlights Minaj's delivery with live instrumentation and crowd engagement, though audio quality varied due to arena acoustics. Beyond the primary tour, "All Things Go" appeared sporadically in later shows, including during the in 2019 and select dates of the Queen World Tour, such as on March 4, 2019, where it was paired with "[Save Me](/page/Save Me)" in a segment blending Pinkprint-era material. These inclusions were less consistent than on , reflecting the song's role as an album opener rather than a consistent single-driven staple in Minaj's evolving live repertoire.

Long-term Impact

The candid revelations in "All Things Go," particularly Nicki Minaj's disclosure of a past and the hypothetical age her child would have reached—"You woulda been sixteen this year"—represented a rare public vulnerability from the artist, reshaping perceptions of her persona beyond high-energy anthems and establishing a template for introspective storytelling in her career. This emotional openness, detailed in the track's opening lines released on December 3, 2014, has been retrospectively highlighted as a "brave reflection" that anchored 's thematic depth, contributing to the album's enduring status as a milestone in Minaj's discography for blending commercial rap with personal narrative. Over the subsequent decade, the has maintained through live performances, appearing in approximately 33% of Minaj's documented concerts (74 out of 224 shows tracked post-release), often serving as an emotional opener that connects with audiences on themes of and . It has also influenced niche sampling in hip-hop, with elements interpolated in tracks like Divaj's "Intro ()" (2020), extending its sonic footprint beyond mainstream rap. While not a chart-topping , its role in normalizing raw for female rappers has been noted in cultural analyses of Minaj's trajectory, predating similar disclosures by peers and underscoring a shift toward amid hip-hop's evolving emphasis on lived experiences.

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