For STORRY, the fine line between protecting her modesty and advancing her career as an artist is a tough one to walk. But revisiting the trauma of her past life is a sacrifice she must make in order to pursue her biggest passion, music.
“Money Ain’t Free” is about STORRY's return to the world of exotic dancing to finance her musical dreams. The cinematic visuals for “Money Ain’t Free” sum up the inner and external conflict STORRY faces as she makes the tough decision to return to the very industry that left her with so many scars. “I needed to strip to make money to pay for the music so that I wouldn’t have to strip anymore. It was a hard decision to make and my mother was not happy about it (to be fair, neither was I). I remember people saying I just wanted the "easy" money. But let me tell you, there was nothing easy about being an exotic dancer, going back to an industry that had caused me a lot of trauma,” STORRY shares with EARMILK over email. “My entire life, to this day, I wear mostly hand me down, second-hand clothes, I don't buy name brand items, nor do I go to fancy hotels or drive a fancy car. I'm practical and thrifty. Anyone who knows me knows that. But money isn't free, and I have this dream career that I'm pursuing.”
The uber creative visuals for “Money Ain’t Free”, directed by Karimah Zakia Issa, show STORRY having flashbacks to her days as a dancer after her bank withdrawal request declines. With angst, she collects her dancing clothes and heels and heads to the strip. But first, she makes a stop to a gravesite–where she has metaphorically and literally dug up her past self. She digs up a body bag, carries it to the club, and watches her alter ego reawaken.
The show begins. She dances gracefully over the Motown beat’s orchestration of elegant horns and keys as the crowd applauses. “Money Ain’t Free” is the second single from STORRY’s upcoming album, CH III: The Come Up, due February 20th. The album will be dropped alongside several shows in Toronto and Quebec. Get tickets to see STORRY live here.
