A row of backup dancers appear on the stage. As it is rather dark and they are all wearing black, it is hard to tell how many are female and how many are male. Red and blue lights start to flicker across the stage and reveal the dancers but the dim shades still make it all look very mysterious. No music is playing at this point. The whole place is silent as everyone waits for Michelle to make an appearance. Since having her baby and leaving Chaos Records, Michelle has really taken pop music by the 'you know whats' and carved out a very new and interesting sound for herself. Suddenly, the name 'Michelle' appears on the screen in red neon text, using the same font which has appeared an some recent artwork of hers. The audience cheer and Michelle slowly rising up on a platform from below the stage. Smoke machines producing blue and red smoke kick off as she rises onto the centre of the stage, holding her microphone in the air. She is wearing a very girly and demure outfit, a change from the sexier ones which she experimented with during the 'Live To Tell' era. Lately she has been spotted wearing very 1960's influenced outfits and it's not hard to see that this little pink number was inspired by that decade too.

The stage is lit a little better, with the whole red and blue lighting theme going on as the music starts. A slightly mixed version of "Your Hand Is Your Friend" starts to play as Michelle walks to the front of the stage. She points out to the audience, not aiming the lyrics at anyone in particular, as she begins. Her voice sounds exactly like it does on her records, maybe even better. She is extremely underrated and a lot of her music is overlooked but one thing Michelle is praised for is her live vocals and the show she puts on. She can sing, dance and act. It is always a good show whenever Michelle is around. The audience may realise a few changes to the song. The song is obviously mixed ever so slightly but the intro has been cut short and many of the swear words have either been removed or replaced with substitutes. Some 'risky' lines such as "knock out another one" and "better loosen up your wrist" still remain otherwise it would defeat the whole purpose of the song.

You've got a good job, done quite well for yourself
Rolling in the cash, yeah you love to show off your wealth
You've got it all, well maybe except from one thing
Where's your girl, where's your expensive wedding ring?

Yeah there's one problem and I can't excuse it
You see all ladies as just a pair of legs and....huh!
Flash your bling, that just won't do
I hate to think this is how your parents raised you

Yet you love it, say that you're a total player
Maybe on Xbox, locked in your room like a sad little gamer
Better loosen up that wrist, your hand is your friend
It's not the real thing but at least you can pretend


Michelle and the dancers begin to act out the song and take on roles. With eight male dancers and seven female ones, they all go off in pairs and the remaining male teams up with Michelle. The guys act like the lewd, creepy male in the song while the females portray the unimpressed girl. Throughout the song, the guys are constantly trying to get into close contact with the girls, leaning on them, taking hold of them and trying to impress with their dance moves. The girls dance back in retaliation but their moves seem rather "threatening", almost as if it is a way of scaring the oversexed males off. Michelle's partner takes her by the hand, places one arm around her waist and tries to woo her with his dance moves. At first he doesn't seem as disgusting as the other guys but his hands soon wander and he leans in for a kiss. As the chorus comes to an end, Michelle pushes him off and they all start to dance to this new drop which has been added in before the next lot of verses start. This gives the song a more dance-oriented sound but still contains elements of hip-hop and trap. With a slightly more upbeat mix and a bunch of the expletives removed, this version seems like it could be a lot more radio-friendly than the original version.

Keep your eyes up front and all your smiles for your mother
Keep both feet on the ground and all your bull.... for some other
I'm not here to pick you up, I'm not here to please you
Just because I wear a mini skirt don't mean I'm here to get screwed
You say I'm a tease, I'd say that you're an embarrassment
You think you're such a catch but this is nothing but harassment
Have you looked in the mirror lately, you're no Riley Hamilton
So you can take your sad self home and knock out another one

You say you can get any girl down on her knees
Mate she's just praying, hoping, begging for release
What makes you think you're something special?
Bad attitude, no style plus you're a bloody mental


After the fourth verse is over and just as soon as the fifth one follows on, Michelle's dance partner opens up her pink top as he continues to act like the sleazy guy that is being described in the song. She then "slaps" him across the face, causing him to stumble backwards. Around the stage, all of the other dancing couples can be seen doing something a little similar but rather than opening up tops and jackets, the male dancers place their hands on the females' bottoms before being "slapped" away. Michelle leaves the top opened though, showing off a revealing black and white crop top bralette. The cute, girly outfit is no more. As the sixth verse begins, she slides the pink top down her arms, nearly taking it off. As she does this, her male partner slowly approaches her again but she pulls it back up and pushes him away, reaching behind her and looking out into the audience rather than turning to face him.

Case closed, you really need to get a grip
And I mean in life, I'm not talking about your little thing
You could brush up, you could be a gentleman
Decent job, in the money, nice car, could be the envy of every man

But all these games and all this bravado
It just don't wash and you wonder why all the girls go?
I'm trying to give you a little wake up call
In one ear out the other, I'm talking to a brick wall

Keep your eyes up front and all your smiles for your mother
Keep both feet on the ground and all your bull... for some other
I'm not here to pick you up, I'm not here to please you
Just because I wear a mini skirt don't mean I'm here to get screwed
You say I'm a tease, I'd say that you're an embarrassment
You think you're such a catch but this is nothing but harassment
Have you looked in the mirror lately, you're no Riley Hamilton
So you can take your sad self home and knock out another one


As the song enters the bridge, all of the dancers come together and line up along the stage. Michelle stands in the middle of them as she sings. They all stand facing the left, with the males behind the females. The male dancers move forward and pull on the female dancers' waists in an attempt to grind against them but, like the lyrics of the song, they aren't impressed so "push" them away. As they are pushed, the male dancers face the right and everyone else follows suit. This time, the females move forward and wrap their arms around the males before "slapping" them around the back of the head. All of the dancers and Michelle then face the audience and move their hips side to side. As the bridge finishes, Michelle moves her arm out and all of the dancers disperse over the stage and resume their partner dances. It was almost as if Michelle was pushing them away with some supernatural force as they all bounce back when she moves.

Oops I dropped my pen,
I want you to check me out as I bend
I am such a tease, I want all eyes on me
Yeah in your dreams, in your dreams
Your hand is your friend,
Don't you have some business to attend?
As things begin to heat, bet you wish that it was me
Yeah in your dreams, in your dreams

Keep your eyes up front and all your smiles for your mother
Keep both feet on the ground and all your bullshit for some other
I'm not here to pick you up, I'm not here to please you
Just because I wear a mini skirt don't mean I'm here to get screwed
You say I'm a tease, I'd say that you're an embarrassment
You think you're such a catch but this is nothing but harassment
Have you looked in the mirror lately, you're no Riley Hamilton
So you can take your sad self home and knock out another one



As the song comes to a close, all of the dancers and Michelle move closer towards one another and migrate to the centre of the stage. Rather than the female dancers interacting with the males and acting out the lyrics like they have done throughout the whole performance, they are all dancing individually and taking part in one big choreographed group dance routine apart from Michelle and her designated male dancer. Michelle stands in the centre, singing the chorus and "ignores" the sensual dancing of the male dancer behind her as the pair continue to act out the lyrics. After she is finished singing, the new dance influenced drop comes into play once more and everyone, including Michelle and her dancing partner, take part in the routine together. As the song comes to a sudden end, Michelle flips her hair and all of the dancers hit the floor. "Thank you!", says a very breathless Michelle as the crowd cheer for her.