Music and Art: Oh Land Residency at Charles Bank Gallery

Editor’s Note:  As a continuation of our “Music and…” series, I present “Music and Art”.  Also, please check out Oh Land For Orchestra.

Oh Land did not just stand on a distant stage during the third night of her residency at the Charles Bank Gallery.  She existed as the centerpiece of an artistic experience unlike any other.

From March 29 to tonight, the Gallery was an artistic exhibition, and Oh Land performed each night not just in the center of it, but as a part of it.  On March 30th, I was greeted by a blast from the fog machine as I entered the venue. The venue was dimly lit.  Soft but colorful lights illuminated a structure in the middle of the floor that seemed to immitate a number of cinderblocks, as well as the circular orbs hanging from the walls behind and to the side of the tiny stage.

Backed by some sort of synth drumming system and a flawless string quartet, Oh Land began her set. From where Oh Land was standing, it was clear that the painting behind her was designed to give the impression that light was radiating outword from the same place as the sound of her voice.

Perhaps no light came from Oh Land, but energy certainly did.  Not the fernetic sort of energy that can be easily faked by jumping around; Oh Land seemed to possess a contagious comfort level with her position amidst the art around her. She floated deftly from song to song, swaying to her music easily but with care, flawlessly but not overly scripted, as she sang her songs, which were reimagined for the night’s instrumentation. Her music and her voice were perfectly suited for the unfamiliar backdrop of the simple quartet, and the sound seemed to echo the spirit of the artist who decorated the room as naturally as if she’d designed it herself.

This is a wakeup call to other artists. In a brave new world where anyone can upload music to iTunes or a video to YouTube, the only way to stand out in the industry is to be special.

What I saw was indeed special.

That night I witnessed the concept of a concert reimagined. It was not a radical departure, mind you – it was a tiny over-packed venue where a singer sang some songs – but the exclusivity of the event, the care given to every detail of the albeit far too breif performance (I am considering the setting and its art as part of my definition of performance) all made this something more than a common concert. For the first time in a long time, I almost forgot I was at a concert, as Oh Land welcomed us all into her comfort zone – a dimly lit, dully colorful, smoke-filled world of snake-charming vocals and easy flowing movements. We were in her living room on another plannet.

While I can only speak to the performance I attended, the fact that every night of her residency had a different theme made me actually regret not seeinng more of her residency performances.

This is what non-traditional performances can do for an artist. For me, that night explained to me like a normal concert or recording never could what people see in Oh Land. The venue was not large, and the residency did not last long, but for those that attended, for a beautiful moment it offered a more rare and valuable experience than a common concert.  To all aspiring artists out there, take note – if you want to show the world what makes you special, find a special way of doing it.  I give an A to Oh Land for her brief performance, but A + to her management.  Oh Land’s residency was an opportunity not just to hear her sing, but to experience what makes her special.

Post by Alex Horowitz