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Glass Ghost, Carter Tanton, and Sharon Van Etten @ Bowery Ballroom

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Glass Ghost, Carter Tanton, and Sharon Van Etten @ Bowery Ballroom

It was a celebration last Sunday at Bowery Ballroom. The beautifully talented, Sharon Van Etten, came out on her birthday to perform for an audience of loving and loyal fans. Although she could have spent the night amongst her own close family and friends, she chose to take the stage, effectively inviting each and every one of us to have a seat at her birthday table. And with the recent release of her highly regarded third album, Tramp, there seemed to be no lull in appreciation; the house effervesced with adoration for the songstress’ contemplative lyrics and tranquil yet emotionally-piercing vocal style.

Before she took the stage, listeners were warmed up with the sounds of two impressive opening acts: Glass Ghost and Carter Tanton. Brooklyn duo, Glass Ghost, hit the stage first as lights dimmed and the plethora of intrigued faces became lost to darkness. Comprised of keyboard guru, Eliot Krimsky, and drummer, Mike Johnson, the duo went on to play tunes that were filled to the brim with a celestial funky innocence, like a band of cherubs rocking out on rhodes keyboards. Behind a multi-tiered arrangement of nord synthesizers, Krimsky constructed whimsical melodies with creamy, mellow timbres that perfectly platformed his sharp falsetto singing voice.  On the rhythm side, Johnson’s sprightly syncopated drum work complemented the sense of unpredictable playfulness that defined the duo’s set. Glass Ghost’s performance set them in stone as a fresh group to look out for, having no fear to step outside the designated lines.

 

 
Carter Tanton switched up the game by coming out unaccompanied, carrying only an electrified 12-string guitar to the stage. A table of effects and sampling devices stood before him along with an old Ricky Nelson Record Sleeve propped up against his computer, acting as a facade to the audience. This juxtaposition of materials was a pitch perfect visual representation of the music that he’d eventually play: a refreshing blend of electronica, folk, and country. Despite some initial technical difficulties, Tanton went on to exhibit a heightened prowess with music technology, layering fingerpicked 12-string melodies, one on top of the other, amidst a heap of atmospheric reverb and delay. His multi-textured shimmering arrangements achieved a depth of sound similar to that of a full folk-rock band, and his voice maintained the crisp integrity of his studio recordings, complete with quivering vibrato, a gentle rasp, and homegrown salt-of-the-earth sentiment.

 

 

But when Sharon Van Etten walked under the lights, it became clear what the crowd had come to experience. Shouts of adulation and birthday wishes were ceaselessly tossed across the venue as she picked up her Fender Jaguar and began to play. Her set began with a glance back at her 2010 release, Epic, performing a few poignant tracks from the album including “Peace Signs,” and “Save Yourself.” In between songs, Van Etten’s vibrant personality shone through quips and witty banter with the crowd, often ruminating on the subject of being a pisces and recollections of her previous opening act, Shearwater.

 

 

The singer went on to perform a handful of songs from her most recent release, Tramp, of which “Give Out” and “Leonard” brought chills to my spine. “Give Out” presented a poetic recollection of Van Etten’s experience moving to New York, sung with a shivering vocal quality that surfaced the haunting balladry of the late Sandy Denny. “Leonard,” on the other hand, was an incandescent show of beautiful harmonies, including an angelic crescendo in the chorus that tugged vigorously at heartstrings.

 

 
Later in the set, Van Etten invited Aaron Dessner of The National to play out the show, an individual whose help was integral in the making of her latest album. His presence completed the sense of musical kinship that had been building on stage; an energy that  would eventually become contagious for all in attendance. By the time of the encore, there was not a single quiet or detached soul in the building. Excitement reached a pinnacle with an all-inclusive impromptu performance of the birthday song and the unveiling of a massive celebratory balloon man. Van Etten went to on wear this birthday golem over her shoulders for the final performances, solidifying an image in my head of a humorous, immensely talented performer who was an all-around pleasure to see.

Words by Jon Mennella


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