She thanked the fan, asking the audience, “Okay, who thinks these are shoes and who thinks these are pants?” Demanding the respective groups raise their hands, she wryly announced, “Group one wins.” The moment was equal parts bizarre and playful she even shouted out Telfar for designing the pants. Clearly lost in the music, Eartheater even pantomimed the swirling of a wine glass, mirroring one of the motifs from the song’s stunning music video directed by Andrew Thomas Huang.Ībout halfway through the set, a fan shouted up from the crowd to compliment the artist’s look (she wore quilted black pants and a matching jacket lined with fur). Saavedra’s drums particularly brought the song to life, lending it a rollicking, almost trip-hop beat. The rest of the night was essentially a rundown of “Powders,” a sultry performance of “Crushing” being a major standout. You needn’t look further than the on-stage stool that held only a bottle of water and a sweaty glass of red wine with ice cubes. She has the charm of a girl you knew in high school who did some music on the side totally genuine and effortlessly funny, if pointedly unpolished. Lamenting the cold weather, she said she’d planned to wear something much more revealing, a trademark of her femme fatale aesthetic. She slunk around the stage with the same allure that makes her music so irresistible.Īs the song ended, Eartheater went away to reveal Alexandra. Joined by multi-instrumentalist Pablo and drummer Chloe Saavedra, Eartheater’s vocals translated beautifully from the album’s hyper-produced sound. The opening strings of Eartheater’s “Sugarcane Switch” began in the dark, until the album cover of “Powders” was projected on a screen at the back of the stage. Concrete Husband’s mélange of styles proved to be a perfect complement to the main event.įollowing the intermission, the lights dimmed. The sold-out venue, populated by avant-garde hats, huge thrifted pants, video game tees and monochromatically dressed retirees alike, gleefully hooted and danced along to the opener. The artist’s expansive sound and shockingly expressive flute made for an oddly moving performance, whose cinematic grandeur felt at home with more dance-forward tracks like “F**k Me in the Club.” The Brooklyn-based DJ and producer hit the stage with only a flute, switching between two microphones, one upstage and the other down. The night began with a 40-minute uninterrupted performance by Concrete Husband, a fellow experimentalist whose sound wavers between nightmarish techno overload and new age serenity. The first show of the east coast leg was held at The Sinclair in Cambridge, Massachusetts, and the concert was as odd and unforgettable as the music itself. Just over a month after the release of her latest album, “Powders,” Eartheater has hit the road, taking her unmistakable style to venues around the world. The 34-year-old experimental pop artist (also known as Alexandra Drewchin) from Pennsylvania has released six albums, each creating their own universe of sexy electronic fantasy. Eartheater isn’t concerned with doing things the normal way.
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