Entering the venue, you were greeted with a warm and welcoming atmosphere. Navigating toward the performance space, there was a quiet but noticeable shift to a more introspective undertone. The room was consumed by a deep blue light, and not before long did Chantal Michelle and Grace Villamil appear.
Their set began with the soft cycle of a percussive, windchime-esque chorus painting the first strokes of what would soon be a many-layered composition. This sonic structure hung aloft as a guttural and rumbling bass crawled into the mix beneath it. This low reverberation originated to support the predefined soundscape, but slowly accumulated aural mass; it climbed to the rafters and bared its teeth. Before your very ears, the growl continued to rise, only to fall back down. This rocking between ascent and descent, while not forming any discernible rhythm, became a point of inflection within the piece. From this point onward, complete absorption into the world they constructed meant that every carefully crafted change elicited from the enumerable dials the two performers had access to was intensely felt. The once-animated creature formed from lower frequencies reluctantly clambered back to its dwelling to allow space for the original loop to permeate through the cacophony once more. This was a thoroughly enjoyable support act that would go on to provide a harsh contrast for what was to come.
Ana Roxanne then rose to the stage. Partially lit by the cubic visuals that cascaded from the projector behind the audience, she had a Danelectro Longhorn bass in hand, and a Roland sampler in front of her. Immediately, you were teleported to her realm where every fathomable frequency coated every surface with sonic syrup. The fact that Roxanne covered Julee Cruise very well made perfect sense, given that the palettes of their music are quite comparable. Other offerings included fan favourite, “I’m Every Sparkly Woman”, which was enchantingly delivered by the California artist and matched perfectly with the white sparkling background she stood in front of. A particularly notable aspect in the live setting was Roxanne’s vocal control and ability to differentiate what required a soft, breathy vox and a more focused push. Even if soaked in reverb and delay, soaring and emotive heights were reached amongst the glistening accompaniment.
At some point between songs, Roxanne thanked the audience for coming to the show and continuing to listen to the album she was touring, Because of a Flower, two years after its release. A moment full of humility and gratitude that sat for a second until shortly being shattered by, “Let’s hear another” from an audience member.
“Camille” was another highlight and provided a temporary damming of the uninterrupted ambiance Roxanne conjured, as the light drum machine featured in the song tapped its way into the ether. The French dialogue sampled within the song pleasantly sidestepped the rest of the mood and was sharper in comparison to the harmonies prior. “A Study in Vastness” lived up to its titular promise. Roxanne recorded a live loop for this song’s descending backdrop, which added a uniqueness to the rendition. Entire essays could easily be dedicated to the execution of each of her songs. Speaking to Ana Roxanne after the show, I asked about her artistic process. She stated that typically a song begins with a drone until a fitting melody is found.
Overall, the whole set was precisely what a fan would expect, in the best possible way. Floating atop the reverberating waves so calmly commanded by her, Ana Roxanne gave a performance to be remembered. So cavernous yet so filled with heart.
Image: “2018_07_20 Emily Maguire The Glad Cafe Glasgow 31” by MrFizzy is licensed under CC BY-SA 2.0.