CMW | Reviewed: Experiencing Mothers

Mothers2

A selfish moment when the few scattered around make the evening all the more exciting. It makes capturing the magic Mothers produce so easily a bittersweet treat. More should be there to embrace the talents in the medium venues before those moments become rare.

Mothers is on stage, blue lights wash over Adelaide Hall and the oddly cool venue is taken by a powerful storm of droning guitar and the hypnotic voice of Kristine Leschper.

For anyone at the show, the scarce crowd and open space allows the ability to relax. Yet, the secret of seeing an amazing band nearly to yourself adds a personal tone to the night.

Mothers

Photographers weave throughout the bodies easily taking advantage of the many angles rarely given to them in concert photography. Media watches from the back. Every now and again a phone points at the stage and a photo snaps or a video records.

The band plays, all with closed eyes, ignoring the media, and focusing on the moment. They open their eyes every now and again but they’ve lost themselves in the emotional indie-rock. The powerful trance began at the first note. The four-piece from Georgia has everyone in the room, including the bartender in the back, right there with them. They grab a hold of your mental state and take you through a world of sadness, distrust, happiness and love with songs off of their album, When You Walk a Long Distance You Are Tired. They hold your hand on the way through, the lights grow dimmer and Leschper turns her back to the crowd.

Their most interesting song It Hurts Until It Doesn’t begins and the rise of the power Mothers has over the room can be seen in the crowd. People sway, people’s eyes grow teary as the beat speeds and a tension in the room grows to a climactic end.

If there was ever a band to experience, let it be Mothers.

 

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