REVIEW: Mo Lowda and the Humble

I sat down to write this review and realized I didn’t even know how to begin.

I pulled out my notebook, normally filled to the brim with detailed notes about each song. But this time, my notes were sparse, the specifics absent.

That’s the effect this show had on me.

The Quiet Hollers and Mo Lowda and the Humble — two little-known and criminally underrated indie bands — served as dual headliners. Both played for about an hour, and unlike some other groups I’ve seen at The Ark, they didn’t do a lot of talking in between songs in their set. Instead, they let the music speak for itself.

“This is a song you can dance to,” the lead singer of The Quiet Hollers said while introducing his song Medicine. “It’s about panic disorder.”

That sentence was a good summation of their set. The band’s lyrics referenced social issues ­— toxic masculinity, the prison-industrial complex — and mental illness. But their sound was loud and full. Their instruments were typical of those used in a rock band, except for one thing: they had a violinist.

The violin added depth to many of their numbers, and its parts were often the highlight of their numbers for me. The unique acoustics of The Ark only added to the experience.

Watching Mo Lowda and the Humble was like watching a jam session. I’m not sure I’ve ever seen a band get more physically into their music. So it’s no surprise that their instrumental breaks were the highlight of their set. They also varied the vibe of their songs — playing something louder and harder one minute, and a more mellow, acoustic piece the next. The variation added depth to their show. Not all bands can make both loud and soft stuff work; Mo Lowda and the Humble could.

Normally, this is the place where I’d describe my favorite songs from both sets or where I’d do in-depth analysis on their structure or lyricism. But that’s the thing. I enjoyed the show so much that the idea that I had to write down the details slipped my mind. By the time I realized, it was too late. I can’t tell you why I enjoyed each part of the set, only that I did. That I enjoyed it so much, I neglected my duties as a reviewer.

The thing about music is that it’s easy to get lost in it. Sometimes I sit down fully intending to do homework, but I make the mistake of putting on a good song first. I get wrapped up in the harmonies and carried away by the melodies. And when it’s live, that effect is only magnified. I was sitting there for two and a half hours, my sole job to watch this concert and review it. Take some notes. Remember which songs I liked. But I forgot what music does, and I got lost.

And that’s the best compliment I could give.

PREVIEW: Ready Player One

Ready Player One is a movie that it based on the book of the same name by Ernest Cline. The story takes place in 2045 where people spend most of their time in a virtual world known as the OASIS. When the creator of this virtual reality dies, a video is released that challenges all OASIS users to try to find an Easter Egg that he has hidden within it; the finder of which will get all of his fortune. But, that was 5 years ago.

If you are interested at all in the 1980’s or just nerdy pop culture in general, then this movie is a must see. The book was one of my favorites of all time and I am hoping that this film can live up to it. It being in Spielberg’s hands makes me somewhat optimistic, as he directed a lot of the movies that this story revolves around.

Ready Player One comes out on March 29 to most theaters in Ann Arbor.

REVIEW: The Marriage of Figaro

Saturday night’s “Figaro” cast

I had the privilege of seeing Saturday night’s production of The Marriage of Figaro, put on by the University of Michigan School of Music, Theatre & Dance (the show was double cast for the 4 performances that took place from Thursday-Sunday).

The plot of this very famous opera revolves around the highly-anticipated marriage of Susanna and Figaro, a maid and valet of the Count and Countess, whom they and the other servants regard and trust highly. Because the characters feel maybe a little too comfortable around each other, they take it upon themselves to make sure that everyone is remaining faithful to his/her beloved. Lovers navigate and push social constructs mostly using the powers of humor and wit.

Saturday night’s cast brought the appropriate amount of energy and fun into Mozart and da Ponte’s incredibly humorous work. David Weigel’s Figaro was clearly heard and clearly seen as a joy-bringer among the company. While it  was difficult to hear Susanna’s voice at first, Mahari Conston soon brought a sparkling color and playful spirit into the role. Sedona Libero stood out as a charming, giddy Cherubino. Kristine Overman’s voice floated and shimmered just like her elegant Countess gown over Mozart’s rich orchestral textures. Zachary Crowle played a commanding yet clumsy Count. Kayleigh Jardine and Matthew Fleisher brought the perfect amount of dramatic flare to their at-first vengeful and then absurdly kind characters, Marcellina and Bartolo. The chorus members also brought a bubbling, contagious enthusiasm to the larger numbers.

The chemistry between all of the couples, especially Figaro and Susanna (and even Cherubino and Barbarina), was irresistible and adorable. As an audience member, I didn’t mind watching the various mishaps and pranks carried out because it didn’t feel like the relationships were at stake. It was clearly a comedy from beginning to end, yet I found myself yearning along with the characters who wanted something more in their relationships.

From the very first downbeat of the widely-familiar overture to the joyous close of the opera three hours later, the orchestra consistently supported the cast by bringing a buzzing energy to the light-hearted pieces and a moaning intensity to the more dramatic moments. Chelsea Gallo, a student in the University’s Conducting program, led the orchestra with grace and with fiery command into a sparkling interpretation of the score. Shane McFadden provided superb continuo accompaniment from the harpsichord as the singers artfully and playfully wound their way through the recitative sections.

The sets were exquisite and grand. The costumes were sparkling and picturesque. Personally, I found the constantly-changing backdrop colors rather distracting, but the lighting was very effective at the end, when the characters enjoyed a fireworks show together.

The second half of the three-hour opera was the same length as the first half, and I attribute my gradual sense of disengagement more to a fault of pacing on the part of the composer than I do to the creators of this production. There are plenty of complicated webs to be untangled, and Mozart took care to give every main character an aria before everything got sorted out. Luckily, every one of these arias was executed brilliantly, and it eventually paid off to see the tricks carefully planned out in act one finally play out in the second half.

The opera was hilarious. It was fantastical. It dreamed of a world where justice could be done, and even enjoyed, even as complicated life circumstances tried to prevent it at every turn. The best part of the production, for me, was watching 40+ extremely talented people give themselves over to fun, witty, and truly great music that’s stuck around for over 200 years for a reason. I look forward to the School of Music’s next big opera production next semester!

REVIEW: A Fantastic Woman

A Fantastic Woman is a strange and sometimes uncomfortable film to watch, but one that is also often beautiful and moving. The film follows its protagonist’s Marina, a transwoman living in Chile, whose older male lover, Orlando, dies unexpectedly. His death brings the wrath of both the family and the state against Marina, though she had nothing to do with it. From that moment, viewers watch as she attempts to navigate the fallout, often alone and in peril, as again and again, someone questions or attacks Marina’s identity and intents. The film, though only a little over 100 minutes, feels long, because viewers are given little reprieve–Marina always seems to be moments away from danger. And for the most part, she is.

Though the plot of the movie revolves around the fallout surrounding Orlando’s death, the movie might better be described as a series of scenes showcasing the varied reactions different people have to Marina, and her reaction, in turn. While Marina is certainly not a stoic, she is powerless in many ways, and it is the other characters in a scene who determine how things play out. When Marina returns Orlando’s car to his ex-wife, she stands there and allows that woman to study her, to tell Marina how she thinks she is some sort of sex deviant; likewise, when a policewoman takes an interest in Marina’s role in Orlando’s death, she forces Marina to go to a police station and undergo an invasive physical examination. Marina does not tolerate these actions because she is weak, but because she has to, and again and again during the film, viewers are shown how resilient she is.

Not everyone reacts badly to Marina. She is shown to interact with many people at her job or on the street who either fail to notice or don’t care that Marina is trans. Refreshingly, there are also people in her life who support her, such as her boss, her sister, and of course, Orlando. Though the film could have shown a real hellish life for Marina, it does allow the audience to breathe every once in a while.

In conclusion, I highly recommend this film to everyone but the faint of heart. It showcases and important and very real identity that is often attacked (especially in Chile). The film continues to play at the State Theatre and student tickets are $8.

PREVIEW: Mo Lowda

Senior year of high school, a friend texted me a Spotify link.

This was par for the course with this particular friend; we had similar music tastes and we would always send each other the songs we obsessed over. This time, he sent me a song I had never heard of: Curse the Weather by Mo Lowda and the Humble.

So I put on my headphones and gave the song a listen. I figured it would be the traditional indie rock we both listened to. I was wrong.

Curse the Weather was, and still is, one of the most unique songs on my playlists and I love it. I love the guitar riff that makes up most of the chorus. I love the lyrics — “I always listen to the optimistic spirit in me” is always running through my head. I love Mo Lowda’s raspy voice.

So, as has happened several times this year, I was browsing through the calendar for The Ark when I saw an artist I recognized.

A band I know and like at my favorite venue in town? Sign me up.

Mo Lowda and the Humble — with opening act The Quiet Hollers, an indie songwriter band who sing about the social landscape — will bring a different sound to The Ark than the venue is traditionally associated with. That’s my favorite thing about The Ark — even if I know the band, I’ve learned that I never really know what to expect. Every show is unique, and every show leaves me in awe.

Mo Lowda and the Humble with The Quiet Hollers come to The Ark tomorrow, March 26, at 8 PM. Tickets are $15 online, at The Ark or at the Michigan Union Ticket Office.

PREVIEW: A Fantastic Woman

The Oscars may be over, but some of its awardees are still trickling into theaters. Hailing from Chile and the winner of Best Foreign Film, A Fantastic Woman has finally arrived in Ann Arbor. The film concerns the experiences of Marina (Daniela Vega), a transgender woman, after her lover dies suddenly.  Daniela Vega’s performance, especially, promises to bring something special to the film. She is one of few trans actresses being cast in a trans role. It will be fascinating to see if her closeness of experience will translate to the screen. All in all, A Fantastic Woman seems to be a thoroughly unique insight into one woman’s life. It is currently showing in the State Theater. Purchase tickets ($8 for students with ID), online at the Michigan Theater website or at the box office.