Show Review: Zola Jesus

Every once in a while, Messiah gets an "important" artist to grace our stage for B-sides. For the last show of his two year reign as B-sides maestro, Ryan Faus got us such a show. Zola Jesus is an operatically trained princess of minimalist goth pop whose government name is Nika Danilova. Lady Gaga cites her as an inspiration, and Pitchfork and NME give her rave reviews, comparing her music to Fever Ray and Florence + the Machine. Equal parts music and performance art, her live shows have sold out legendary venues like The Bowery Ballroom, and yet we got to see her for free.

Before we could feast on this audio-visual experience, however, we were subjected to an endurance test: an opening set by Australia's Naked on the Vague. As Pitchfork put it:

Naked on the Vague churn out stripped-down and monotonous post-punk. The rhythms are primitive; the most animated songs rely on little more than the incessant thud of a bass drum. Likewise, any pretense of harmony is chucked out the window.

Somehow Pitchfork turned that into a positive thing, but I've seen noise rock, minimal, and virtually everything else I could construe them as done drastically better. The majority of the audience missed out on Zola Jesus because they were unaware that there was an opener and thought the entire show would be similarly abrasive.

To those who did miss out: I am truly sorry. Danilova and her band took the stage and immediately commanded attention with intricate sound textures emanating from not one but three synthesizers, whose churning was soon joined by pounding drumbeats. After a brief instrumental introduction, she began singing in a kneeling position, face still covered in a flowing red hood. Once the hood was removed, she stalked about the stage, compelling all eyes to follow with vocal power and sheer emotional force. For once, the echoing chamber that is the Student Union seemed suited to the stadium size of an artist's stage presence. Climbing up on trashcans, examining the screen of one student foolish enough to be doing homework, dancing and thrashing about on the floor in front of the stage-nothing is beyond the theatrical performances of Zola Jesus. At show's end, she rushed off the stage, seemingly in anger, only to return moments later to affably interact with all and sundry. In short, Zola Jesus was even better than the hype led me to expect.

photo courtesy of The Guardian