A dreary Saturday peers in through the stained glass at Central Presbyterian Church. The gothic arches, the ribbed vaults, the red velvet cushions lining the dark pews, along with the incredible acoustics of the church make this one of the most beautiful venues in town, especially for shows worth sitting down. The gothic architecture enhances the dark but sensuous sound. Chelsea Wolfe stood center pulpit in a glowing white dress with puffed glowing sleeves hanging from her shoulder, surrounded by orange burning candles and a paganesque set design of concentric white stick circles looking like bones.
Wolfe opened with “Flatlands;” the familiar opening chords and gentle lyrics facilitated an instant communion of music and spirit. Wolfe’s ethereal voice washes over everyone, the elevated spirit of music through her instructing the spirit of the audience to meet above in the vaulted ceiling.
The acoustic opening song was not the softest of the set, instead it was when she stepped down from her podium to take a comfortable seat to cover Joni Mitchell’s “Woodstock.” When two festivals collide! Wolfe’s cover gives new life and context to the Mitchell’s golden ode. Woodstock sings about the freedom of rock and roll and the inherent stardust in us all despite the violence and uncertainty of the world outside. As the community and constituents of Levitation, we are still golden we are still stardust and we are still trying to find our way back to the garden.
The church is full of punks and fringe society here to hear Chelsea Wolfe mesmerize with “Mother Road.” A band of blue lights fan behind her like a peacock display, the swirling haze as the eyes of each feather. Geometric shapes dance on top of the stained-glass loops and parabolas. Sargent House holding mass in a dim lit gothic church on a Saturday afternoon was another sweet moment of Levitation magic, and Chelsea Wolfe beautifully expressed herself as an individual and a conduit of the spirit.
– Mel Green
Photo: Casey Holder