Hannah Georgas's new album, For Evelyn, leaves behind any doubt that the electronic-tinged sound of 2012's self-titled record might've just been a detour. Accordingly, her second of two Halifax Pop Explosion sets this year (following one on Friday, October 21 at the Carleton Bar & Grill) was built on a bed of synthesizers, a mix of live and electronic drums, and heavily affected guitar.
And yet, at the heart of the mix was Georgas's fantastic voice, perhaps one of the best pure voices I heard all week at HPX. Whether it was on older material like "Elephant" and "Enemies" or new songs like "Loveseat" and "Don't Go," that voice was clear, focused and powerful. Weaving her way from her keyboard to the microphone, Georgas danced slinky, almost snake-like, as her three-piece band pushed the songs forward with dance-floor-ready purpose.
Ironically, the song least driven by electronics was "Robotic," which Georgas stripped back to just guitar. In a set in which groove and rhythm often dominated, the change of pace was welcome — a bit of quiet balladry to remind that even at their most basic, Georgas's songs hold their own.
And yet, at the heart of the mix was Georgas's fantastic voice, perhaps one of the best pure voices I heard all week at HPX. Whether it was on older material like "Elephant" and "Enemies" or new songs like "Loveseat" and "Don't Go," that voice was clear, focused and powerful. Weaving her way from her keyboard to the microphone, Georgas danced slinky, almost snake-like, as her three-piece band pushed the songs forward with dance-floor-ready purpose.
Ironically, the song least driven by electronics was "Robotic," which Georgas stripped back to just guitar. In a set in which groove and rhythm often dominated, the change of pace was welcome — a bit of quiet balladry to remind that even at their most basic, Georgas's songs hold their own.
