On Sunday night (September 17), Hannah Georgas helped close the inaugural Westward Music Festival on a high note as she performed a set that had both her and the audience swaying.
Standing at the microphone with her synthesizer at arm's length, the Vancouver-based songstress began strongly with a poignant rendition of "Elephant," from her 2012 self-titled album. The nightclub's acoustics were a nice accompaniment to the song's heart-thumping bass and climbing melody, and also for drinking in the sweet, compelling nature of Georgas's voice.
She moved her body illustratively as she explored her catalogue, squeezing her eyes shut on slow burners ("Don't Go" from her latest, For Evelyn, an early highlight) and rolling rhythmically to cheerful cuts like "Dancefloor," which, naturally, also had couples twirling. The audience was spellbound by the time it came for last song "Enemies," and there was a distinct closeness felt between the sea of smiling faces and the woman on stage beaming back: a true testament to the intimate quality of Georgas's performance.
Standing at the microphone with her synthesizer at arm's length, the Vancouver-based songstress began strongly with a poignant rendition of "Elephant," from her 2012 self-titled album. The nightclub's acoustics were a nice accompaniment to the song's heart-thumping bass and climbing melody, and also for drinking in the sweet, compelling nature of Georgas's voice.
She moved her body illustratively as she explored her catalogue, squeezing her eyes shut on slow burners ("Don't Go" from her latest, For Evelyn, an early highlight) and rolling rhythmically to cheerful cuts like "Dancefloor," which, naturally, also had couples twirling. The audience was spellbound by the time it came for last song "Enemies," and there was a distinct closeness felt between the sea of smiling faces and the woman on stage beaming back: a true testament to the intimate quality of Georgas's performance.
