Kristin Witko with Ora Cogan, the Wise Hall, October 25, 2023

Photo Stasia Garraway Photography

Review by Keir Nicoll

Vancouver’s beloved Wise Hall has recently showcased some truly exceptional performances, and this particular one undoubtedly stood out as a remarkable highlight. Opener Kristin Witko delivered a captivating performance that was reminiscent of a unique new-wave version of Blondie. With her stage antics, such as sensually singing while tilting a glass of red wine over her head, she commanded attention like the Flaming Lips' leadman Wayne Coyne, who is known for his theatricality and fake blood splatters. Witko's expressive nature was evident as she passionately wailed and shouted into the microphone, even falling to the stage floor and rolling around. Accompanied by her super-tight band, she also had a co-lead/backup singer who added interesting personal dynamics, as seen through their exchanged gazes.

In contrast, Ora Cogan and her new 5 of 6 piece band presented a supremely beautiful event in support of her latest release, Formless. Cogan exuded a serene and stately presence, maintaining perfect poise throughout her performance. Despite the deceptive simplicity of her guitar-playing and singing, her arrangements revealed a hidden complexity that created a lush overall effect. Cogan often played with her eyes shut, adding to the mesmerizing atmosphere. The synergy between Cogan and her band was exceptional, and she even had a side-singer join her for a significant portion of the set. The concert commenced with the enchanting "End of Nowhere," a song from Cogan's 2016 release, Shadowland. This freely-flowing piece delved into themes of heartbreak and its enduring nature. Transitioning into "Dyed," a track from Formless, Cogan showcased ornate and jazz-inflected guitar lines. The song explored her experiences with a peculiar lover and her own foolish approach to love. "Ways of Losing" followed, featuring a delicate finger-picked and lilting guitar line. Cogan sang about freedom and the importance of letting go of attachments, embodying the perfect Buddhist perception of love. This song, particularly sparse, evoked the essence of a Phyllis Webb poem about finding solace under a tree. With poignant intonation and a keening quality, Cogan expressed, "You don't have to come down anymore/Love will protect you/I'll learn to live without you." Overall, both Kristin Witko and Ora Cogan delivered exceptional performances, each showcasing their unique styles and captivating the audience with their musical prowess.

In "Holy Hells," Cogan passionately sings about her search for the devil in a golden suit on a Saturday night. I eagerly anticipated her finding her man as she performed, hoping to witness the culmination of her story. The song's powerful and emotive momentum carries you along like a swiftly-moving river, pulling you into the depths of her mind and experiences. She vividly describes the toxic elements of her relationship with this evil figure, referencing poison and knives. During the performance of "Cowgirl," about halfway through the set, I was completely captivated. Lately, I have been repeatedly listening to this song, as its mesmerizing guitar line draws you into a subterranean realm near a desolate wasteland. The lyrics paint a haunting picture, with mentions of blood and a dizzying sensation. Cogan's voice reaches delirious heights, immersing you in her imagination. She longs for someone to rescue her from the impending wasteland, and this song never fails to transport me into a state of strange bliss. The impact of Cogan's music is equally profound in a live setting. Her slowhand approach maintains the intoxicating high that her work evokes, even when exploring the depths of emotional lows. In "Drifting," she contemplates death under a thousand suns, accompanied by the haunting presence of countless crows taking flight in the valley. Her plea for forgiveness resonates intensely, as cascading notes create a swirling vortex of emotions once again. In "Is Anything Wrong," Cogan questions whether time will bring wisdom to her friend or lover. The song "Crickets," the title track from her previous album, reminded me of the weightiness that record carried. Each performance by Cogan leaves a lasting impression, drawing me into a world of profound emotions and musical brilliance.

The musicianship displayed in this track is captivating, with a shifting arpeggio and deeply resonant, dream-like vocals. The asymmetrical and off-kilter-time signature adds to the enjoyable challenge of listening to this song. The first track off of her new album, "High Noon," has a Smith's kind of indie-rock vibe with lyrics that express heartbreak and a desire for unity. "Feel Life" continues with the indie feel, featuring brightly-strummed, shimmering guitars and Cogan's cooing vocals describing pain and poison. The song also includes impressive breakdown segments that showcase Cogan's brilliant musicianship and technique. The show ended with Cogan's new single, "Katie Cruel," which features a hypnotizing descending and swirling guitar-line and lyrics that paint a strange character-sketch of a personality. Overall, Ora Cogan's performance was impressive and mysteriously dark, yet there was a bright light that shone through in her music. The band members were clearly having a good time, and the evening showcased all of the different genres and styles that Cogan moves through in her different songs.