Recap EMA at the High Noon Saloon

It’s difficult to enjoy EMA’s music. The solo venture by Erika M. Anderson (formerly of Gowns) is tortured, difficult stuff that is laid too raw and bare to be consumed any way other than intimately. The band’s debut, Past Life Martyred Saints, is a stunning depiction of misery that has a hard time keeping its distance from listeners. It’s a tough sell for anyone who doesn’t get excited about pervasive loneliness and pessimism, which is probably why the High Noon Saloon felt half-empty during her show Wednesday night.

But even more surprising than the turnout was how genuinely amiable Anderson actually was. Her set was a full rehashing of her record, capturing all the painful anguish of experiencing every one of your life crises at once. Her three bandmates helped punctuate all of the sprawling discomfort and painful punches in an impressive array of flourishes and jolts. But between songs, Anderson spoke candidly with the audience, cracked jokes, laughed, and smiled—it was like watching Jekyll and Hyde duke it out, only to discover that there’s plenty of room for both.

The band’s musical dexterity was impressive, bouncing around from guitars and violins to an array of effects pedals that may have outnumbered the show’s attendees. Their ability to create huge showers of synth that still felt human and personal is a testament to Anderson’s ability to turn cataclysmic crises into internalized revelations that somehow make something so troubled seem very, very important.

But the night’s most unforgettable highlight was the encore. Having exhausted all eight of her band’s songs, Anderson fielded requests for covers and back-up singers. And as luck would have it, Zola Jesus’ Nika Roza Danilova was on hand to sing impromptu harmonies. The two dark songwriters shared the spotlight for a predictably depressive version of Tommy James And The Shondells’ “Crimson And Clover.” The moment was terrific, and it’s not every day you get to hear the ice breaker, “Hey, I think we’re on the same label.”

Openers Dead Luke seemed to have similar ideas. The band’s psychedelic desert-rock is a truly formidable force; but unlike most contemporaries, Dead Luke has enough wiggle room so a Bo Diddley cover doesn’t sound the least bit out of place.