All photos: Jane Briggs
Live performances are one of the most lucid windows into someone’s heart and soul. Tons of choreography, pretension and rehearsed spontaneity suggest an egomaniacal fiend. A stripped down acoustic set suggests the performer is intimately associated with his/her craft, material and audience.
In the case of True Womanhood, I see their youthful naivete on display on multiple fronts. The borderline giddy exuberance with which bassist Melissa Beattie visibly anticipates each song in the set is probably the most endearing and genuine. Their overwrought theatrics of deconstruction and brooding are a bit excessive and make it immediately apparent they have been weaned, like myself, on the public catharsis, self-destruction and breakdown so prevalent in the 90s heyday of modern rock. The giants of grunge and garage are channeled, and in this fashion, True Womanhood wears their influences lovingly on their collective sleeves. This is a natural out-growth of the youthful artist, one still enamored with idols and inspirations and only beginning to find their own voice. They still bear the marks of disbelief at what they are accomplishing and a hint of insecurity with how they portray themselves live, opting more often than not to showcasing tried-and-true rock cliches.
But their youthful melodramatics and over-born airs can be forgiven, as they seem to display few of those insecurities in their music. Read the rest…