The room was quiet throughout gothic-folk goddess Chelsea Wolfe’s set in the The Sugar Club. An audience captivated in what they were seeing, arrested for most of the evening with her ethereal folk opening before bringing out her full band for a set that stunned you into silence.
The opening tracks were backed by a keyboard and violin as Wolfe treated the crowd to a collection of tracks from her most recently released Unknown Rooms album, acoustic tracks so beautifully recorded that the limited stock of vinyl she had with her was sold well before the end. The much anticipated Flatlands saw the crowd struggle to keep their silence before breaking out in rapturous applause following its closing notes. A rare moment when the live production far outshines anything recorded.
This was Wolfes first time in Ireland, and clearly she already has a cult fan following as people struggled to find room to stand around the edges of the room. Several songs in, Wolfe was joined by the rest of her cohorts who took to the stage following an elongated violin solo. Aside from the more chaotic noise rock elements that occasionally gather enough strength to overpower the soft side of Miss Wolfe’s graceful sonic waltz, the relatively quiet and personal touches that dot Chelsea Wolfe’s soundscape seemed to successfully ensnare the majority of attendees.
For a show whose patrons spanned the gap between typical hipster twenty-somethings and steely-eyed metal veterans, all were equally enraptured by the band’s spellbinding doom folk offerings. Wolfe’s vocals are what make her performance so unique that, so much so that audience interaction seems unnecessary as the crowd focuses solely on the artist at work.
She leaves the audience stunned in her encore when she’s left by herself on stage, to captivate the crowd with no more than her vocals and an electric guitar, leaving to overwhelming applause and a very satisfied fanbase.