By Eliana Simpson
Last October, I witnessed my first Afrikan Heritage House Soul Session. These monthly gatherings display the talents of Oberlin’s Black community while incorporating such cultural elements as shoe-throwing as a form of applause. A stand out in the extensive lineup was Aurora Gray ‘27, an independent artist whose soft-spoken, but controlled vocals are soothing enough to serenade the entirety of the Oberlin student body into a jazz club fantasy. This impression was only enhanced during her performance at The Cat and the Cream on February 23 which celebrated the release of her EP Christian Park.
Musicians draped in various shades of crimson and bathed in warm lighting were spread across the stage as Gray prepared to showcase her winter term project. Inspired by mindfulness, unity, and gratitude, these songs highlight her lyrical ingenuity and her ability to transform her solo acts into group jams. Backed up by the voices of Sangeetha Ramanuj and Ayesha Ghosh, it was immediately evident that this event would display a new level of richness in her music.
Gray began her performance with the track that put her on the map of Oberlin’s up and coming singer-songwriters. Although originally debuted in an unplugged format, Gray reimagined “Crucified (Internet Boys)” and played with vigor, swapping her acoustic guitar for Owen Neaman’s electric and introducing a new fiery intensity in her singing.
From her previous performances, I had heard what might be called her “indie” side, but I was not prepared for the sophisticated speak-easy feel that Gray gave to the audience. With the assistance of her exceptional drummer, David Nicolella, they shifted the energy by incorporating syncopated rhythms into a laid-back beat. Crunchy chords resolved by creamy harmonies from Ramanuj and Ghosh produced a satisfying cushion for Gray’s runs and fostered a spacious melody for her to play around with.
To add to the feeling of comfort provided by smooth percussion and The Cat’s intimate environment, the musicians maintained a close connection to each other throughout the show. Their sustained eye contact and synchronized full-body grooves created a higher state of cohesion — giving the vibe of an impromptu session fueled by legitimate mind reading.
“Collected,” the final song, further demonstrated this shared intuition. Pianist Jeremiah Ince carried the tune through his unmatched bond with Gray and his delicate movement across the keys emulated a graceful waterfall. Although a significant high point in the short setlist, “Collected” was left off of the EP.
The arrangements, which were creative and clearly enjoyable for the musicians, did little to convey Gray’s talent. Her unique vocals were most impressive when they were stripped down, with nothing supporting them. Unfortunately, at times the band overpowered Gray’s pleasantly clouded timbre. Her hushed, velvety tone is perfect when paired with an acoustic guitar.
Gray described the performance as powerful, saying that she was “unafraid to make a mistake” in the informal environment. With intermittent explanations of her writing process and witty comments during transitions, She introduced the crowd not only to her artistic side, but also to her down-to-earth personality. The only real flaw in the performance was that it ended too soon.