Ohio University’s Music Industry Summit hosted The Crane Wives, April 14 at the Templeton-Blackburn Alumni Memorial Auditorium. The band started in the 2010s and produces a sound associated with indie folk and a touch of rock and roll. With over 1.3 million monthly listeners on Spotify, the band began its national tour, split into three acts, in Athens.
Ben Zito plays bass, Dan Rickabus plays drums and Emilee Petersmark and Kate Pillsbury are co-leads on their electric guitars. The band has six studio albums under its belt, with a recent 2024 release titled “Beyond Beyond Beyond.
The Crane Wives received big praise in the past from NPR’s “All Songs Considered” back in 2017, making them a band worth listening to.
The song “Scars,” is about Petersmark’s experience as an adopted child and how she learns more about herself and her view on adoption. The trauma coming from self-exploration can be messy, and the lyrics and visuals at the band’s concert reflect that.
At the Music Industry Summit concert, small sets were on stage. Cattails and sticks in the mud, drawing attention to murky waters. This aesthetic can symbolize traveling through self-exploration and the isolation that comes with it, feeling stuck in the mud.
Morgan Hanner performed as the opener. Hanner’s solo performance with his guitar and harmonica was a perfect start to the concert. Singing lyrics of folk roots, Hanner connected well with the Southeast Ohio audience.
Hanner mentioned being close with Zito and said they wrote songs together. The Crane Wives bring a personal connection on stage with them, which is all the more meaningful.
Before The Crane Wives arrived, a masked person placed lanterns to a siren song track. After this, the band was welcomed and began the first act of their tour. The interlude of lanterns was part of a bigger story with each act of the tour.
The Crane Wives performed with professional electricity and passion. Although there were moments when the instruments overpowered the vocals, the audience knew the songs by heart.
The magnetic lighting was multi-colored, with lights along the crowd and stage. The lights changed depending on the song, with yellows and greens for louder songs and blues and reds for softer songs.
The instruments, especially the bass, were mixed to emphasize the rock feel of the concert. With the lighting shifting colors for each song, the show was technically cared for so that the audience was drawn into each song.
Being live in concert, The Crane Wives were able to show off more of their sound. Instruments that were unnoticed in recordings came out louder during the performance. The vocals were prominent, but the guitars and drums were brighter. Even though it was a bit bottom-heavy at first, the band pulled it off and let loose with their sound.
Each band member showed they were comfortable with each other. There weren't any uneasy glances at each other while performing. They trusted each other with the timing of the music; each member knew their role. They were able to focus on the audience without being worried about the quality of the performance.
To make this tour different from the last, the band played songs they usually don’t play or haven’t played for years.
“We’re going to play some deep cuts,” Petersmark said to the crowd.
A visualizer of water and tall grass with the band’s title played behind them as they performed, bringing the audience further into the marsh story that was established with lanterns and cattails.
The Crane Wives brought a powerful show that rocked the theater. Their presence was valued by the audience.
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