Annabelle Chairlegs at Genghis Cohen, Los Angeles: A Southern Euphony in the Heart of LA Review+Photos: Annabelle Chairlegs, Windows and World Destroyers' Pleasure Club at Genghis Cohen 6/30/23
LOS ANGELES, CA- Picture this: the dim, intimate ambiance of Genghis Cohen, an iconic Los Angeles venue that, on most nights, teems with the vibrant pulse of the city’s underground music scene. Yet, on this particular evening in June, the sounds and spirit of Austin, Texas, resonated through its walls as the psychedelic rock band, Annabelle Chairlegs, took to the stage.
I’d been fortunate enough to have experienced this band’s electrifying aura at South By Southwest, that annual Texan mecca for music aficionados. But witnessing them in LA, miles away from their home turf, was like catching a rare bird mid-flight; an unexpected and exhilarating thrill.
While the name ‘Windows’ might have been unfamiliar to me, clearly I was in the minority. This Los Angeles-based band opening for Annabelle Chairlegs had a healthy contingent of friends in the room, and surely added a few more fans to their base by their performances end.
From the outset, it was clear that categorizing Windows as a simple country-psych band (that’s what their Wiki page states) wouldn’t do justice to their rich, multi-layered sound. Fronted by the talented Matteo Arias, the former bass player for Golden Animals, Windows presented a symphony of old California country, nostalgic surf rock, and intense West Coast psychedelia. Even as someone with virgin ears to their tunes, I couldn’t help but notice the overtones that felt more psych than country, a delightful twist to their proclaimed genre.
I’ve got a bit more digging to really get into their repertoire, but what I did hear was delightful and demonstrated the band’s musical creativity with their rich tapestry of musical influences. It felt, and sounded, like a journey through California’s diverse musical landscape. While it was my first time listening to them, I feel certain that it won’t be my last.
Attending a concert usually comes with expectations: the hope to be entertained, to immerse oneself in the melodies, and perhaps to walk away humming a catchy tune. However, when World Destroyers’ Pleasure Club (WDPC) opened for Annabelle Chairlegs, the experience was cosmic intertwining of sound and consciousness.
WDPC is more than just a band; they represent a concept, a movement. Their unique name blends hints of apocalypse with pleasure-seeking undertones. The band’s philosophy emphasizes recognizing our inherent flaws and striving for change and elevation through the enigmatic ‘Polywave.’ This ethos resonates in every song and lyric.
Though my knowledge of the band is primarily based on their Soundcloud page, it seems they feature a rotating ensemble. This lineup might include “Neight Trion” on synthesizers, RaRyan on drums, Zed Marvin handling both synth and percussion, Jay Eraser on guitar, and Rocky playing bass. They label their musical style as “The Polywave,” signifying transformation, potential, and boundless creativity. During their live performance, with attendees engrossed in the rhythm, dancing, and being one with the music, the essence of “The Polywave” came to life.
As they always do, from the first strum of the guitar, Anabelle Chairlegs played with an ardor that felt like a cathartic release. Lead singer, Lindsay Macklin, with her magnetic presence, ensnared the audience, drawing us into a world where Texan charm and Californian vibes merged effortlessly. Her vocals, a mellifluous blend of raw power and vulnerability, echoed through the venue, painting vivid images reminiscent of Austin’s spirited nightlife and LA’s dreamy sunsets.
The setlist was a journey in itself. Tracks that had become synonymous with their name in Austin found new life in Genghis Cohen. Each note, lyric, and drumbeat seemed to be intensified, reverberating with the band’s sheer elation at playing in the City of Angels.
The crowd, a mix of die-hard fans like myself and LA locals just discovering the magic of Annabelle Chairlegs, was electric. Their reactions, a testament to the universality of music, ranged from heartfelt sing-alongs to uninhibited dance moves. By the end of the night, strangers had become friends, bound by the shared experience of witnessing musical brilliance.
In reflection, the night wasn’t just about a band from Austin playing in LA. It was a testament to music’s unifying power. A band rooted in the southern charm of Texas, playing with unfettered passion in Los Angeles, reminded me why I fell in love with music journalism in the first place: to chronicle these magical, transitory moments that stay etched in our memories forever.
If you EVER get the chance, catch Annabelle Chairlegs live. Whether it’s in the heart of Texas or a cozy venue in Los Angeles, the experience is nothing short of transcendent.