Ghostland Observatory shakes The Blue Note with electronic energy
The pop-funk band played in Columbia on Tuesday night.
Published Sept. 8, 2010
The decently sized dance floor of The Blue Note filled quickly as the painful anticipation for pop-funk rock band Ghostland Observatory rapidly grew. Ominous music served as a mere tease to the unforgettable performance the duo would soon put on. Just when tension seemed to reach its peak, vocalist and guitarist Aaron Kyle Behrens stormed the stage dressed in black from head to toe. His band mate, back-up vocalist, drummer and keyboard player Thomas Ross Turner followed closely behind, donning a Dracula-esque cape displaying the Texas flag. An incendiary energy encompassed the audience the moment Ghostland dove thunderously into its first song during its performance Tuesday night at The Blue Note.
As bodies pressed tightly against the steel barricade, separating the gyrating crowd from the vibrant Blue Note stage, Ghostland Observatory delivered a musical performance no less than spectacular. Complimented by hypnotizing lights cutting through the smoke-filled air, contagious melodies pulsating through the speakers entranced the audience into a state of fluid dance and constant movement.
“Since I was standing in the front, I felt like I was practically on stage with them," Freshman Kelsey O'Briant said. "If I had been anywhere else in the room, I would have felt the same way because they have such a strong connection with their audience. The way they interact and react with their audience on stage makes you feel so close to them.”
Deeply rooted in electronic beats reminiscent of Daft Punk, sultry rock and roll guitar similar to David Bowie and uniquely high-pitched vocals much like Freddie Mercury's, Ghostland performed a wide range of songs from each of its albums — delete.delete.i.eat.meat, Paparazzi Lighting and, its most recent, Robotique Majestique. In addition to songs already produced, Ghostland delivered a special performance of a song off its new album, Codename: Rondo, to be released later in October.
After working the audience into a sweat-drenched frenzy, Ghostland left the stage, subsequently leaving its devout listeners aching for more. As fists pounded the metal frames of the gate dividing the dance floor from the band’s performance area, the energy of the audience intensified. Chanting and hand-clapping proved successful when Ghostland re-entered the stage and plunged into its encore: “Sad Sad City” off its album Paparazzi Lighting. Behrens danced seductively to his music as he reached to grasp the outstretched hands of a few screaming female fans, while Turner played his keyboard coolly and skillfully.
After the heart-pounding bass ceased to emanate from the speakers, a seriously satisfied crowd emptied out onto Ninth Street. Many smoked cigarettes. Others discussed the seemingly other-worldly vibe of the concert.
“The music was unforgivingly upbeat, you know, and the lasers were mind blowing,” Freshman John Wood said.
Some attendees traveled from hours away to enjoy Ghostland’s performance.
“After seeing (Ghostland Observatory) at Coachella in 2009, there was no way I could miss their extravagance,” William Bainbridge, of Lawrence, Kan. said. “I happen to love CoMo. Fuck KU.”