The heaviest gig I ever saw was Chelsea Wolfe at the Odeon in Hobart. Now, this is where people’s different interpretations of heavy come into play. But, for my money, having people crouch to the ground, fingers planted in their ears, because the pulsing, rapid-fire electronic beat was so deep and loud that it disoriented and melted souls, is pretty fucking heavy.
Chelsea Wolfe is actually perhaps one of my favourite artists. Her solo work encapsulates everything from gothic rock, electronica, doom metal, some experimental elements and, on her most recent album, acoustic folk. These sounds all merge together into a cohesive, darkly comforting sound that are further strengthened by her incredible voice.
Chelsea Wolfe’s vocals are simultaneously sorrowful and ethereal. It is an otherworldly voice that serves as a powerful anchor in the compositions, guiding us through dark and, at times, intimidating soundscapes.
In 2019, Chelsea Wolfe further demonstrated the strength of her songwriting by releasing “Birth of Violence”, an almost entirely acoustic folk album. These songs very much followed similar themes and sounds of her previous work, albeit focusing exclusively on the folk sound that had previously served only as a small part of a bigger sound.
Chelsea Wolfe is a singular artist with incredible songwriting abilities and an even more incredible voice. Whichever genres she turns her attention to are electrified by her talent and reworked and combined into entirely new and exciting sounds.