{"id":7487,"date":"2025-11-08T16:39:00","date_gmt":"2025-11-08T22:39:00","guid":{"rendered":"https:\/\/sites.coloradocollege.edu\/socc\/?p=7487"},"modified":"2025-11-08T20:26:07","modified_gmt":"2025-11-09T02:26:07","slug":"stereolab-the-gothic-theatre","status":"publish","type":"post","link":"https:\/\/sites.coloradocollege.edu\/socc\/2025\/11\/08\/stereolab-the-gothic-theatre\/","title":{"rendered":"stereolab @ the gothic theatre"},"content":{"rendered":"\n

The abstract gold-and-turquoise curves and rays that decorate the interior of the Gothic Theatre suit Stereolab\u2019s geometric colorful-construction-paper aesthetic well. They\u2019ve drawn an eclectic crowd: the sold-out venue is packed with hipster dads, wine moms, and alt teens alike. That eclectic attitude is echoed by their merch, which includes Stereolab-branded laundry bags, aprons, and egg cups alongside more the conventional options of t-shirts, CDs, and a tour-exclusive vinyl single.<\/p>\n\n\n\n

Opener Dorothea Paas begins the night with a singer-songwriter set that\u2019s comforting at times, insecure at others, and accented by tinges of art pop and new age throughout. For much of the set, percussion is absent, with instrumentation characterized instead by slow-paced guitar, bass, cello, keyboard, and vocal harmonies. On tracks like \u201cWhatever That Means\u201d and \u201cFrozen Window\u201d, Paas\u2019 lyricism consists of stream-of-consciousness prose, dealing with relatable insecurities and unfamiliar emotions. Listening to these tracks can feel like reading a journal, and it seems to me that Paas approaches songwriting as a therapeutic method of better understanding herself and her feelings: \u201cIt\u2019s hard to see myself in positive light\u201d, she sings on \u201cFrozen Window\u201d, \u201cIt\u2019s hard to hear the sound of my voice the way it is in my head\u201d. Despite the personal and occasionally depressing lyrics, however, Paas brings a friendly persona to the stage, sharing with the audience anecdotes about her day, her love for the mountains, and, as the set comes to an end, gratitude that this show was the \u201cgreatest musical experience of my life\u201d. Between the heartbroken and angelic verses of closer \u201cLocked\u201d, Paas approaches a second microphone plugged into a heavy distortion pedal, beginning first with a low moan that crescendos into a drawn-out, noisy scream. For a set that had thus far been comprised of more conventional singer-songwriter pieces, this experimental twist is unexpected, but nevertheless a welcome addition and a veritable highlight of the set.<\/p>\n\n\n\n

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