<body><div>Article and photos by Samantha HartmanOn a warm October night, folk enthusiasts from all around Chicago gathered to hear Ora Cogan’s experimental take on folk and country. Cogan played a multitude of songs from her latest release, Formless, where she showcased her singular singing style and folk roots.Setting the tone for the night, Anna Johnson opened for Cogan playing her guitar like a violin. Moving her bow to each string of the guitar, she moved back and forth, making a sinister sound to fill the room. She then made her way up the guitar and plucked at the strings, sounding like a mandolin. With sounds blending together, you could feel like you were in a mystic forest. She then went on to sing, recording herself note by note. Gradually crescendoing into a melodic blend of bright plucks, deep voices from bowed strings, and harmonies, Johnson’s composure could bring the audience to a whole new realm and back. <figure><img src="https://img.particlenews.com/image.php?type=thumbnail_580x000&amp;url=0L42Z1_0wPNoQTv00" alt="https://img.particlenews.com/image.php?url=0L42Z1_0wPNoQTv00" width="936" height="628" ></figure>Hailing from the Vancouver area, Ora Cogan and band members Kellan McLaughlin on guitar, Finn Smith on drums, Lillie McDonough on synth and violin, and Nancy Pittet on bass pushed the boundaries of folk and what it can be. Cogan had the audience in awe of her twangy guitar, haunting voice, and prominent bass lines. With ethereal synths from McLaughlin, Cogan’s sound lingered throughout The Hideout as melodic rhythms and the gothic folk-like approach to her songs let the audience sway along. Starting the night off with her most popular song, “Cowgirl”, Cogan caught everyone’s attention with her dark eerie take on the song.<figure><img src="https://img.particlenews.com/image.php?type=thumbnail_580x000&amp;url=3X15qL_0wPNoQTv00" alt="https://img.particlenews.com/image.php?url=3X15qL_0wPNoQTv00" width="942" height="630" ></figure>Later on in her set, Cogan and McLaughlin started to play violin, dancing with each other and exchanging smiles. Getting rowdy and a bit southern, Cogan played a rendition of one of her first songs, “Katie Cruel” with a violin duet. With the beat of galloping horses from Smith, chilling violin, and influences of southern folk and a bit of psychedelic rock, the band’s unmatched chemistry made each song flow with ease.By the end of the night, Cogan expressed her gratitude towards her band and Chicago as it was their first time in the city all together. She mentioned that she and the band were to be featured on Audiotree, a Chicago-based recording studio that documents many artists across genres. After the band concluded with their night of psychedelic sounds, they abruptly got off stage. When the crowd cried for an encore, they ran back on stage to conclude the night with a solemn version of Sonny &amp; Cher’s “Baby Don’t Go”. Continuing their tour through the midwest, Ora Cogan is bringing her unique sound across the country and supporting Emma Ruth Rundle through late October and early November.</div></body>

Mountain View, CA

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Fall brings Ora Cogan to The Hideout

On a warm October night, folk enthusiasts from all around Chicago gathered to hear Ora Cogan’s experimental take on folk and country. Cogan played a multitude of songs from her latest release, Formless, where she showcased her singular singing style and folk roots. Setting the tone for the night,...