May 1

May 1 Review: Sharon Van Etten & The Attachment Theory at The Orange Peel

The evolution of Sharon Van Etten has been a pleasure to witness.

From the minimalist roots of her 2009 debut, Because I Was in Love, to the alt-country sounds of Epic (2010) — which still has plenty of pep, namely with “Peace Signs” — the singer/songwriter and multi-instrumentalist has gradually taken darker, grimier pop turns, particularly “Your Love is Killing Me” from 2014’s Are We There.

Leaning into her growing interest in synths, stacked vocals, and grander, more ambitious production, Van Etten turned a major corner with Remind Me Tomorrow (2019), whose standouts “Comeback Kid,” “Seventeen,” and “You Shadow” suggested stadiums and arenas could soon be her touring norm. Tempos largely retreated three years later on We’ve Been Going About This All Wrong, but her sonic experimentation on that record made another leap forward, setting the stage for the thoroughly epic sounds complementing her generational voice on this year’s Sharon Van Etten & The Attachment Theory.

Putting it all together for her first tour with the ensemble she described as her “chosen family” from The Orange Peel stage on April 26, Van Etten leaned heavily on her new material to get things started. And she chose an excellent opening act in Houston-based trio Love Spells, who are clearly making the most of their first ever tour. The smooth, ethereal falsettos and catchy hooks of vocalist Sir Taegen C'aion Harris carried originals residing in the appealing space between Frank Ocean and Radiohead — psychedelic sounds that set a romantic, dream-like vibe for the evening.

Building on those expansive sounds, the headliners likewise filled the room with their thrilling instrumentation, inspiring their leader to move about with an energy that even her most loyal fans wouldn’t have predicted at the start of her career.

Though still plenty comfortable strumming an acoustic guitar, the animated performance suits Van Etten and the fresh creations well. Sharing them in clumps of three that mirrored the album’s sequencing, early Song of the Year candidate “Idiot Box” and its hypnotic chorus rightfully stood out in the first grouping. And “Southern Life (What It Must Be Like)” emerged as a favorite from the second, followed by the frontwoman defending the good parts of the South to much audience approval. It was one of several big emotional moments delivered at the mic, along with a very much welcomed acknowledgement of the struggles this area has endured and continues to recover from seven months after Tropical Storm Helene's widespread destruction, and a tribute to the late David Lynch with a loving inclusion of "Tarifa," which she so memorably performed on Twin Peaks: The Return.

In the middle of these mini-sets, We’ve Been Going About This All Wrong’s “Headspace” fit right in with the band’s distinct style, as did the Attachment Theory-ized versions of other songs from Van Etten’s previous three albums that dominated the night’s second half. Takes on “Comeback Kid” and “Seventeen” were so faithful to the record that you’d swear these were the very artists who’d collaborated with her six-plus years ago. But the dance-friendly reworking of “Every Time the Sun Comes Up” offered more of a glimpse into what these players could do with some of Van Etten's more laid-back tracks.

Even more surprises awaited in the encore — though, considering the location, it really shouldn't have been all that unexpected. And so it passed that Asheville's own Angel Olsen joined Van Etten for a lovely performance of their lovely duet “Like I Used To,” providing the perfect end to a thoroughly fulfilling show.

(Photos by Micah Rogers)