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PLU Open Mic featuring Stephanie Marcella

PLU Open Mic featuring Stephanie Marcella

Open Mic last night was filled with the beautifully delicate and strong songs of Stephanie Marcella.
Matt opened round one with gut-wrenching yet funny poems about the army interventions in taliban-heavy regions and monkey king figurines in China. Jonathan turned in a silent, awkward and hilarious performance entitled “the melancholy existence of a page turner.” Thomas, who’d seen an advertisement for a watch called Jardin du Palais Royal that touched on the heat of another person’s epidermus, went full anatonomical in his love poem to someone’s medically-correctly-cited organs. Ed hefted his heavy-looking electric piano onstage, then failed to turn it on, and fell back on that mainstay of stage performance, latin poetry declaimed in latin. Zoé read from a poem scrawled on a multitude of little papers scotched one to another, hinting at love, insisting that “le désir n’a pas besoin de raison”, things lunaire, things lunatique. René sang a song about changing the diapers of ageing rock icons. Lara, maybe soon to be out of a job, addressed a very funny letter to American president Trump asking to be hired to fill that new vacancy on the national security panel, eagerly proposing her experience organizing a rave party to fix national security issues in the US. Stephanie Marcella closed the round with her feature, softly/deftly fingering the keys of Ed’s piano that had somehow been fixed in the wake of Ed’s performance, singing hers songs “Return to Sender”, “Validation”, “Deborah” and “2029.”

Come to Culture Rapide for another evening of intoxicating artistic expression.  February 16th’s shenanigans will be presided over by our featured artist, Stephanie Marcella, who will be singing original confessionals, like a 21st century Rousseau infused with Beauvoir.

Under dark eye make-up and a heavy fringe is Steph, an Italian-South African singer-songwriter living in London. Her music has been described as confessional and melancholy – possibly a result of the fact that when not sitting at a piano she can be found working in policy and research for the Catholic Church (day job) or studying existentialism (night life). This is balanced with a love for listening to CocoRosie and drinking Campari, both of which exert large influences on her music.

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