Following the guitar virtuose “six organs of admittance” and the slightly disturbing “white magic” couple, Joanna went on stage. She took five whole minutes to set her harp and vocal mics just right, apparently this is not done easily single handed while holding a 6 foot harp (measurement may be an exaggeration). When she was done it was evident form her childlike smile. There was nothing preventing her now from jumping up to the front of the stage and spontaneously busting into an ‘a capella’ of “yarn & glue”. Any misperceptions that this maybe be some little girl-elf with no stage confidence were wiped in the first few rhythm claps of her hands.
Her voice, combining a whispering child and a tidings bearing crow, may take some getting used to, but this non-mechanic and magically organic attribute is exactly what makes her so unique. The silent gaps are filled up with impressive harp technique, which could be described as not entirely unlike a piano and guitar all in one. Harmonies and isolated phrases get etched in memory

“How I would love to gnaw,
gnaw on your bones so white,
and watch as the freight trains paw,
paw at the wild, wild night.”

Miao. Joanna is later joined by a flute player, whichi stressed the harmony superlatives to heart stopping, by accompanying the harps’ pulses with a fuzzy carpet of wind. After about seven minutes of encore requests from the audience Joanna came back, suggesting by playing a haunting new song that this is no one-album wonder. It seems the tunes are archaic, but are waking anew in a freak-folk Newsom package;

“This is an old song,
these are old blues.
This is not my tune,
but it’s mine to use.”