An Only Child, on Choreography, Body and Soul

Arts

Mar 4

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R&B vocalist and performer An Only Child shares a bit of his soul in “Live at Pioneer Works”, a stirring visual of choreography, set to their intimate compositions and sultry vocals. Honoring artistic angles of R&B (similar to that of Sade and Moses Sumney), the artist has always had an affinity for storytelling and theatre. Born and raised in New Orleans, thanks to church choir, An Only Child discovered their love for singing, eventually dipping into the study of modern dance. Past dance performances at the Guggenheim Museum, MoMA, and The Whitney only further informed their love of movement and music as an intertwined romance. Now, An Only Child presents a template in which physical interpretations are paired to that of his own music.

Currently in Los Angeles, but with a long-time stomping ground of NYC, An Only Child was able to connect with their East Coast community in order to achieve the fluid feat that is “Live”, all within a week. Friend Kathleen Dycaico (who has worked with Kinlaw, Leya, and Boy Harsher) assisted in production, providing “a key role in coordinating all of the practical aspects of the shoot”. Choreographed by An Only Child, while working with a movement consultant during takes, dancers Jendaya Dash, Æirrinn Ricks and Brandon Washington swiftly picked up the intended routines within one and a half days of recording. In effect, “Live” exists as a joyous experiment in precision, planning and persistence rather than a messy social test. Though pressed with timelines, the end actualization arrived in finesse.

“Because the performance was captured in one take, it was important that our cinematographer, Alex Wohlin, was in rehearsal with us. He and I did a lot of tests on our phones, mapping out the camera placement, which was so helpful since the camera had a precise choreography as well,” they explain, aiming to create the atmosphere of a live show. “We tried to be as minimal as possible when mixing with our friend, Michael Beharie. Crow (co-producer of Prepare the Body) played synth, cello, and guitar during the performance. I am still so shook by what he does! None of this, however, would be possible without the support from Pioneer Works. They are so generous with their space and resources. It's incredibly uplifting to see during a pandemic when so many artists need opportunities.”

The pre-COVID of “I Don’t Go Out” sits coyly on the record, retrospectively marinated in new meaning than its original composition. “The extra time has made the creative process more difficult for me,” An Only Child admits, restless with the ongoing pandemic, preferring structure over empty schedule. “Don't get me wrong, I'm grateful for having time to really take care of myself. The pains brought on by the pandemic have made it harder for me to harness my creative energy. Before COVID, I think time scarcity served as motivation for me. I struggle to complete things when the days just blur into each other.”

The debut from which the performance hails also succeeded unexpected challenges that took on transformed metaphors within the LP. Prepare the Body was surprisingly recorded just three months after An Only Child’s vocal cord surgery, along with another procedure for a ruptured Achilles tendon occurring within the past year and a half. Both were devastating considering the artist’s calling as a singer and dancer, but not without consideration of a learnt lesson. “Both injuries were extraordinary processes in letting go and trusting my body/self. I used to be way more precious about both expressions, but now I am only interested in doing what feels good for both my voice and body,” they reflect. “I've adopted a more playful yet thoughtful attitude. I think this comes across in the record as I sang from all parts of my voice. Before surgery, I was so pressed on belting my heart out. It's just not sustainable. The same goes for how I used to push my body.”

Though the record could be considered “adult contemporary”, Prepare the Body’s narrative nature collages classical, soul, folk and ethereal electronic experimentation with a flow that in itself tells a story: “It's mapped out in a way that's similar to what it feels like to know me. I relate the album to my body, the beginning feels like who I am on the external. The middle of the record then gets more introspective which represents my internal body/connective tissue. The last few songs are so intimate that by the end, I hope listeners are left with a sense of who I am.”

Follow An Only Child on Instagram and Spotify.

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Sunni Johnson is the Arts Editor of WUSSY and a writer, zinester, and musician based in Atlanta, GA.

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