In the lower depths of the Elbo Room in Chicago, Soraia singer Sue Mansou is purging her body of demons as the slithers across the tiny stage like a snake ready to swallow its prey (in high heels no less). She sways her body like Gwen Stefani, howls like Janis Joplin and has a rock n' roll attitude that's akin to Joan Jett. Her every move is watched with pensive and penetrating eyes from the audience. "It's been a long time, since we've smelled the love" she snarls in all her sexually releasing glory, but to say she's intoxicating to watch because of the way she moves her body is an insult to the music; she merely happens to be a remarkable front women. As Mansou is front and center seducing the crowd, the four piece band proves to be more than backing musicians but four essential ingredients that make up the spine of the Philadelphia bred band Soraia. Guitarists Dave Justo and Joe Francia face off against one another like gunslingers with their respective axes providing the distorted echoes of nostalgic beauty while drummer Joe Armstrong manically sheds his skins with potent passion and precision all the time while bassist Travis Smith provides the steadiest grooves that shake your mind, body and soul. "Long Time" is an ode to the yearning need of mental and physical inspiration where two people find a common connection. Connection. Hundreds of thousands of bands tell you they're worth your time, but few speak to your soul. I'm here to tell you that this five-piece band from the City of Brother Love isn't just worth your time, but your money and mental energy as well.

I did something highly unusual when I reviewed their debut album, Shed the Skin a little over a year ago. I did it without seeing the band live, something I rarely do as I believe the power the live performance is essential to an artist's core. I receive upwards of forty new releases every week and trying to decide which one to listen to is daunting and the truth is most go unheard not because I don't want to, but because there are only so many hours in a day. I always make a point of seeing a band in concert, because it's in the flesh where you see whether they have the goods or not. However, I made an exception with Soraia. I received a call one day at home from the band's producer, Obie O'Brien. O'Brien has made his career as Bon Jovi's archiver, engineer and mixer. He wrote to me a few years ago because of a review I did for Bon Jovi's box set which he put together. From that a very casual friendship began. We've even met up a few times here and there and while we never discuss Bon Jovi, we discuss music. In his heart of hearts, O'Brien is a fan. Brought up on the Beatles and classic soul records, his tastes are eclectic, yet classic, so when he told me about a band he was producing, he had my ear. Within a few days I received Shed the Skin and for the next few weeks I had it on constant rotation. When I spoke to Obie, he knew I'd be honest and I made no promises in being able to write about the record, as I all too often hear music that isn't bad, but lacks the necessary connection to pull me in. Obie knows me from my Bon Jovi reviews and as he told Mansou before he had her send me the disc, "Be prepared to get the truth". Needless to say, Soraia's Shed the Skin made that connection in an immeasurable way. I liked what I heard…scratch that…I loved what I heard. Soraia's music is a commanding pre-punk celebration of rock n' roll finding middle ground between late 60's Rolling Stones yet it is packed with a breath of freshness that reminds me of the no-nonsense sound of the White Stripes. They do not fit into any specific genre of rock. They are merely a damn grand rock n' roll band who reminds you of its significance over the last fifty-years. Shed the Skin has an organic and fresh feel of a vinyl record from 1969, instead of following trends or fashions, here is a band that aims for timeliness.

Months later, they made their way to Chicago for a headline gig at the Elbo Room and even though I had another gig to review the same night, I was able to make it in time to catch their ferocious midnight set. The five of them appeared on stage like a band ready to rock the Chicago crowd with an alluring show full of sex and soul. Most upstart bands lack drive and confidence in their craft, not Soraia. They connected with the entire crowd. Most acts drown in their own self-awareness, but Soraia let their primal urges and instincts fly. On "Shed the Skin" the rhythm section of Armstrong and Smith proved to be devilishly sly while the dueling guitars smelled of sex. If you ever wondered what Jimi Hendrix would sound like covering Prince, their teasing rendition of "Erotic City" puts the question to rest as they embody the spirit of 60's rock with flair. Too many artists try being original in this day and age without realizing that there is much to be learned from the past and the forefathers of rock n' roll. "Little Cat" was expansive and incandescent with a dash of psychedelic thrown in. "Jolene" was delivered with a pining vocal that hinges between experience and innocence and found Mansou eliciting a provocative response from the females in the crowd.

An existential outpouring of emotions was on full display for "Had Enough" where Mansou punctured through everyone's heart with anguished vocals ("My lonely heart has no resting place, I've had enough, I've had enough"). Midway through the song, Mansou poured a bottle of water over herself and as the band tore through their thick and pounding vintage rock riffs, she began to sway. Her hair flew, she shook her hips and her sweat drenched body glistened with a sexual summer gleam as bright as a city's lights. As the band converged into a stunning array of riffs, Mansou worked the audience like a pro. She will make eye contact with someone as she stares at their penetrating eyes making them feel like she is speaking to your soul while simultaneously undressing you. I looked to my left and there was a girl in jeans that if they were any tighter, she would have popped out of them. Her eyes stayed on Mansou the entire performance. What struck me was the power Mansou had over males and females alike as their mouths gape over her command of the stage. One girl I spoke to spoke of wanting to give Mansou a carnal lesson, although she did slyly smile and tell me how she would settle for the sizzling lead guitarist (Dave Justo). Not since the mid-90's ascension of Gwen Stefani and Alanis Morissette have I seen a woman unite two sexes who simultaneously has men and women on their knees with her meditative and illuminating lyrics and her alluring stage moves. However, I wouldn't be writing about this band if their live show was great but their music didn't connect with the audience.

After the show, I was given a copy of an updated version of Shed the Skin which had a new tracking order and an illuminating new song; "Still Cryin'". It was a song that almost never became a reality. Mansou wasn't sure if she could get in the right frame of mind to really deliver the lyric. She has the vocal prowess to sing the song, but could she make you feel her pain? The answer to that question is a resounding "yes". "Still Cryin'" is a startling revelation where Mansou's vocals are as naked as her soul. Featuring her most introspective and personal lyrics to date, the song is delivered is a hush like atmosphere. She sat alone in the recording booth and O'Brien coached her through her emotions because the lyric comes from a relationship that almost hits too close to home to sing about. However, Mansou closed her eyes, reached into the depth of her soul and knocked this one out of the park. Here is a song that easily could have been taken over the top in a vocal frenzy, but producer Obie O'Brien pulled the reigns in, added a string section and what we are left with is an extraordinary record. Artists are at their best when they bleed and "Still Cryin'" is the type of song where more than a band aid will be needed to heal the wounds, alas this is where art comes into play. We use art to heal us in ways that no bottle or prescription or doctor ever could. Artists purge their souls and in the process, they hopefully find a bit of solace in the process. Speaking to Mansou after hearing the song, I can hear the triumph in her voice. Not the type of victory where one nailed a great song, but one where she hurdled a mountain she wasn't sure she could tackle. The beauty of her conquest is that now it's out there to heal others.

After the show I spoke to the members one by one but it was with bassist Travis Smith whom I connected with the most. Despite the great debut record and throbbing live performance, he proved to me how serious Soraia is as a band. Almost every act I meet today talks about "making it" and how they are seeking fame almost immediately. Travis spoke of the Beatles and how they honed their craft in the clubs in Hamburg in the early 60's. He isn't telling me about dreams of grandeur and selling out stadiums, but about playing music. Travis is an artist who gets it and only the third one in the last decade who really understand what has to be done to make it. While he'd love a little extra money and notoriety, he is aware of the dues that have to be paid. We talked about Dylan's astonishing poetic ness, Prince's alien like talent and how the Beatles were the best because of all the time their invested in their craft and how if every other artist put in as much time, the rest would take care of itself. He understands that great artists are not born over night. There is more to showing up for a television audition and winning a contest. You have to then go out and make music that people relate to. Why do so many of these television stars stumble when it comes to their own music? Because it's not genuine. Five minutes with Travis and I knew he was one of the most authentic musicians I'd ever encountered. It's not about fame or glory, but the music. Show by show, song by song a relationship is built between a band and their fans and Soraia is on their way to building it. What makes Soraia different from other acts is that they feel real. There is a sense of authenticity to their music and their live show.

Seeing Soraia live is an exceptional experience showcasing the immeasurable talents of this band. Soraia are a club band who performs with arena-rock muscle tone with each member being integral to their sound. Make sure you check them out in clubs…while you still can. They will be opening for Bon Jovi in front of 23,000 people on June 25th at the Marcus Amphitheater in Milwaukee, Wisconsin. Forget television talent shows were people sing other artists songs, this is the real thing. You can see it in the band member's eyes, you can feel it in their music and most importantly, you can feel it in your soul.

Anthony Kuzminski is a Chicago based writer and Special Features Editor for the antiMusic Network and his daily writings can be read at The Screen Door and can be contacted at thescreendoor AT gmail DOT com.