Alicia Hall Moran + the motown project. Photo Credit: Pagan Harleman.

A flamenco guitarist strums rapidly, his hands painted lavender by the overhanging lights and lasers that coat the walls of New York City’s Highline Ballroom. To the beat of this six-stringed accompaniment, a tall woman walks elegantly from the right wing. Slow steps carry her to center stage where she stops before a microphone stand. Alicia Hall Moran sings her first note of the evening, lets the vibrato linger then fade.

The first few moments of Moran’s Motown Project — the vocalist’s operatic take on a series of handpicked Motown classics — feels distant and sounds experimental. For example, the use of harp alongside Japanese percussion to support classical opera style vocals may be innovative, however is does make one wonder, “Where exactly does Motown fit into all of this?” The question is answered with the sound of a recognizable lyric, such as in the Handel-esque interpretation of the Four Tops’ “Sugar Pie Honey Bunch”, or in the Marvelettes’ poppy 1961 hit, “Please Mr. Postman“, when sung as a mournful love ballad.

Nevertheless, not even Alica Hall Moran herself can deny the humor in such an unexpected blend of styles. This Manhattan school of Music graduate laughs along with the audience and holds conversation not as an uptight performer, but as a regular person. Well maybe she is bit wacky, but only in a good way.

The Motown Project takes the inspiring soul of Motown, and surgically transplants it into the body of nontraditional classical music. Moran is simply using an experimental method to access the blues-rooted emotion that already exists in Motown. Such a reminiscent performance can be enjoyed by anyone, however it does have a specialty for those with a true understanding and appreciation for this 1960’s motor city music.