If there was ever a perfect location to hold a staged reading, it would be Common House in downtown Charlottesville. Rich, earthy tones and modern art mark the whole winding space. A place dripping in art is extremely fitting for a showcase of artistic writing, acting and feeling. Those who gathered to attend the reading of “Steps” Feb. 3 were scattered around the room in bright, metal chairs — the front row consisting of a teal chaise and other velvet seating accouterments. Gentle conversations took place as the performance neared, and the soft music of Cults and MGMT floated down the stairwell from a bar above.

With the recent release of “Angel’s Pulse,” Devonté Hynes of Blood Orange has mixed and produced his way to the creation of an atmospheric, musical masterpiece which incorporates the influence of a multitude of outstanding features. As a proclaimed epilogue to his 2018 release “Negro Swan,” “Angel’s Pulse” is a virtual continuation of the melodic instrumentation and flowing choruses which gained critical acclaim in the year prior. This release undoubtedly signifies Hynes’ mastering of the lush, layered ballads his listeners have enjoyed since his 2011 release “Coastal Grooves.”

The harmonious sounds present in “Angel’s Pulse,” however, are an otherworldly mix of throwback R&B, hip hop and modern indietronica, all working together to create an ornate soundscape which only the sure-footed ease of a master producer like Hynes could provide.

Locals were welcome to enjoy both pilsners and pirouettes while contributing to the Ballet through food and drink proceeds as well as purchased raffle tickets. Winners had the honor of earning entry to the Company’s holiday performance of “The Nutcracker” and becoming the proud new owners of Charlottesville Ballet pint glasses. Despite the flowing of craft beer, the event welcomed an audience of all ages and encouraged the attendance of beloved family pets… The last performance was an original work developed by a member of the Charlottesville Ballet, which took place in a mythical universe full of sprites and nymphs. Five female dancers stepped onstage, each sporting a different colored dress. They proceeded to dance around each other, weaving in and out of formation in an enthralling presentation of fairy-like behavior. This coordinated performance signaled the end of the show, but the audience was welcome to stay for another rendition of the same acts. Needless to say, many of them did.

Listeners searching for a lyrical mixture of broken glass, love letters and unabated yet confused confidence have come to the right place. BENEE’s recent release of “Hey u x” flips through the full spectrum of emotions as quickly as the sun sets, leaving nothing to be desired by any stretch of the imagination. This musical feat of indie-pop bliss was created by a 2020 breakout artist who gained massive recognition through her devoted following and the social media powerhouse TikTok. “Hey u x” is her longest album thus far, but BENEE has been on the road long before this much-awaited release. She has traversed the U.S. with fellow indie-pop breakout Conan Gray, sold out shows in countless cities across the world and won awards for her early releases all the while. This recent album has proven to be the culmination of her early success and raw musical aptitude for conveying a mind-bending array of emotions. It’s not hard to lose yourself in a deep dive of this alluringly melodic and eclectic tracklist.

“Miss Anthropocene,” in addition to revolutionary instrumentation, is doused with thought-provoking themes of divine presence, self-harm and the takeover of artificial intelligence. The glimmering beat of “Violence” ironically underlays a string of seductive vocals about severe aggression, producing a haunting, oxymoronic effect on what seems like a harmless pop anthem. “New Gods” is a vocal-centric piano ballad in which Grimes makes a desperate lament to the omniscient forces of the digital age as she sings, “Hands reaching out for new gods / You can’t give me what I want.”