Read Cleveland Magazine’s Coverage of GROUNDED

Uno Lady Meditates on 2020 In ‘Grounded’

By Dillon Stewart

Christa Ebert, better known as Uno Lady, has been meditating for years. Yet, like many of us, she felt like she couldn’t pay attention for long stretches and never had the time in her busy schedule to stay consistent. 

In fact, on her 2014 album Amateur Hour, she wrote a tongue-in-cheek song called “5 Minute Meditation Guide,” in which she pokes fun at her inability to quiet her thoughts for more than five minutes. “Picture all the crap in your life,” she whispers. “Just poop it out.”

“Even though I would try continually, I did think I was bad at mediation,” she says. “Then I was given the knowledge that it’s OK that you’re still thinking when you’re meditating. That’s just what our brains do. It’s just the judgment we tie to those thoughts that can cause distress.”

This breakthrough allowed her to deepen her meditation journey — along which she brings listeners with her January release Grounded. Ebert’s new record is a much-needed hour of peace in a chaotic world. Recorded at home while self-isolating and often right after meditating, the piece, which features the classic, layered Uno Lady vocals as well as field recordings mostly taken from her backyard, works as well as a guided meditation as it does an ambient background listen.

On Grounded, Ebert positions herself more as a well-read facilitator than a mindfulness expert. Expertise is instead pulled from simple books like 101 Meditation Tips or those in the Buddhist canon or local authorities. “Breathe,” for example, features Mourning [A] BLKstar singer LaToya Kent, who works as a meditation teacher. Meanwhile, cellist and practitioner Erica Snowden-Rodriguez offers an inclusive voice on “Meditacion,” which offers Spanish guidance, that is as comforting as their cello playing, even for non-Spanish speakers.  

“I’m not trying to say I’m a healer or that this album is going to cure people of anything,” she says. “Music is just a really great communication tool, and there are these practices that have been around for thousands and thousands of years that you can learn from.”

The sonic elements, though more ambient and less structured than her typical pop heartbreakers, will feel more familiar than the lyrical themes to Uno Lady fans who have enjoyed 2014’s Amateur Hour and 2019’s Osmosis. These lush tracks make Ebert one of the area’s most singular artists even amongst Cleveland’s diverse pop music landscape. Grounded’s “Open Your Heart,” for example, features 69 vocal tracks layered, harmonized and manipulated with effects such as reverb (think singing into a cave) into an unrecognizable wall of sound. Only the occasional synthesizer, bell and meditation bowl flourish the 54-minute album.

“These are some of the biggest songs I’ve ever written,” she says. “It was such an exploratory process. They might have been bigger if my computer could handle it.”

The project, which was supported by Spaces Urgent Art Fund and by a public grant from Cuyahoga Arts & Culture, was also accompanied by an experimental film of the same title, which Ebert shot mostly in her backyard. The film’s animation was created with the help of illustrator Sequoia Bostick.  

”I left my one full-time job a few weeks before the pandemic to promote another record and go on tour,” she says. “So, I wanted to stay true to my mission of, you know, having creativity is my core value and my purpose in life.

In making the record, Ebert realized that she was actually pretty good at meditating — even if some of her versions of the practice looked a bit different from tradition. The hypnotic flowstate she reaches while singing (which she compares to traditional chanting) and making music does much of the same things to her brain that meditation sets out to do. She hopes Grounded can be a similar bridge to mindfulness for music fans. 

“[Making music] is when I am able to disconnect and process my emotions and thoughts constructively,” she says. “People think meditation is one thing, but really it can be anything that helps you disconnect from worry for a brief moment.”

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Cleveland Magazine: You Need To See This Vocal Looper In Action

Christa Ebert, also known as Uno Lady, puts on a performance that needs to be seen to be believed.
Whoever said you needed more than one person to form a band forgot to tell Christa Ebert. Performing under the moniker Uno Lady, this one-woman choir uses a microphone, small mixer and loop pedal perched on a podium to create an emotional musical experience. Each performance is a little bit different as Ebert, 35, uses her pedalboard to layer haunting melodies with syncopated beats on top of rich soundscapes to create her distinctly transportive music. With a record on the way this year, Ebert continues to create new sounds to entrance and mesmerize her audiences.
My earliest memories are of singing. I remember trying to organize a concert on the playground in the third grade. I have no choice but to sing. It’s a part of me.Uno Lady is basically myself, but a fancier version. I have always wanted to be in a band, but it just wasn’t happening. So I started to create music on my own. At my first gig at Pat’s in the Flats in 2007, I sang into my computer alongside a projection of an old drug education film to have a visual element. I would describe Uno Lady as a one-woman ghost choir, lush layers, captivating, mesmerizing, always spinning you into a musical web.My process has definitely evolved over the years. I started with a laptop and a microphone and then built my first homemade podium with a space for my computer and my loop pedals so I could build songs live and the audience could see me create.

Letting the audience see my process helps them get in the moment with me and be a part of a shared experience. Music is a way to connect with total strangers. It’s a way to find your tribe hundreds of miles from your home. I really appreciate when someone shares their attention and is open to experience the performance with me. It makes us feel like we’re in it together.

Sometimes after the show, people will share that I reached them or inspired them to create their own music.

I had a tough biker guy once tell me I made him cry. I had written a song called “Ash Wednesday” about a tragic fire that happened in Lakeview Elementary School in 1908. I told that biker guy, “I’m sorry, and you’re welcome.”

During a show, I get caught up in the moment, lost in the music, and I’m part of that place and time where everything floats by. Ideally, I reach a good flow and nothing is going through my head except the music. But it took a lot of work and discipline to get to that space. I used to have intense stage fright. Nerves are proof that I am challenging myself, trying something new and growing as a person.

At the end of a concert, I want audiences to know that they are not alone and that someone understands them. They can do whatever they want to do. — as told to Ken Schneck

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