Two Very Different Shows At Terminal 5 or How To Rock Out Experimental Style

Note: Photo from http://www.brooklynvegan.com/archives/2009/09/of_montreal_jan_1.html

I spent my last two saturdays at Terminal 5 seeing two shows with nearly nothing in common. Both Dirty Projectors and Of Montreal play experimental pop that mixes a variety of genres, but the former took themselves too seriously, sucking the fun and excitement out of their lengthy set.

I love the way the band takes risks, but if an artist plays in a party club atmosphere they should make a set list with a flowing tempo and have a little bit of fun. They lacked any visuals and just played for themselves. Only the background singers looked like they were enjoying themselves. They sounded great but great acoustics are for the Metropolitan Opera House chamber, not Terminal 5. To their credit, they make great music and have a great creative spark, unlike opener Owen Pallet, who played a violin and wore no shoes, but the audience and the players seemed bored to death. I've never seen anything more pretentious... and I write intellectual blogs about Britney Spears.

In contrast, Janelle Monae and Of Montreal not only made bigger statements, they had a blast. Monae, the only opening I've ever seen outshine the headliner besides Britney Spears at a carnival in '98, told the story of Metropolis through a genre hopping journey that included grunge rock, soul, psychedelic rock, gospel, and electro. She improved dance with nuns and soul suckers. Her concept album explored themes of imprisonment and power. She showed off vicious vocal skills and emotions. Sometimes, she focused more on hitting the notes, but when singing "Smile," dancing to "Tightrope" and "Cold War," and dancing through the crowd with full body suit white dancers, she broke free, showing that she's possibly the most talented performing artist of her generation. If Gaga's our MJ, she might be our Prince.

After her thrilling act, Of Montreal lived up to the hype, but failed to match Monae's flow or artistic brilliance. Sometimes, the giant fish background dancers distracted from Kevin Barne's natural showman ship, but the massive TV and pig masked orgy matched brilliantly with False Priest's commentary on religious hypocrisy.

Barnes shined best on his duet with Monae and the fifteen minute Michael Jackson medley. He broke free of the planned dances and the performers literally had a party with the audience as they bounced and danced to the flow. This was one of the best shows I've ever seen. Last night, Barnes and Monae ruled the world. As Barnes said, "Whatever happened to the boy who got everything he wanted? He lived happily ever after!"