Isn’t it great when everything just comes together perfect?

I didn’t plan on seeing Jamie Lidell tonight at the Avalon here in Hollywood. But it just so happened that a very generous contact at Filter Magazine hooked me up with a pair of tickets to see him. I wouldn’t have gone if a friend hadn’t posted a facebook message asking if anyone was gonna go. I think because both messages landed within 10 minutes of each other then it was probably a sign (that I should get back to work and stop checking my email). But really, I wasn’t too familiar with Jamie Lidell’s work, I’ve somehow always confused him with a bunch of Hotel Cafe artists. But he put on an interesting show! He has a good band, he has a good energy and he’s like a mix between Bill Nye – The Science Guy and Elvis Costello (sans guitar). But I think what really pulled the universe in alignment was the privilege of seeing “next big thing” soul progeny Janelle Monáe.

I didn’t even know she was on the bill but I’ve been itching to check her out after a great writeup/co-cover shot in last month’s Paste Magazine (#46) which had a description of the 23-year-old Ms. Monáe as “…Prince, Michael Jackson, Anita Baker, Judy Garland and AC/DC all at once”. A description not too far off (but sprinkle in some Grace Jones for spice). From outside of the venue I could hear that voice: pitch perfect, warm and familiar like something from the collective unconcious; the buzz of it could vibrate through concrete walls.

Her performance was magnetic and pulled me right to the middle of the dance floor. I stood in awe of this tiny wonder (around 5 foot tall) as she moved wildly, posed like royalty and hemorrhaged talent like James Brown and Elvis having a dance off within this Kansas City, KS-bred, Atlanta-based marvel. Her unique look marries 2-tone/Hives style with of-the-moment high-waisted tuxedo pants/shirt topped with her super pompadour. (“Be bold and mighty forces will come to your aid.”) Musically supported only by a thin be-wigged guitarist, stick-twirling drummer (he says he was never in marching band) and some minor backing tracks; the room couldn’t have felt more full if an orchestra had been there. This is a live show that must be seen as soon as possible in this raw essence before it inevitably becomes musical theatre.

I say this mostly because the music seems too big to be explained in performance alone. Get ready for the left turn in this story: Her album, Metropolis: The Chase Suite is the first in a 4 part series telling the story of Cindi Mayweather, a cyborg in the 28th century who falls in love with a human (big no no) and must run to escape being dissasembled. The album cover and “Many Moons” video (see below) slightly borrow from the Art Deco feminine cyborg imagery/theme from the 1927 Fritz Lang Classic. [want obscure? Rent Cherry 2000 (1987)].

Janelle Monae will be one of those artists that you can introduce your parents to. Even if they don’t get Metropolis, surely the future of this young powerhouse will yield culturally transcendant music to equal her remarkable personality. Her live show stands above all of her current achievements, few times have I ever seen in my life such energy, optomism, joy and talent. And almost never in an opening act. 9.5/10.

Tags: Atlanta, Bad Boy, Filter Magazine, Jamie Lidell, Janelle Monae, Kansas City, Metropolis, Paste Magazine, Puff Daddy, robots, The Avalon

This entry was posted on Tuesday, September 30th, 2008 at 3:25 am and is filed under Cartoons, Comics, Fashion, Hollywood, Images, Music, Science, You should know:. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.