Tag Archives: concert

no shirt, no shoes… COME ON IN!

3 Jul

It’s pretty normal to see a general lack of clothing when you’re at an outdoor musical festival like Lolla. It’s hot, it’s sticky, and inhibitions are usually nowhere to be found.

I was not, however, prepared for the spectacle I witnessed at Edward Maya at the Congress Theater last night. Never have I seen so many cutout shirts, f**k me pumps, panties being worn as shorts, bras as tops, or bump-its in the same location. I won’t even get started on the dudes (Ed Hardy and tribal tattoos–need I say more?).

Needless to say, this isn’t quite my scene, nor was it the scene of any of the people I was with. Why were we even there, you ask?

The answer is simple: comped tickets.

Normally, I’ve always had an amazing time at the Congress–Passion Pit, Thievery Corporation, and Zappa Plays Zappa still stand as three of my favorite live shows–so it seemed silly to turn down FREE tickets. I mean, how bad could it really be?

Well, I’m not even going to comment on the music, especially since we didn’t even stay to hear the main act.

The goal for the night quickly became to dance as gawkily and unattractively as possible in order to keep the creepers at bay. As a result, the following dance moves were born:

  • the “hinge” — place one leg in a sturdy, athletic stance. point toe of other leg out, then twist toe in to bring knees together. Repeat.
  • the “pulling-the-kleenex-out-of-the-box” — with bent arms held out directly in front of body, rapidly alternate arms, grabbing kleenex out of an imaginary box in front of your chest, flicking wrist vigorously after each pull.
  • the “sexy seduction dance” (credit: Annie) — eyebrows perpetually raised in a “seductive” manner, this involves doing a sort of tango with absolutely no touching involved. Best used if 20 feet or more of open space is available to dart back and forth around your partner, of course never breaking the drunken alluring gaze.

I’m planning on taking these moves with me for the next season of So You Think You Can Dance. Auditions for my backup dancers will be held soon–stay tuned!

I can go for that!

27 Jun

“You know it’s an old crowd when someone has their oxygen tank with them.” — A verbatim quote from my mom, who served as my date to the Hall and Oates concert at Ravinia on Sunday night.

It wasn’t our first time at a concert together (I believe that prize goes to Elton John–I was 10 and to this day I still kick myself for complaining about not hearing Lion King songs, instead picking my nose as Elton poured his heart out into the mic and keys during during Rocket Man, Tiny Dancer, and Goodbye Yellow Brick Road. Hakuna f*ing Matata.).  Still, it was definitely a treat. Not to mention part of my slightly self-indulgent Mother’s Day present.

Anywho, despite the slightly older crowd, Daryl and John didn’t fail to deliver. In fact, I think the popping noises I heard during the show weren’t feedback from the monitors, but the sounds of creaky old hips coming back to life after years of inactivity. (No post-menopausal women were injured in the making of this concert).

True, H&O looked a little different than I remember from the super-80s headshot cover of The Very Best of… Daryl’s apparently obsessed with aviator shades, and his mane and beard make him look like Aslan the Lion; John’s opted out of his 70s porn stash in favor of a caterpillar-esque soul patch.  But they played every old crowd-pleaser, starting with Maneater and  Method of Modern Love, Say it Isn’t So and She’s Gone, working their way into the “Sara” songs, and finally segueing into a spectacular 10-minute version of I Can’t Go For That, probably my favorite H&O song of all time.

The backing band is made up of a drummer, bass player, guitarist, backing vox/aux percussionist, and a sax/flute player–all pretty solid. You can tell that these guys have been playing together for awhile.  Still, I have to say that the solos were lukewarm.  The guitarist seemed like he was afraid to step on Daryl’s toes, and every time the sax player crooned for longer than 16 bars, I found myself yawning–or pouring another glass of wine. However, it was completely different story when the long-haired dude picked up his flute–that guy could seriously blow! I’m always in the mood for some yahzz or rock flute a la Ron Burgundy or Ian Anderson. Probably the most inventive soloing came when Daryl and the backing vocalist had a little back-and-forth tizzy during I Can’t Go for That.

But let’s be real, we didn’t come for face-melting solos. We came to hear unapologetic 70s/80s pop at its finest, and that’s what we got.  While my mom and I headed for the Ravinia exit gates before the encore started to make sure we caught the train back downtown, we could still hear the music clearly from the Metra platform.  The finale consisted of Rich Girl and You Make My Dreams Come True, two more examples of H&0’s uncanny ability to produce songs that get incessantly stuck in your head for days and make you bust a serious move.

I couldn’t ask for anything more–I got the songs that I used to love when my mom blasted them in the house when I was just a wee lass, that I pretended to hate in high school because they were “corny” and “lame,” that I finally fell in love with again when I realized that music isn’t about being cool; it’s about reveling in something that makes you feel how you want: pensive, bitter, carefree, intense, or in this case, ecstatically nostalgic.

Daryl, John–thanks for a great night.  Now invite me on Live from Daryl’s House and let’s talk about your hairstyle choices.