Amelia Handscomb
Flight of the Conchords prove they've got game in NYC
May 6, 2008, at Town Hall
By Rachel Surwit
Published: May 8th, 2008 | 10:30am
“It’s not TV. It’s HBO,” quotes the channel’s ad campaign. Flight of the Conchords is one of the latest post–Sex and the City gems keeping HBO on a pedestal above cable television.
If you've been living under a pop culture rock and the names Jemaine Clement and Bret McKenzie don’t ring a bell, they are the latest stars to ride the “acousticomedic” wave — all the way from New Zealand. Flight of the Conchords (the band with the TV show of the same name) are the Down-Under equivalent to Adam Sandler or Tenacious D, but with their own brand of expertly playful parody set to a laid-back rock vibe.
The live adaptation resulted in a surreal experience. They don’t have fans — they have a cult-like following. Lines were long, scalpers rampant, and enthusiasm high. One fifth-row fan brought a large hot dog–shaped poster with the band’s name in bold — the scene one might expect of teeny-boppers at Hannah Montana live.
Early buzz hatched with the Grammy Award–winning Distant Future EP (Sub Pop), released in August 2007. Now it has taken flight. Their full-length, self-titled debut landed April 22, 2008, to critical acclaim. Fans are responding to the tour in support of the release: Rumors fly that the two scheduled NY stops sold out in three minutes.
Clement and McKenzie's “mockumentary” TV show follows the foreigners as they struggle in New York City; however, the pair seemed right at home on the Town Hall stage on, May 6, 2008. The dynamic duo cracked NY jokes and kicked off the show with a Manhattan-infused "Inner City Pressure." Bret (pronounced “Brit”) jammed on his infamous silver “agro crag” guitar, while Jemaine busted chords on his keytar augmenting the new-wave Pet Shop Boys vibe.
On the show, the boys are renowned for their lack of game; however, they presented themselves with confidence atop their tall stools. The second song in the set, "The Most Beautiful Girl (In The Room)," wooed the ladies with compliments (“You could be a part time model. But you'd probably still have to keep your normal job.”). “A Kiss Is Not a Contract" was prefaced with a request for a kissing booth–style line by the exits. And "Ladies of the World," one of the last songs, closed the deal as Jemaine and Bret capitalized on the smooth '70s and '80s R&B they’ve got down so well.
Missing from the TV version, the tag team bantered ad lib with each other and the audience. Girls shrieked in lust, while fans hollered titles of songs. "Hiphopoptamus Vs. Rhymenoceros," a frequent request, finally played after a worthwhile wait. The song reached new heights in front of the raucous audience as revved beats reinforced the boys’ surprisingly good rapping (“My rhymes are so potent that in this small segment, I made all of the ladies in the first two rows pregnant”). "Mutha'uckas" also showcased their annunciating skills with curseless rap and electro-synth bass lines.
The musicians differentiate themselves from pop-culture comics with lyrics that employ childlike wonder rather than childish or vulgar humor. Instead, they opt for subtlety. They can be serious: They make political commentary, but it will make you laugh (“Redheads not warheads. Blondes not bombs. We're talkin' about brunettes not fighter jets.”).
The boys supplemented “Not Crying” with blue “sad” lighting and reverb that amplified the passionate vocal crescendos. "Business Time," an all-time favorite, followed immediately with Barry White smoothness. “Bret You’ve Got it Going on” was a show stopper, along with “Albie” — a song complete with multiple voices. It was evident that each song was meant to be seen live. Their signature is the awkward pause; nothing is funnier than saying nothing and staying expressionless.
This delicate balance of awkward charm and comedic poetry, combined with a multimedia launch has resulted in nothing less than a “Kiwicentric phenom.” Their TV show proved that their charm lies in the visual delivery; their live act verified that it is flawless. Foreigners talk funny. Hilarity ensues.
Issue #35
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