Of Montreal – Music Hall of Williamsburg – April 27, 2017
You’re weird! When you were a kid, that would’ve been a put-down, but nowadays, in some circles, the greater sin is being normal. No worries for Kevin Barnes, the lead genius behind Of Montreal, who showered a sold-out Music Hall of Williamsburg with their Day-Glo, bizarro resplendence last night. With a later start time, the set was the kind of happening that transpires when the normal folk are sleeping, a giant dreamlike hairy beast, a yeti in Brooklyn, marching across the stage as the band wound up “Gratuitous Abysses,” before Barnes had even taken the stage. The cosmic doo-wop sounded like eight genres mashed together, or maybe more like flipping among them so fast that it felt that way, a good primer for the sight-and-sound feast of a show that followed.
At times watching Of Montreal go through their set, many songs accompanied by a traveling troupe of performers acting out a hallucinogenic scene, each difficult to describe in words, was like watching a Saturday morning cartoon, the band maybe splitting time between their deeply psychedelic grooving and, at any moment, hopping off in a multihued van to go fight crime somewhere. The opening stretch was heavy on the synth and disco whorls, but a few songs in, Barnes picked up his guitar and the sound worked more toward a funked-up glam. The audience continuing to push closer to the stage to get into his orbit, whooping at each wardrobe change, Barnes working a new look at each third of the night.
The set list folded selections from Of Montreal’s vast and varying catalog, “Different for Girls” fueling a front-to-back dance party, “Bunny Ain’t No Kind of Rider” getting everyone to sing along in collective glee, “Gronlandic Edit”—with Barnes singing about “all the party people dancing”—was explosive fun of room-rattling bass. The last third of the performance was a nonstop blast of crowd-pleasers, with enough “Is that what I think it is, WTF?” moments mixed in to get most people in the room shaking their heads almost as much as they were shaking their bodies. The set closed, appropriately, with “The Party’s Crashing on Us,” off 2005’s The Sunlandic Twins album, which goes to show how long Barnes has been infectiously bounding around a stage with Chinese dragons and the like, in a hot-pink number, or with little clothing on at all, for that matter, as normal as can be. —A. Stein | @Neddyo