CityLife Rating
Flight of The Conchords
Flight Of The Conchords
Apollo
May 11, 2010
After the bewildering chaos of the latest General Election, it seems only fitting that the news that the Tory Party has snatched No 10 should be delivered to us by a stand up comedian.
“You’ve got a new government, since you’ve been in here,” says Brett McKenzie, one half of New Zealand's biggest comedy export Flight Of The Conchords.
“Which one was is it? It’s… it’s… it’s Cameron.” Cue deafening boos from all corners of the Apollo.
It’s the only time the mood turns ugly during the evening’s face ache-inducing performance, one witnessed by an audience that now views the Conchords as their favourite comedy duo and their favourite guilty pleasure.
Guilty pleasure because the Conchords shtick is parody, their songs built on the frameworks of cheesy pop, banging R&B, amateur hip-hop and chart topping soul. Anyone too embarrassed to stick on a Prince record can get their fix here; that the lyrics make you laugh as well as sing along is all the better.
Things have changed a lot since Brett and his Conchords cohort Jemaine Clement first formed ‘New Zealand's fourth most popular comedy folk duo’. Their on screen story is one of unrelenting failure, but the reality couldn’t be more different: two hit TV series, two successful albums, and now worldwide sell out tours.
But on stage, they play the same characters: a haplessly naïve duo staring in their own Audience With show, armed with innocent tales about getting stuck in lifts on tour and still needing mid-show naps.
While their characters conform to their screen personas, their opening number does anything but. They stride on in flashing robot helmets, but far from opening with series one favourite Robots, they kick up the techno groove of Too Many D**** (On The Dancefloor).
From track two, The Most Beautiful Girl (In The Room), the secret of their charm is obvious. Language is their plaything – there isn’t an idiom they leave unturned, each requiring hilariously laboured qualification and unfalteringly deadpan analysis.
Few illustrate this better than Jenny – a girl meets boy tale of mistaken identity that spirals gloriously out of control into a dissection of the plot of 1980s movie Weekend At Bernie’s (“They just put glasses on him so you couldn’t see he’d died,” sings Brett. “Ah,” laughs Clement tunefully, “how did those scallywags get away with it? For two movies.”) – or a new medieval style story about ‘wooing a lady’, complete with battling recorders, that descends into havoc when Jemaine has to get his hands on some 14th century ID to buy a horse.
With the help of cellist/pianist Nigel, Marvin Gaye homage Think About It is a stellar moment in the set, Brett’s spot of Chinese karaoke the shakiest, Clement’s stab at a Mancunian accent is well received on narrative Albi The Racist Dragon, and encore Business Time is a delicious meeting of Miami Vice and Barry White.
There are two big finales: the first is a show-stopping strip tease down to sequined leotards for song Bowie (and like his on-screen character’s jumpers, Brett’s outfit is emblazoned with an animal portrait), the second an encore medley of We’re Both In Love With A Sexy Lady and Sugalumps, complete with some one-on-one crowd interaction.
Five years ago, they were a cult duo with a clutch of great comedy songs. Now, they’re masters in their field; it’s a shame it’s happened just as they look set to call time on the project.
Reviewed: Wed, 12 May, 2010
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Daniel Clay
17/05/10 17:07
Those lucky enough to have caught two geeky guys from New Zealand playing to a few hundred people at the Edinburgh Fringe in 2003 will know that Flight of the Conchords looked set for stardom. In Manchester they certainly found it.
As part of their European tour, New Zealand’s fourth most popular guitar-based digi-bongo acapella-rap-funk-comedy folk duo – we’ve yet to ever see the other three - took to the Apollo stage wearing cheap-looking cardboard box TV heads. Their presence though is priceless. The running joke of their hit TV series – a failing band duo with only one song actually create a plethora of amazing songs about their experiences – carries well on stage; after all it’s where they started. Once the thumping bass of Too Many Dicks on the Dance floor fades we’re told that unfortunately due to an oversight on the set list, the next song features the same line. As if they hadn’t realised that! In fact so well created are the stage presences of Bret and Jemaine that it becomes impossible to tell as the show progresses when character stops and the façade is revealed. Once or twice during the impeccably timed songs a mistake is spotted. Bret forgets the words to Hurt Feelings, prompting a dismayed Jemaine to do the same moments later, or Matt the soundman forgets to plug Jemaine’s Omnichord in as Bret valiantly carries on. Both could have been planned such is the effortless rapport the pair engage in with both the audience and themselves. The introduction of the New Zealand Symphony Orchestra (Nigel the Cellist, the other two couldn’t make it) broadens each song’s sound meaning the pair can indulge in other delights. Bret’s drumming on Mutha*uckers or glam guitar on Demon Woman bring a sense of real showmanship to a really ship shape show. With the opening chords of each familiar song fans cheer in anticipation, misled at times by the pair’s re-arrangement of lyrics or addition of new ones to keep things fresh. When a new song is announced, the medieval-themed 1353 it soon becomes apparent their continued ear for a catchy lyric and tune is still strong. Telling the story of a man’s attempt to “woo a lady” by hiring a large horse but needing identification delivers terrific rhymes – “Who needs ID in 1353?” Perhaps a third TV series really might be possible. Between songs the pair engage in a selection of “hilarious” anecdotes about life on the road. Relegating the story of the groupie with the goldfish in her anus, they’re more concerned about telling us how they’ve betrayed their diets by scoffing on each hotel’s complimentary muffin. Other than that we’re treated to Bret’s terrific whale impersonation and a spot on imitation of Arnold Schwarzenegger by Jemaine during Robots. The final song, a stripped-down version of their ode to male genitalia Sugalumps, brings the pair even closer to their audience, gyrating and grinding to suitably comic effect. After two hours of lyric, music and comic perfection as the final chords die away, it’s clear the Conchords have not just taken flight, they’ve taken off.This review is the opinion of a CityLife reader and not that of CityLife itself
Paul Boland
13/05/10 18:31
Having been a fan since the series started I simply had to see the Conchords live and wasn't disappointed. They played pretty much all my favourites from the two series plus some new ones. 1353 is a work of genius!
They were so good that I couldn't resist going to their following gig on the Tuesday and was surprised that they didn't play the same tunes from the previous gig adding to their play list. Most surprising aspect came following the gig as I got the opportunity to meet the guys in the flesh as they signed every autograph and posed for countless photos for fans who'd waited outside. They truly are top top blokes and considering I'd seen 2 of their gigs I simply had to see the 3rd.
Amazingly I managed to get hold of a pair of tickets the following day and this gigs showed the appreciation they had for the fans as they not only played a song I requested the previous day but gave me and my brother a shout out.
I hope this isn't the last we see of the Conchords and return to these shores soon cos you'll can guarantee I'll be in the queue to book my ticket.
This review is the opinion of a CityLife reader and not that of CityLife itself
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