SECTION: ARTS; Pg. C1
LENGTH: 525 words
HEADLINE: MUSIC REVIEW Acoustic Vaudeville Aimee
Mann, Michael Penn, and David Cross At: Berklee Performance Center,
last night. Repeats tonight;
BALANCING BOMBSHELLS AIMEE MANN'S TOUR SERVES PIERCING
LYRICS AND COMIC RELIEF
BYLINE: By Joan Anderman, Globe Staff
BODY:
There is no rational explanation for the success of a show that combines
bitterly serious songs and stand-up comedy. Especially when the funny guy,
David Cross, announces in his opening monologue that Acoustic Vaudeville
- the title of this tour - identifies two of his least favorite forms of
entertainment and then proceeds to brutally mimic both.
But Aimee Mann and her husband/ touring partner, Michael
Penn, are not, as Mann explained, "known for our humorous between-song
banter. So David is going to do it for us." It was, in fact, ingenious
- the notion of leavening the pageant of toxic love ballads and barbed-wire
beauties with shots of comic relief. And it's not as if there wasn't any
common ground. The trio share an endless supply of intelligence, irreverence,
and originality, and the loose-limbed, bohemian approach to live performance
- honed at an LA club called Largo where all of them gather regularly -
was like a breath of air in a performance climate that has become suffocatingly
choreographed.
That said, it was all about the songs. Mann and Penn are
among the finest writers of their generation. Backed by a four-piece rhythm
section that was by turns
delicate and spare, plugged-in and turned-on, the pair played and sang on
nearly two dozen of each other's compositions, which merged seamlessly into
an extraordinarily simpatico collection of smart, gorgeous tunes.
Wasting no time getting to the point, Penn covered apathy, betrayal, and
tragic endings in his first number; by song two, Mann had explicated loneliness
and isolation. At the end of the night no trauma, pain, misunderstanding,
or loss had been left unexplored. And lest anyone not in attendance imagine
that it was a dark and dismal evening of music, here's Mann and Penn's secret:
They are genies with a hook.
Like the proverbial spoonful of sugar that helps the medicine go down, these
two wrap their biting insights into the incurably dysfunctional human condition
in some of the most irresistible melodies and jangly chord changes this
side of the Beatles. Penn's "High Time" and "Bucket Brigade,"
Mann's "Cigarettes and Red Vines" and "Save Me," - to
name just a few - are as close to pop heaven as one can get while rhyming
"riff-raff" with "mimeograph" (Penn), and "perfect
fit" with "tourniquet" (Mann).
While conventional rock show dynamics were hardly the guiding force, Mann
and Penn did a grand job of pacing the set, which built gradually from pensive
to rollicking, thanks in large part to Michael Lockwood's irrepressible
electric guitar work. Penn eventually traded his acoustic ax for an electric,
as well, and Mann laid down her tambourine and cranked up her bass.
Neither particularly relishes performing, and in turn neither related much
to the audience, except to call out for David Cross, who gleefully gave
voice to Penn's despicable inner thoughts as he tuned up, reminisced about
staying up for three days swallowing packets of dry Jell-O before giving
birth to a song, and reported that Mann had let fly a blasphemous diatribe
against George W. Bush because she wasn't invited to play at the inaugural
ball.
GRAPHIC: PHOTO, Aimee Mann's soul-piercing songs benefit
by leavening.
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