Here's the follow-up to my previous blog on Dead Man's Bones. This was originally published on KEXP 10.23.09
In case you missed my review last month — the Seattle show marked stop #8 of Zach Shields and Ryan Gosling’s “monster-ghost-love-story” for the masses in which each performance would feature a local talent show opener and band support from each city’s hometown children’s choir. By the time we’d found our seats (front row — thanks, Triple Door) I’d completely spaced the whole talent show thing and was in turn a bit surprised by the emergence of guitar-playing ghost MC — taking the stage to announce the evening’s participants. Now I’m not trying to sound like a jerk but the guy had a seriously thick, vaguely Latino ghost accent that made the mental notation of names somewhat challenging. The ghost was clearly talented — but not unlike the first few episodes of The Wire — I had no idea what the hell was being said until damn near close to the end the talent show. The pre-show entertainment was certainly terrifying — and not in the Halloweeny, spookadelic manner intended. There were only 3 acts (not 5-8 as advertised, but by the end I was okay with that); 2 of which had me flashing back to a traumatic outing with the parent’s to see Blue Man Group. What can I say, audience participation is not really my deal. Check that, not at all my deal. Neither is human-skat-jazz-poem-Tourettes-theatre. COME ON, SEATTLE, we could’ve done better than this. We produced Sir-Mix-a-Lot and Brandon Roy. Hell, we produced Kenny G and Doug Christie! As a side note: the first act, a young woman from the choir (ghost accent), sang, played piano — and was amazing. Stevie Wonder’s “Masquerade” never sounded so soulful. I was wishing for her return about 90 seconds into the second act. Shoulda batted cleanup, kid.