The deceivingly massive, sold out, Congress Theater slowly filled up with Morrissey fans of all shapes, genders, gender-benders, and sizes on Saturday night on this cold December evening. The crowd stirred anxiously as the show, which had been postponed by nearly a month, would finally happen. They need their Morrissey fix and it was only the man himself that could give it to them.
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Morrissey |
The Congress Theater
Chicago, Ill.
December 17, 2011
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The historic Congress Theater flows over you as you enter its majestic foyer. Morrissey merchandise looms near the bottom level entryway. Typically merchandise wouldn’t be worth mentioning but then my eye spotted an autographed, life-sized, cardboard cutout of the man himself, naked as a jaybird, with a .45 hiding his private parts. Surprisingly, no fans scooped that up for a mere $100.
Former David Bowie background vocalist, and now solo artist, Kristeen Young warmed the room with her strong, rich vocal stylings. Numerous songs were supported by just her keyboards, which felt as if we were in her rehearsal space. The set picked up when looped electronica music fleshed out her powerhouse vocals on “Fantastic Failure” and “V the Volcanic.”
Young made a concentrated effort to pull the crowd in and looked glam in Blade Runner styled pewter dress. Despite all that it was still difficult to hold the crowd’s attention in such a large space. The truth is that unless you’re the headliner, many don’t care who you are, which in this case was a shame. Her performance was reminiscent of Bjork/Gaga, but Young would benefit from working with a full back up band that could match her talents and emphasize her vocal capabilities.
After a quick set break, the stage darkened as a svelte, stylishly aging figure with a pompadour, black suit, red ruffled shirt, and a pink bandage on his finger began to croon about a double decker bus running you over. His voice is like a package of pain wrapped in the finest gold velvet. Morrissey has a knack of making a mellow song like “Everyday is like Sunday” into a fist pumper for the audience. His homoerotic, 1950s styled, Yale T-shirt wearing, mostly mid-western based band, played the hell out of “Speedway” as he dramatically gestured, swooned, and crooned to the crowd.
Morrissey gave a history lesson or two throughout the set. Before performing Lou Reed’s “Satellite of Love” he noted that it was “a song about a man that makes America great.” He added snobbily “If you don't know who wrote this song, get out!”
He had clearly done his homework as he told the audience that James Cagney performed “Yankee Doodle Dandy” on that very stage, and if that doesn’t interest you, perhaps the fact that Bugsy Siegel was in the balcony watching just might.
As expected he also gave an intense performance of “Meat is Murder” which made me glad I ordered Oven grinders veggie pizza before the show.
As he wrapped up the evening with “Let me kiss You” and sang “But then you open your eyes and you see someone that you physically despise” he ripped his shirt off and threw it into the audience.
At songs end he sauntered off stage, but the crowd was wildly geared up and so when they returned for their one song encore, fully clothed again, stage divers over took the show. As security lost grasp of the numerous fans, Morrissey slinked off stage safely. The beautiful room was up for grabs at the end of the show, and left everyone wanted more, more, more of the one and only unique and wildly talented man known as Morrissey.
Michele McManmon is a contributing writer for Lumino Magazine and for the Los Angeles Examiner. To read more of her work visit:
http://www.examiner.com/music-in-national/michele-mcmanmon.
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