On Feb. 2, Gregg Gillis – better known by his stage name Girl Talk – held one of his famous dance parties at the 9:30 club playing his unique brand of electronic mash-up music.
Opening for Girl Talk was the New York-based, electro-pop band Penguin Prison.
Unfortunately, while the name inspires thoughts of wonder, the music did not.
Penguin Prison, the project of front man Chris Glover, delivers a full sampling of generic ‘80s disco-pop. If this type of music happens to appeal to you, Penguin Prison will be just what the doctor ordered — otherwise it would be better to steer clear of the band. While Glover did create some dynamic rhythmic structures with his amusing Michael Jackson-esque vocals, the songs were lacking any sort of melodic hook or musical inventiveness
However, Glover’s hyped-up, quirky stage presence partially made up for what was lacking in the music. Between songs, he would awkwardly inspire the crowd with such endearing lines as, “Washington, D.C.! Yeah! Taxation without representation! You need to get yourselves some representation!”
While Penguin Prison failed to live up to its marvelous band name, all was forgiven once Girl Talk took to the stage. From the opening Clara sample that begins Girl Talk’s first album, “Night Ripper,” the crowd was at ease, submitting to the journey on which they were soon taken.
Though Gillis has become famous for his finely produced mash-up albums, his ability to create live mixes appears to have increased with fame. Taking samples from a wide range of genres, Gillis makes all music appealing to everyone. In the words of one student who attended the concert, “Only at Girl Talk would it be okay to listen to an Annie Lennox and Lil’ Wayne duet.”
Girl Talk’s concerts are essentially giant dance parties with an audience as diverse as the samples. Using confetti, balloons, beach balls and a giant screen to project a beautifully crafted light show, Gillis creates an energetic and festive atmosphere in which one can’t help but bust a move.
Gillis attempted to end the show with an inspiring, beat-driven version of John Lennon’s “Imagine,” but the crowd demanded more. The encore was, as Gillis put it, “experimental” and proved his talents as an expert improviser.
Though the opening act brought the concert to a sluggish start, Gillis’ masterful mash-ups and party works lifted the audience to highs previously unknown.
thescene@theeagleonline.com
