By Brandon Schlia
Pop music
has the unique ability to create the kind of fame and reverence that turns an
audience of normally functioning people into hysterical lunatics (see: the
Beatles, Elvis, Madonna). So what makes musicians into idols? My theory is
attitude. And nothing was more clearly visible on Monday night than the
attitude reflecting off 10,000 blue sequin’s, outlining the sexy exterior of
Metric’s prime representative: Emily Haines. The quartet opened the US leg of
their tour in Buffalo at the Town Ballroom – a local venue that
attracts some of the very best bands. If Town isn’t on your usual circuit, you
might want to check it out soon.
The band’s
set started off with such immediate command, that it was almost by surprise. It
took the length of their entire first song to allow the initial pandemonium to
die down. Some might attribute this to the force with which they directed
attention. It’s a maneuver only seasoned instrumentalists have the capacity for, and Metric is no doubt a band thriving on well executed chemistry. I have
another theory…
“Poster of a
Girl,” “Sick Muse,” “Stadium Love,” they were all explosive. But nothing in the Town
Ballroom got louder than Haines’ blue sequined dress – and more specifically the
way that dress moved when the person inside of it danced with a tambourine. The
tailored fit of Emily’s dress left little to the imagination and a few of those
adorable dance moves got to be distracting. No, I’m not complaining.
The inherent
positives of having a strong female lead can all be undermined by the one
certain negative: is it sex appeal or musical ability that drew the crowd? At a
show like this you end up having to remind yourself that you’re here to listen to something, not look at someone.
However, a
clear enough reminder presents itself in musical moments where Haines’ simple
genius shows through the layers of the band’s arrangement. It’s then you
realize the masterful foundation to all this music was developed by the cute
girl in the blue dress. Every metric song, at its barest bones, is Emily Haines
at a piano telling a story. Her talent as an artist is undeniable and her
desirability is really just a bonus.
The show’s
encore closer, an acoustic version of Combat Baby, capped it off with classy,
understated beauty. They all came to the front of the stage to bow and shake
hands with a few of diehards that were crowded up near the front.
My hand was
the last one touched by Emily Haines. I felt like a schoolgirl at Beatle-mania.