Posted by Kurt Wilde | Posted in | Posted on 9:56 AM
Four months ago, as I was clinging to the stage, front and center, of Kansas’ Liberty Music Hall, the Grammy’s hadn’t yet crossed my mind. Nor would they that evening. The sensory overload of the performance I was about to witness would overwhelm any construction of coherent thought. The only reaction the sheer power projected by Janelle Monáe’s performance of her ArchAndroid set permitted, would be one of release.
For Monáe, this particular performance would be special for her. A native of Kansas City, much of the intimate venue’s balcony was filled by her family and friends. Just prior to aggressively claiming my position in front of the stage, I had met one of her uncles in the bathroom. I didn’t realize it yet, but fate had been kind to me. This happened to be the only show on her tour I would be able to attend and it also happened to be the show where she would have extra stage time due to the presence of her family. Standing in front of the stage, dressed in my tuxedo, I was ready for the show to start, and so it did.
The lights cut out, fog machines obscured the stage, and projectors blurred images that appeared to be of Monáe and from Frtiz Lang’s Metropolis, a film Monáe deliberately draws from to present the narrative of her concept character, Cindi Mayweather. Masked figures in black robes bounce across the stage, and finally Janelle Monáe emerges belting her lyrics in a pristine tuxedo and her signature hair style. The energy in her dancing and singing is contagious and it emanates throughout the crowd. I felt an admiring grin crack my face, a puppy dog expression really. It wouldn’t leave until well after the show.
What followed was the most encapsulating performance in which I had ever assumed an active role. A reluctant dancer by nature, I found it impossible to just nod along with the beat. I don’t think that Monáe drew from the enthusiastic response of her audience the way other performers do, rather, she seemed to constantly generate it. Four months after the event, I still can feel the power of that performance resonating in my chest. Recalling the way she acknowledged her costumed Fandroids in the front row with eye contact and a wave still causes a ripple of excitement to rise from my stomach, as if I were still riding that roller coaster. Yet, nearly every time I’ve shared this story, I’ve also had to explain who Janelle Monáe, and perhaps play one of her songs. But tonight, no more.
Tonight is Music’s biggest night of the year. Tonight is the 53rd Grammy Awards presentation. Janelle Monáe, though deserving of higher honors, is up for “Best Urban/Alternative Performance” for her single with Big Boi, Tightrope, and “Best Contemporary R&B Album” for her ArchAndroid LP. And while I hope she wins both, as a committed Fandroid, what I am more excited about is her performance. Janelle Monáe is arguably the most underappreciated artist of the past two years. Previously, she has appeared on stage with Stevie Wonder, made Dancing with the Stars interesting for a night, and rocked the late night audience on Letterman; but this performance will constitute an unprecedented level of exposure she’s garnered to date, and it’s about damn time.
My confidence in Janelle Monáe’s ability to bring it tonight is unwavering. The vision behind her music and stage performance is deep and next to performances by Justin Bieber and Katy Perry, it ought to seem bottomless. My only hope is that this isn’t overlooked by the American audience, who has a tendency to appreciate fleeting teen sensations and tits over deserving artists. That being said, style is almost never unappreciated, and Janelle Monáe has got plenty of that.
I am excited for tonight, and I’m excited for Janelle Monáe. As best I can, I wish her the all the luck in the world, and encourage everyone to watch what ought to be a truly special performance. She’s not just a great voice, she’s a great visionary.
-K.W.
Photo Notes: All photos are original and property of the author
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