PASSING THROUGH: Janelle Monae’s Premier PDX Performance this Friday-- Local Cut

PASSING THROUGH: Janelle Monae’s Premier PDX Performance this Friday

August 20th, 2008 [1:34PM] Posted by: Sara Moskovitz | 5 COMMENTS

LocalCut’s resident soul/fashion aficionado Sara Moskovitz gives the extensive lowdown on Monae, who plays a Friday show we missed in this week’s WW.

Unearthly, adorable Janelle Monae—hitting Doug Fir this Friday for a special 6 pm show—is infatuated with robots, cyborgs and outer spacey alternate realities. The effervescent singer’s summer thus far has been a flurry of press (Giant, Vibe, Interview), magazine covers (URB) and live performances booked close on the heels of Metropolis Suite, a series of four consecutive albums to be released by the dewey-skinned diminutive Atlanta-based artist. Backed by Bad Boy Records and co-executively produced by Big Boi, Monae’s otherworldly voice, energy and style caught the immediate attention of Outkast’s Big Boi in 2005 following a performance by Monae at Justin’s, Sean “Diddy” Combs’ NYC restaurant.

After lending her vocals—which are stacking accolades for their Bessie Smith brassy tones, Lauren Hill emotion, Judy Garland warble and Ella Fitzgerald velveteen quality—to a track on the =Idlewild soundtrack, Monae’s profile has risen dramatically. Raised in a girl’s boarding house in Kansas City, Monae spent some time in New York City attending a performing arts college before taking a flight to the Netherlands to test out the musical waters there. The plane had a layover in Atlanta, a city Monae says in interviews that she had been intrigued by for a long time. She decided to stay in the Georgia city and fortune shined. A chance meeting with producer Chuck Lightening and writer/inspirational daydreamer Nate “Rocket” Wonder led to the creation of the Wondaland Arts Society (WAS) label and studio (which led to the aforementioned performance at Justin’s restaurant and the 2008 flurry). Then, a couple months ago, Erykah Badu posted an admiring comment about Monae’s talent on the highly trafficked Okay Player website.

Monae’s four-album Metropolis concept—The Chase EP, the first in the Metropolis series, hit shelves (and a Target near you) last week—came from the 1927 German-produced science fiction film of the same name, the plot of which examines tensions created by capitalism in a futuristic society. No word yet on dates for the other three albums.

But the ultimate charm of Monae is her unique style; she creatively pairs puffy button-up ’70s secretary blouses with bow ties and crushed velvet tailored drummer boy jackets. High-waisted slacks, thick cummerbunds and ankle socks with two-tone (black and white) saddle golf shoes, the slick bottoms of which allow her to moonwalk across stages. A facial centerpiece, her signature high-piled ‘do leaves a huge puff of hair resting on her forehead for a faux hawk / ’60s beehive effect. The complete ensemble combined with her infectious energy (and that voice!) creates a pretty hypnotizing package. She is treat to watch live, bursting into impromptu, erratic dances between verses, allowing the full bands that back her a few moments to shine. Offstage, she seems like the kind of girl you’d want to get gelato and go window shopping with.

The themes on The Chase EP span losing jobs (”Letting Go”) to the serious side of current politics (”Mr. President”) where Monae asks tough questions like, “Where’s all the money you spent?” and “Can we talk about the education of our children?” The EP’s beats are ambitious, energetic and full—a marriage of big band sound with a hint of rock—with staggered cameos from electric guitars and synths.

If Monae, along with flying cars and robotic pets, is what the future looks like, I’d say we’re in excellent shape.

Janelle Monae / Doug Fir / Friday, Aug. 22nd / 6 pm / $8 advance $10 at door

Monae’s style: