Francis and the Lights + Oh Land - Roseland Theater (Portland, OR; Apr. 12, 2011)

I am in Peter’s Room - the Roseland‘s more intimate performance space - and it’s far too bright for the type of loungey pop music played by Francis and the Lights. With the glare beating down on him, front man Francis Farewell Starlite may actually need the big sunglasses he’s wearing. Mr. Starlite and his backing band begin with “It’ll Be Better,” and he shimmies reservedly along with his feet planted firmly together. The trend of limited movement continues during “WYN” and “Lime,” and he refuses to take advantage of the expansive stage area. By the time “Knees to the Floor” begins, I fear this will be a dull evening without much in the way of visual entertainment. Midway through this song, though, he dashes my theory and starts spinning in a frantic circle as if someone has slipped him a shot of espresso. Starlite removes the shades to reveal his small, red-ringed eyes, and dives full-force into fancy footwork. I stand corrected – this man has been concealing some incredible dance moves. He is suddenly lively and nearly moonwalking in front of us.

As his set continues, the air becomes thick with such lust that I half expect the ladies crowding the floor to begin throwing their panties at the stage. Starlite’s high-pitched falsetto comes alive. “Raise your hands,” he commands us, and we gladly oblige. “You’re a beautiful girl,” he sings in the next song, “but you’ve got to call me ‘Starlite’ now.” As you wish, Mr. Starlite. There is a strong emotional undertone to his delivery, but he peppers it with dripping sensuality. His voice is warm maple syrup coating the walls. Starlite asks for lower lighting as “Strawberries” begins, but his request is ignored. In the middle of “For Days,” he abruptly darts off stage for a few moments – long enough for a fellow concertgoer to wonder out loud as to his whereabouts – before racing back to the mic. Starlite makes striking gestures in perfect time with the thwack of the drums, and concludes his performance on his knees, thrusting his pelvis at the ceiling.

A new song leads the encore, and is followed by “Darling, It’s Alright.” Starlite dances wildly from one side of the stage to the other, and stops abruptly to snap his fingers like a modern-day beatnik. He and his band leave the room once more, but are coaxed back out for a second encore by the eager crowd. Starlite and his accompanying keyboardist, drummer, and guitarist have been a true treat to watch. It’s a shame there weren’t more audience members to witness this event, but a forthcoming Coachella appearance will indubitably cement Francis and the Lights’ position in the public consciousness. The band finishes with “Night Watchman” and disappears from view. Enriched by his performance, I find myself longing for a fireplace and the clichéd bearskin rug from a trashy romance novel.

Earlier in the evening, there are criminally few people scattered throughout the room as Oh Land approaches the microphone. She’s cloaked in a kimono/poncho hybrid, and much of her face is coated in glitter. Resembling an elementary school art teacher, she begins “Wolf & I.” Initially, Oh Land sounds like a one-woman gospel choir before her accompanying percussionist joins in. She moves to a nearby drum machine to punch out the tones of synthesized steel drums. Her voice is sweet and richly textured on “Break the Chain,” with hints of her subtle Danish accent peeking through.

For the duration of her set, a cluster of large white balloons floats behind Oh Land’s head. These latex orbs are soon aglow with identical projected images of a woman’s face. The images then come alive, and somehow start singing the harmonies along with Oh Land. After several more songs, the faces reappear on the balloons, and the room is oddly reminiscent of what I imagine Studio 54 was like on a sparsely populated Tuesday evening. Her percussionist thumps out beats as Oh Land, a former dancer, jerks and poses her body in time. One of her two microphones adds a slight robotic element to her powerful voice. The final song, “We Don’t Care What You Say,” is by far her strongest, with complex melodies and vibrant, wide-mouthed delivery. The audience, slightly fuller by the end of her set, claps along. As the balloon display flashes her name, Oh Land bows to the audience and departs. 

DOWNLOAD: Francis and the Lights - Night Watchman (MP3) or Follow us for more Francis and the Lights MP3s (Twitter)

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