Arts » Week in Review

From Freaky Weird to Fluid Movement

The Week in Review

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Nick Jr.'s Yo Gabba Gabba might be a kids' TV show, but it packs its program with plenty of cameos to keep things interesting for grown-ups. Boise Weekly's Josh Gross hit up Yo Gabba Gabba's colorful live show at the Morrison Center Feb. 26 to hobnob with some of his musical heroes.

"Mike Park, frontman for Skankin' Pickle and founder of Asian Man Records, played saxophone and sang about jumping. Rap legend Biz Markie escaped the video screen to teach kids who couldn't possibly understand his relevance to hip-hop how to beatbox. Bubbles and confetti cannons fired into the air," observed Gross. "Were Salvador Dali alive, he would have said, 'Damn, yo, now that was some freaky-weird shit.'"

Speaking of freaky-weird shit, Gross swung by the Knitting Factory Feb. 27 to check out Reverend Horton Heat, but his attention was kidnapped by potty-punk openers Guttermouth.

"Frontman Mark Adkins was in truly rare form, something he attributed to starting drinking at approximately 9 a.m.," wrote Gross. "Many of the words Adkins uttered were mush-mouthed and mangled, if they were words at all. He spent half of a song wandering around in a circle before realizing his microphone wasn't even plugged in. ... By the end of the show, Adkins had torn the shirts off the backs of his entire band and distracted them from their instruments with a variety of titty twisters."

Things were notably more low-key at Neurolux Feb. 28, during a set by Athens, Ga., instrumental band Maserati.

"Maserati's isn't dance music. It's not even driving-really-fast music. It's the music that plays in your head when you're running long-distance down an empty road. Long musical statements--muscular, repetitive, strummed guitar lines and vigorous drums--were hung on a skeleton of bass notes and looped guitar," wrote BW's Harrison Berry.

Moving from music to movement, BW freelancer Jeremiah Robert Wierenga made his way to the Morrison Center March 2 for a performance by Pilobolus Dance Theater.

"A distinctly black box vibe permeated the theater--an attempt to break down the distance between the performance and the viewers," noted Wierenga. "It was a surprising moment of openness that continued throughout the evening."

Though Wierenga said Pilobolus has leaned more on commercial appeal in recent years, he added that Boise's standing ovation demonstrated "a great appreciation for the company's accessibility and dedication."

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