Antony and the Johnsons @ Pantages Theatre

Initially, I was a bit dismayed when I found out that Antony and the Johnsons would be playing the Pantages Theater on Valentine’s Day. His music has an underlying melancholy and heartache to it that I wasn’t sure would fit well with America’s most saccharine of holidays. But the show turned out to be the perfect antidote to all that sugary artificial sentiment, for Antony’s performance was about as real as they come, and was one of the most stripped down, vulnerable performances I’ve seen in recent memory.

Taking his place on the bench of the grand piano where he would stay the entire show, Antony and his backing band of six musicians came out to a warm ovation from the near capacity crowd at the Pantages. The musicians (or Johnsons, if you will) consisted of a drummer, bassist, cellist, and three others that swapped instruments throughout the entire show, switching from violin to acoustic and electric guitars, oboe, and saxophone during the course of the set. The orchestra provided stellar support to Antony, whose delicate and understated piano playing often guided the song forward at the onset, but never really became the focus of the arrangements. That focus was placed squarely on Antony’s beguiling falsetto, which carried the night to its exalted heights and kept me awestruck and captivated all evening long. His voice does take some getting used to, being part cabaret/part operatic, but it’s filled with a level of emotion and honesty that isn’t found in most modern music, and imbues his music with a haunting, impassioned lucidity that is rare in any art form these days.

The stage remained shrouded in darkness throughout the performance (explaining the lack of quality in my photos), with the lighting and backdrop done up in understated white tones. Antony eased into the evening with “Where Is My Power,” a b-side to the “Epilepsy Is Dancing” single, taken from Antony’s brilliant new record The Crying Light. Things got a bit more solemn with the touching, eloquent “Her Eyes Are Underneath The Ground,” whose lyrics “In the garden with my mother I stole a flower” took on added significance by the fact that Antony’s mother, father and brother were all in attendance. He alluded to his time spent in Minneapolis by telling a story about walking by First Avenue earlier in the day, realizing the last time he’d been there was when his father took him to see Nina Hagen. He was too young at the time, so his dad had to get him in. Antony laughed when he said his father only stayed for a couple songs. “Epilepsy Is Dancing” was next, and it was a soaring tour de force. It’s truly an epic, heartbreaking track that escalated nicely to a dramatic, stunning finish. “One Dove” gave the band a chance to show off their chops a bit, with a stirring oboe solo that added a gorgeous layer to the song. The show really didn’t have any low points, other than very slight pacing problems, for the song selection was perfect throughout the set, and all the tracks were performed with an elegance and candor that isn’t often found in the music industry these days.

Other standouts from the superb set include “For Today I Am A Boy,” “Another World” and a version of “You Are My Sister” that brought forth audible gasps amongst the crowd around me. It was as moving and passionate as music can be, a touching ode to the dreams of loved ones getting realized, again made even more enthralling knowing that his family was in the crowd. “Twilight” followed, and was simply stunning, made even more so by the accompaniment of the orchestra, who guided the song to its tender finish along with Antony’s skillful piano work.

The night did have some lighter moments, like the bands playful cover of Beyonce’s “Crazy In Love,” that started out simple and sounded quite improvised, but took on added weight as Antony breathed new life into the lyrics and the band provided a steady accompaniment while Antony lost himself in the song. And, when that song was quickly followed by a soulful rendering of “Fist Full Of Love,” the pairing of seeing Antony on Valentine’s Day started making perfect sense. His songs are indeed filled with love, after all, either searching for it or remembering love lost. Either way, it was more of a tender, joyous affair than I was expecting, even with Antony struggling to find words after someone in the crowd wished him a happy Valentine’s Day. He sat silent at the piano bench, explaining how he didn’t have anything special planned, trying to find words to signify the day, and just couldn’t. Later in the show, he encouraged all of us to YouTube the “Hamster at the Piano” video, that the video would be his Valentine’s Day gift to us. Which is silly, in the end, since sharing his music with us was always going to be the best gift of them all.

After a rousing, electrified version of “Aeon” closed out the main set, Antony and his band left the stage to a standing ovation from the adoring and respectful audience, who were stone silent during most of the set, except when Antony invited us to have a conversation with him after he came out for the encore (which never seems to work out well in any show, and didn’t on this evening). Antony rambled on a bit about spoonfuls of peanut butter, and joked about how he had a few lately and was hoping that one of them would be “the magic spoonful that would send him to his grave.” But he was honestly horrified to find out that three people had died in Minnesota from salmonella poisoning linked to peanut butter, and begged our forgiveness for his insensitivity. It was a minor diversion before the encore began with a wonderful version of “Cripple and the Starfish” that again showed the talent and dexterity of the orchestra, who gave the song a mournful edge with their delicate accompaniment. The show finished the only way it could, with a jaw-dropping version of “Hope There’s Someone” that enraptured all in attendance with its stark, plaintive lyrics and Antony’s vulnerable, unadorned plea for someone to be there when he needs them most. It was absolutely beautiful. And everyone that gave the band another standing ovation as they left the stage seemed to agree.

So, spending Valentine’s Day with Antony and the Johnsons wasn’t such an odd pairing after all, with Antony’s honest, heartfelt lyrics playing the perfect foil to all the insincere sentiment being sold to us everywhere we turn. The performance was as sincere and genuine as any I’ve seen recently, and was far and away my favorite show of the young year.

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Also: Antony and the Johnsons “The Crying Light” Review