By Jeff Walsh
Mika's recent show at the Fox Theater in Oakland, supporting his new album "The Boy Who Knew Too Much," started on the wrong foot. Well, more accurately, Mika ended his show in Los Angeles the night before on the wrong foot, which had him a bit hobbled in Oakland, where he spent a lot of time on one leg, and using a flourescent-enhanced crutch to stay off his left foot. I've seen enough injured performers on concert already (lead singer of The Kaiser chiefs jumping around in a leg cast, and Pink recently avoided her aerial work due to a shoulder injury) to not think twice about it, but for some reason, it sort of deflated my experience of a Mika concert.
Mika concerts are parties. The music is upbeat. The crowd is ready to dance. And the glue holding it all together is Mika, who sets the tone.
So, watching Mika try his hardest to dance around, with his injured leg actually buckling out from under him at times, it sort of set me off. He was doing his best to make sure we were having fun, but you see that he was pushing himself into that role, as opposed to previous shows where it was completely effortless and natural. It just wasn't fun watching someone in pain trying to create a huge party vibe.
Interestingly, if you closed your eyes, it was a normal Mika show. His leg didn't affect his voice or energy in that regard, and his vocals and band were great.
By Jeff Walsh
Mika stormed through San Francisco again on Tuesday night, toward the tail end of his ongoing tour supporting his amazing first album, "Life in Cartoon Motion." This was his second time in our fair city, and I was also at his first go-round at The Fillmore back in June.
As you would expect, the show was completely sold out and, as you'd also expect, the set list included his entire debut album, as well as a few new songs and his seemingly obligatory Eurythmics cover. Last time he was here, he played Sweet Dream (Are Made of This), but we got "Missionary Man" this time around.
By Jeff Walsh
Live in Cartoon Motion is a perfect document of Mika's quick rise to fame. In a world of YouTube celebrities, gossip playing a bigger role than talent, and further examples of ADD culture, Mika actually made his name with infectious tunes, a fun live show, and of course, playing the "is he or isn't he?" game with the gay press. (I think the prancing around onstage and sheer bombast of his songs answers the question.)
The DVD features a live concert taped in Paris, an hour-long documentary as Mika travels through Europe, all of the music videos off his first album, and three songs performed acoustic. Seeing that he only has one album to his credit, the Paris show is pretty similar to the show I saw in San Francisco, building up to "Grace Kelly" and closing with the naughty-sounding bubblegum pop of "Lollipop." The concert is almost as much fun on DVD as it was in person. He really throws himself into the songs and projects such amazing, fun energy onstage.
Seeing as Mika was sick and having throat problems while they were filming the documentary, presumably for the Paris show, and when I saw him in San Francisco, it really makes me wonder how good his concert would be if he were feeling well. If this is him on a bad day, it certainly makes you wonder.
She tells me she loves me every day, multiple times. We fight only because I start it. But I've always been that way. There are nights where I think I might die from loving her too much. Because anybody else's name on her lips breaks my hearts. We once made a million promises and created our dreams on the silly hopes of 15 year old kids. We're gunna get there someday.
By Jeff Walsh
"Life in Cartoon Motion," the debut album by Mika (released today in the UK, March 27 in the US), is the most assured, infectious first album to come out in quite some time. It is pure pop brilliance.
From the opening strains of "Grace Kelly" to the album's coda of "Happy Ending," Mika takes listeners on an aural journey through many styles of music. But each one is done with such authority, it never has the fractured OCD feel that plagues many albums that switch between many different musical styles.
"Grace Kelly" is the first track of the album, written as a kiss-off to music executives who wanted him to change his sound. The chorus of the song touches on his identity quest