Jokes about whales using cell phones, songs performed in cardboard robot costumes and minute-long theatric fades to end songs are what make the Flight of the Conchords more than just a musical act.
Renowned for their self-titled HBO series, FOtC is composed of New Zealanders Bret McKenzie and Jemaine Clement. When the two Kiwis took the stage at the Overture Center Sunday night following comedian Eugene Mirman, the atmosphere did not change gears at all. Their entrance made it clear they were here to entertain, as they sang ""Too Many Dicks on the Dancefloor"" while robotically walking out in silver jumpsuits and silver cardboard helmets with antennas. Then, before you have a chance to question why they performed that song as non-gendered robots, they frantically took off their costumes under the dimmed lights, adding a punchline where normal bands take a second to regroup.
They are comedians as well as musicians, which is what keeps their shows constantly entertaining. And they truly hit their stride when combining the two.
The most impressive example of this was Bret's freestyle flow in ""Mutha'uckas."" This rhythmically challenging lyrical banter was stellar before it eventually became a satire on edited rap songs consisting of gaps, grunts and yelling out the names of different fruits.
""Albi the Racist Dragon"" highlighted the storytelling strength the duo possesses. This story carries the moral lessons and literary mechanisms found in ""How the Grinch Stole Christmas,"" only they put their own modern stamp on it, leaving the audience roaring with laughter as they resolve the main character's racism with their patented awkwardness.
Then they seamlessly flow into a couple minutes of comedy between songs, and soon you're following their dialogues and stories both within and outside of their songs. It soon becomes clear that Bret and Jemaine are as much a two-man show as they are a musical act. They even have extended interactions with the audience. When asked to take off his cardigan, Jemaine acquiesced, while relating a band rule to listen to any commands from the audience. Following this rule, they responded instantaneously to a ""Freebird"" request as if they were waiting for it, however, they did draw the line when Bret was asked to take his pants off, but the decision was not made without thorough deliberation.
The closing number was grand in both its opening dialogue and its musical flamboyance. What seemed to be a simple opening anecdote about an acid trip slowly became a lengthy story. Bret recalled a ""Back to the Future"" plotline where he had jammed with David Bowie using a ""Bowie Made Easy"" guitar book to give Bowie his own song ideas from the future. And Jemaine ended up crying in a bathroom with one Tina Turner from the future and one from the past. It was a great story.
Eventually they broke into an epic, extended version of ""Bowie,"" with bonus Bowie-esque interludes of jamming. And the punchline of the song came when the duo feigned correspondence with Bowie through his nipple antennae.
This number stands as a microcosm of their act. They can warm up audiences with their comedy bits before each song. Then they rock out to awkward lyrics that maintain their dry sense of humor. Finally, they combine the two elements to create a running joke throughout each song. A unique combination of talents that lend them a description even more incredible than their talents: A comedy act containing such talented musicians and songwriters, they work their routine through their instruments, and it works every time.
