Aimee Mann bathed her audience in melancholic tides of music at yesterday's concert held at UB's CFA. Since her leadership in the mid-80's pop-alt band 'Til Tuesday, Mann has embarked on a much more organic sounding solo career with her 1993 debut album "Whatever."
Based on last night's showing, banal ballads seem to be the opiate for middle-aged masses. Mann joked about her own turnout in comparison to Liz Phair's performance at the CFA on Oct 20, 2005.
"My manager called and said that this place was big and that it would only be one-third of the way full" Mann said, "but not to feel bad because Liz Phair didn't sell that much when she came."
Chuck Prophet warmed things up with some synthetic blues accompanied by a problematic drum machine.
While announcing his song "I Bow Down and Pray to Every Woman I See," Prophet decided to dedicate it to all the women who suffer from pre-mature ejaculation.
"Because, gentlemen, it's ultimately the women who suffer," he said.
Prophet, seeing as to how he has become bitter in his old age, ironically jabbed at college students.
"Seeing as to how this is a college campus, and an institution of higher learning," he said, "this next song poses the most difficult metaphysical question presented to man."
Which is when he began to play, "Who Put the Bomp in the Bomp Shooby Do Bomp?," a song off of his album Made for Miracles.
After Prophet, Mann stormed the stage with her bassist, keyboardist, and Macintosh computer. She mainly tried to promote her most recent album The Forgotten Arm. She helped to narrate her new concept album throughout the show as she strummed along with songs "Going Through the Motions," and "Goodbye Caroline."
Mann also played "Save Me," from the "Magnolia" soundtrack. She lamented this song for having lost an Oscar to Phil Collins' "I Wanna Be Like You (The Monkey Song)."
"I couldn't be more proud," Mann said.
Her serene and sturdy voice is reminiscent of Fiona Apple, but her compositions are not nearly as dynamic. Mann's mild music makes her far more presentable. Her melodies can transition from an intimate spot in the bedroom to a dreaded car-ride with the in-laws.
Mann may be poignant, but she also knows how to have fun. For one of her final songs, "Frankenstein" (I'm With Stupid), she called up three armatures to construct a m?(c)nage ?Ae trois of percussion.
Mann's music is more personable than many of today's independent female artists because she doesn't strive to stupefy or shock her audience. Her simplistic chord progression is reassuring, but if in fact the listener craves complication, Mann's lyrics deliver a wealth of thought.
"Oh, experience is cheap/If that's the company you keep/But I'll never get that disease/'cause I've had it," sang Mann.
Although her cunning lyrics may reveal Mann's rebellious nature, the bulk of her risk-taking takes place behind the scenes. Mann's true gallantry becomes apparent in her commitment to independent production. "Nothing is Good Enough," a song found on her 2000 release "Bachelor No. 2," is Mann's depiction of the music industries' manipulation of an artist's music.
"I find it impressive that Mann has preserved through the many pitfalls of the music industry and maintained her identity," said Harrison Drapo, sophomore history student.
Mann has avoided contorting her music for the industry even if it means making less profitable records. Along with Michael Penn and manager Michael Hausman, Mann formed United Musicians during the independent release of "Bachelor No. 2." United Musicians allows artists to retain copyright ownership while also aiding in circulation and exposure.
Such displays of inner strength also become apparent through her music. Mann's voice may be silky but her lyrics remain thorny, giving the audience an excuse to revel in her cleverness.
"I feel that her lyrics have a tendency to evoke emotion," said Harrison, "you get lost in her lyrics without realizing it."
Photo: Courtesy of Matthew Messina, from the RMBERS' Instagram page
