Last of the International Playboys

MUSIC

Morrissey at Avalon

Feb. 19-20

Morrissey at Avalon

Feb. 19-20

Last of the International Playboys

By ANNIE K. ZALESKI

CRIMSON STAFF WRITER

After seeing Morrissey perform to a sold-out show at Avalon Sunday night, a subversive and frightening thought occurred to me. The man who reigned supreme in England in the 1980s with his band The Smiths has much in common with America's First Hotties Of Pop, the Backstreet Boys.

"Sacrilege!" you might cry, to compare the two. However, the parallels are undeniable. Both Morrissey and the Backstreet Boys possess boyish charm and good looks that are distinctly sexual while not being overly threatening or macho. And while the Boys attract hordes of screaming crowds and attempted groping wherever they go, the situation on Lansdowne St. was not much different. When the doors to the show opened, there was an immediate mad crush of people clamoring to be in the front of the stage so that they might be able to grasp a touch of Morrissey's hand.

In fact, the fans of the Backstreet Boys and Morrissey are contained in the same demographic--lonely teenage girls, gay men and those looking to relive their youth through music. Moreover, the sorrow and disappointment felt by Morrissey's fans when The Smiths disbanded and Morrissey went solo in a twisted way rivals the anguish experienced by many a teenage girl just last week with the announced engagement of Backstreeters Brian and Kevin.

And most importantly, in the eyes of their fans, both the Boys and Morrissey can truly do no wrong. But while that god-like status could lead to complacency on the artist's part, Morrissey proved even to a neutral observer that without a record label or new album to promote, he still has the magnetism lacking in many bands today. Always the showman, he appeared onstage looking like a fetish version of Elvis in a black PVC outfit and launched into "A Swallow On My Neck." The lesser-known song started the show on a weaker note, but Morrissey's jovial mood and his backing band's incredibly tight, focused musicality only created momentum.

Indeed, at times the proceedings had a Las Vegas-style atmosphere, thanks mostly to Morrissey's commanding presence, the stage-crashers and the overwhelming amount of flowers, books and letters thrown onstage. Morrissey is a seasoned performer and uses his charms and talent to capture attention. But while he's not much of a dancer, Cher-esque costume changes (three of them!), shirt stripping, coy looks and witty banter (including clever jibes at Jerry Springer and Montel Williams) more than captivated the crowd.

However, the strong performances by Morrissey and his backing band confirmed that he's not just passing off his charms and looks as musical talent. Classic Morrissey tracks like the powerful "Tomorrow," "Hairdresser On Fire" and "The Teachers Are Afraid of the Pupils" were nicely contrasted by songs representing his mellower side, such as "I Am Hated For Loving," "Now My Heart Is Full" and "I Can Have Both." He even played five songs from his wayward Smiths days, including the blistering red-light burn of "Meat Is Murder" and the soft melancholy of "Half A Person." In fact, the highlight of the night was the show-stopping finale of "Shoplifters Of The World Unite," which nearly brought the roof down with its frenzied crazes of energy.

Despite the often melancholy edge to his music and lyrics, I left the show with a contented feeling in my soul and a giant smile on my face. With the utter waste land of music present today, it's nice to know we still have Morrissey stubbornly performing however he pleases and doing a damn good job of it. Yes, I can confidently say I want it that way.