The Fix

It’s not as unlikely as it ought to be: the #3 slot on the Billboard album charts–dominated in recent months by Disney soundtracks and NOW That’s What I Call Music collections–is held by a scraggly, upbeat, politely humorous folk duo from New Zealand. It’s the same duo who was virtually unknown on American soil this time last year, and who, six months ago, was potentially looking at an abrupt end to its cult cable television series. Yet here are recent Grammy winners Flight of the Conchords, the comedy duo of Bret McKenzie and Jemaine Clement, celebrating the first of two sold-out nights at NYC’s legendary Town Hall.

The popularity of the Conchords really isn’t all too difficult to map. Playing hapless, itinerant musicians under their real names, the two engage in a celebration of deadpan responses to both comic mismanagement and small, accidental joys; a staged uncertainty in the shadows of the all-too-real uncertainty that current American culture faces with each passing day. Yet they still find it within them to be able to break into songs that channel Prince, Beck, the Pet Shop Boys and Serge Gainsbourg, and which reflect their art, their passion, and their problems. Occasionally these songs allow them to break character from the hapless goofs they portray, and it’s in these moments that they make the deepest connections with their audience. The fact that they’re attractive, successful guys riding a growing tide of mass acceptance doesn’t hurt, either. They’re becoming the most successful musical comedy act since the Smothers Brothers, operating at a level of success they’ve earned, seemingly, by validating our concerns through outsized reappraisals.

Television (and to a more likely extent, the Internet) is how U.S. audiences first caught wind of Flight of the Conchords. Most of the songs from their HBO series have been released, sans backstory, on a self-titled album released recently on Sub Pop, an unexpected success that represents the highest chart appearance of a comedy album since Steve Martin’s A Wild and Crazy Guy hit #2 upon its release thirty years ago. Stripped of the series’ backstory, it’s merely a collection of mild, pleasant, quirky folk-pop, but one which has struck a chord with a growing audience, as evidenced by the 1400 people who turned out for the show, who were so eager to see the two onstage they would have offered up a standing ovation had McKenzie dropped his guitar pick.

Favoring an ascetic stage set of two chairs, a couple of acoustic guitars, small synthesizers, and a few mics, the duo skillfully worked their way through almost 90 minutes of material, padding out a near-complete performance of their repertoire with prepared anecdotes, banter with the boisterous, fratty crowd, and a handful of new songs. The mannered veneer of early between-song jokes soon wore off as shouts of “I LOVE YOU BRET!” and “I LOVE YOU JERMAINE!” rang out at every possible moment. These, of course, led to requests, and predictably to “Freebird,” which Clement acknowledged the only way he could: an amateur attempt at playing the Lynyrd Skynyrd chestnut, over and over again throughout the set, just stopping short of humiliating the genius who shouted it out. Displays like those were perhaps the most refreshing aspect of their performance, the gradual unveiling of duo’s real-life personalities rising out of their meek, unassuming counterparts on television, as it bluntly sold the growing divide between their comic virtuosity and prepared material. This behavior struck me as somewhat refreshing–and struck home the point that we might have been seeing a live performance not long for the medium; a prickly temperament that, by set’s end, framed an act that’s beginning to reveal a potential dissatisfaction with its public image.

Who would ever think these two goofy dudes from New Zealand would top the charts? Well, on April 27, Flight of the Conchords (née Jemaine Clement and Bret McKenzie) beat out Mariah Carey and were in fact, number one on iTunes.

Fans of the show should remember that the duo (who call themselves “formerly New Zealand’s fourth most popular guitar-based digi-bongo a cappella-rap-funk-comedy folk duo”) also won a Grammy: This Distant Future (Sub Pop) won the award for Best Comedy Album.

Newer fans and die-hards have a rare chance to see the duo live, as they tour to support their latest self-titled album, also out on Sub Pop. And if you’re among the uninitiated, check out the video below.

For more info: http://www.conchords.co.nz

Flight of the Conchords - 2008 Tour Dates:

May 5 - Tower Theater, Upper Darby PA
May 6 - Town Hall Theater, New York NY
May 7 - Town Hall Theater, New York NY
May 9 - Lisner Auditorium, Washington D.C.
May 10 - Michigan Theater, Ann Arbor MI
May 11 - Riverside Theater, Milwaukee WI
May 13 - Orpheum Theatre (Mpls), Minneapolis MN
May 14 - Chicago Theatre, Chicago IL
May 15 - Ellie Caulkins Opera House, Denver CO
May 26 - Sasquatch! Festival, George WA
May 27 - Nob Hill Masonic Center, San Francisco CA
May 30 - Orpheum Theater, Los Angeles CA

Don’t have time to search out this week’s essential MP3s, streams and viral videos? That’s why we’re here.

Radiohead: “All I Need (Live at the BBC)”
The best track from In Rainbows gets a faithful makeover in front of a reverent BBC audience. But listen closely and you can quietly hear Thom Yorke baring his soul on the lyric, “I’m an animal/ Trapped in your hot car.”
(via Six Eyes Media)

Dizzee Rascal “Sirens (Acid Girls Can Hear It Too Remix)”
As if this British rapper’s thick-accented rhymes weren’t mind-blowing enough, someone has gone and turned this song into full-tilt old school rave anthem. Anybody have a glo-stick we can borrow?
(via Online Home)


Flight of the Conchords “Business Time”
The funniest HBO singing comedy duo since Tenacious D delivers the least sexy slow-jam ever, plucked from its forthcoming Sub Pop album. We so want to hear R. Kelly cover this.
(via Julio Enriquez)


The Kooks “Always Where I Need”
The only flop-haired U.K. band worth keeping around, The Kooks return with another deceptively scrappy rock tune featuring chugging guitars and a shout-it-from-the-rooftops chorus.
(via Done Waiting)


Cut Copy “Lights and Music”
With its dizzying beats and driving bassline, this New Order-ish track is capable of transporting you to a booming nightclub without ever having to leave your couch. What are you going to do with the 15 bucks you just saved?
(via Sean Ryan Online)


Hayes Carll “I Got a Gig”
While Ryan Adams busies himself trying to win his model ex-girlfriend back with sniveling blog posts, the rest of the world can move on this Texan songwriter whose Townes Van Zandt style of barroom rock sounds so authentic it’s kind of freaking us out.
(via Left Over Cheese)


Tina Dico “On the Run”
The occasional Zero 7 collaborator and full-time Danish pop star breaks out of her down-tempo shell, convincingly rocking out on this burly new track from her latest solo album, Count To Ten.
(via box.net)