{"id":136,"date":"2024-11-07T15:56:07","date_gmt":"2024-11-07T15:56:07","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2024-11-7-poison-girlfriends-retro-futurism-brighton-music-hall-on-112\/"},"modified":"2024-11-07T15:56:07","modified_gmt":"2024-11-07T15:56:07","slug":"2024-11-7-poison-girlfriends-retro-futurism-brighton-music-hall-on-112","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2024-11-7-poison-girlfriends-retro-futurism-brighton-music-hall-on-112\/","title":{"rendered":"POiSON GiRL\u2605\u2605FRiEND’s Retro Futurism @ Brighton Music Hall on 11\/2"},"content":{"rendered":"
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Graphic by Sofia Giarrusso<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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by Christian Jones<\/h1>\n

I am standing two rows from the barricade and the crowd is packed tight. Indie rock opener Computerwife plays some catchy songs (\u201cLexapro\u201d and \u201cYou Make It Look So Easy\u201d), but leaves me mostly unimpressed. Their awkward and aloof stage presence reminds me of the criticisms older generations lob at Gen-Z. My ears are throbbing from the loud music and I begin to worry. Would POiSON GiRL\u2605\u2605FRiEND still be as good as her \u201890s albums? How would she perform the mostly electronic songs live? I suspend my doubt and choose to hold on to faith.<\/p>\n

Sapphire light from a projector screen washes over the crowd when a voice clicks in: \u201cC\u2019est fini mon amour\u2026\u201d The sound of a phone dialing, then going straight to ringing makes the crowd scream. As the slow breakbeat loop of \u201cFact 2\u201d comes in, nOrikO, POiSON GiRL \u2605\u2605 FRiEND herself, walks on stage. She is wearing a black and white \u201860s floral-patterned dress, black lace stockings, black leather boot-heels, and a fuzzy black bear hat\u2014pom pom ears and all. The screen behind her changes to black-and-white footage of vague Japanese cityscapes at night: neon-glowing train stations, highway overpasses, shopping malls, amusement parks. nOrikO sways to the beat while the screen behind her lingers on each space in slow motion, as if someone recorded hours of footage on their iPhone, occasionally tilting the camera diagonally. Everyone in the crowd cheers when nOrikO coos wistfully, \u201cDo you love me\u2005like you used to do? \/ I still love you more than\u205feverything.\u201d Despite being literally, physically older, she sounds just like the 1992 release of Melting Moment<\/em>, and she still exudes the same suave aura. The French New Wave background visuals, the style fit for FRUiTS Magazine<\/em>, the mix of live and trip-hop elements all coalesce into a retro-futurist aesthetic. What was once avant-garde feels now like relics of the past.<\/p>\n<\/div>\n

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Shot on iPhone by Christian Jones<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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POiSON GiRL\u2605\u2605FRiEND\u2019s set has a simple construction. Flanking nOrikO on either side stands Michiaki Kato on two different electric-acoustic guitars\u2014giving an underlying pulse to the songs\u2014and Ken Miyo (in a knitted rainbow rasta hat) on both a soundboard and an electric guitar for any feedback flourishes. The effect is an intimate animation of the otherwise pre-recorded electronic aspects of the music. That, combined with the stylishly cryptic projections behind them, and Brighton Music Hall\u2019s small size and ambient lighting, gives an added lounge-feel to their trip-hop songs. On 1994\u2019s \u201cLove is\u2026\u201d a dry handheld beat kicks in. Overtop it, echoey strings and short melodic piano staccatos wind in and out of focus until nOrikO\u2019s whispery voice chants \u201cLove is all \/ Love is here \/ Love is pain \/ Love is you \/ Love is true \/ Love is labor \/ Love is wish \/ Love is lies \/ All I need, is love.\u201d I look at the people around me in the crowd and their eyes sparkle as they sway side to side, entranced like cobras by a flute charmer. nOrikO crouches into a squat for 2014\u2019s \u201cLight My Fire,\u201d a cover of The Doors\u2019 famous song of the same name. Although, POiSON GiRL\u2605\u2605FRiEND\u2019s version is like a bossa nova lullaby with the occasional rush of extremely-controlled feedback courtesy of Miyo.<\/p>\n<\/div>\n

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Shot on iPhone by Christian Jones<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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Halfway through the set, nOrikO goes full animatronic mode for 1994\u2019s \u201cSlave to the Computer.\u201d She stiffens her arms and ambulates mechanically across the stage like she is straight out of Styx\u2019s \u201cMr. Roboto\u201d music video<\/span><\/a>. The crowd is going wild at her performance, and nOrikO is repeating in a tin voice \u201cWe love computer \/ Technology \/ We are the slaves \/ To techno.\u201d We are<\/em> slaves to our technology now\u2014it\u2019s a thought that would normally be depressing if it weren\u2019t for her comically exaggerated delivery. On her next song, her latest single, 2024\u2019s \u201cThe October Country,\u201d nOrikO pulls out a copy of Ray Bradbury\u2019s book of the same name that inspired her. She holds it up and pretends to read out of it while singing the lyrics, \u201cWhy did you love me? \/ Why did you leave me? \/ Why did we even feel\u2026alone tonight?\u201d It is my first time hearing the new song and it proves that the core of her sound is still intact after 30 years since her debut. The lyrics lament lost love, the breakbeat and guitar fuse in an arrangement that feels stylish and vintage, like it could be found in some (milk)crate during the peak of the 1990s Shibuya-Kei music scene.<\/p>\n<\/div>\n

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Shot on iPhone by Christian Jones<\/p>\n<\/div>\n<\/figcaption><\/figure>\n<\/p><\/div>\n

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POiSON GiRL\u2605\u2605FRiEND\u2019s core set rightfully concludes with her most popular song, 1992\u2019s \u201cHardly Ever Smile (Without You).\u201d The people standing by me jump up and down in excitement and I hear someone literally shout \u201cThis is the best song ever!\u201d As the gorgeous strings swell up, and a golden-orange light bathes me, I can only agree. When nOrikO whispers \u201cI hardly ever smile without you,\u201d and holds her hand out to us, it feels like she means it. After a solid wall of applause, the three of them come back on stage to play 1992\u2019s \u201cQuoi,\u201d a chic, sensual Franglish track\u2014here the background screen changes to Cl\u00e9o de 5 \u00e0 7<\/em>-esque shots of nOrikO walking through an urban landscape in heels. Then comes 1994\u2019s \u201cSecret Track,\u201d with its glitchy opening, sparse guitar part, and breathy, pleading lyrics. They end the concert with a cover of Elvis\u2019 \u201cCan\u2019t Help Falling In Love.\u201d Despite it not being my favorite song in the world, I am on a high, and the spare instrumental accompaniment to nOrikO\u2019s gentle balladeering is touching.<\/p>\n

nOrikO gives the audience a profuse yet demure thanks before insisting on a group selfie. Everyone crowds together, putting up peace signs and cheesing. We walk out with a glow.\u2605 <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

The French New Wave background visuals, the style fit for FRUiTS Magazine<\/em>, the mix of live and trip-hop elements all coalesce into a retro-futurist aesthetic. What was once avant-garde feels now like relics of the past.<\/p>\n","protected":false},"author":1,"featured_media":137,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[22],"class_list":["post-136","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-concert-review"],"yoast_head":"\nPOiSON GiRL\u2605\u2605FRiEND's Retro Futurism @ Brighton Music Hall on 11\/2 - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"POiSON GiRL\u2605\u2605FRiEND's Retro Futurism @ Brighton Music Hall on 11\/2 - wecb\" \/>\n<meta property=\"og:description\" content=\"The French New Wave background visuals, the style fit for FRUiTS Magazine, the mix of live and trip-hop elements all coalesce into a retro-futurist aesthetic. 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