Has a relatively simple premise (McKenzie is a literal seagull, singing a songĪnd failing to play the piano because he has no hands), but which is made more “Seagull” rounds out the semi-slump, and is a song that Performance of “Foux du Fafa” takes its time with a lengthy interlude where ClementĪnd McKenzie enact an interaction between a man and a woman while using their Sonically meant to sound akin to “The Devil Went Down to Georgia.” A
The duo acknowledges this afterward,īut I have to actively fight to retain focus on the song and track where the story Satan!) is just too long at nearly ten minutes. If this song had existed inġ353, it would’ve rocked their “pointy boots” off.Īfter, or maybe because of, that high point the energy starts to lag just a bitįor a large middle chunk of the concert. Multiple roles, including the lady in question. Lady in the titular year, while McKenzie gets to really shine as he voices Clement here voices a young peasant man who is trying to woo a Premise than Clement and McKenzie usually go for, but it doesn’t feel like a “The Summer of 1353” is maybe a slightly more niche Performance the most while viewing the special, and I enjoyed it equally as Without the cool-as-ice production effects on stage.Īfter that, we get what I believe is the best song on the album. Oldie, “Inner City Pressure,” delivered with aplomb and excellent mood even This double knockout at the start of the album is followed by an (sorry, not sorry) track, with too many excellent and ridiculous one-liners to Guaranteed this song would be hilarious regardless. His voice into a macho growl, is funny enough but the lyrics would’ve The added layer of hearing Clement’sĭeeper register barely pretend to be the voice of Deanna, while McKenzie forces New track, “Iain and Deanna,” is preceded by Bret and Jemaine explaining that this time Bret wanted to voice the man, The laughs from the audience unfold with each reveal of this sad man’s life, and it’s a fun track that reminds you immediately why you enjoy Flight of the Conchords to begin with. Clement, as the father, and McKenzie, as the son, slip into their roles with ease and deliver either blissful ignorance or cautious acceptance with their familiar, wry line deliveries. The set starts incredibly strong with a new track “Father and Son” that delivers instantly on an easily understandable and digestible comedic premise (a father is having a difficult time accepting his divorce). At an hour andģ7 minutes long, it is the entire concert special in audio form for the most part, this is a good thing because Jemaine Clement and Bret McKenzie are endlesslyĬharming, but without the visual component it might be easier to digest thisĬoncert in chunks rather than as a whole. Special became available, we get the album to go along with it. Your bookish dreams, Flight of the Conchords,įinally returned with an HBO concert special. Nearly 10 years since their last album the New Zealand musical-comedy duo of
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