GUEST ROOM | It’s Different (Worse) for Girls

There’s something almost incestuous about the way song titles are reduced, reused and recycled. When Lupe Fiasco sings about a rapper who is coping with his newly acquired fame and The Carpenters sing about a groupie who falls in unrequited love with a musician, and both of these tunes are called “Superstar,” it throws you off kilter. And yet, “Superstar” as a song title is far from the most hackneyed option. The corresponding Wikipedia page lists over 200 songs entitled “Hold On” featuring a sundry of artists, from the Jonas Brothers to Alabama Shakes to The Beekeepers. “Changes,” “Beautiful,” “Breathe” and — of course — “Love” are used just as often.

Of Montreal: A Bizarre Celebration at the Haunt

Pre-concert, I’d have described myself as having a casual familiarity with Of Montreal’s music: I’ve listened to a couple of their albums once or twice, and there are a few songs I listen to more frequently. But seeing them live on Tuesday at The Haunt piqued my interest in the band to a whole new level: their show was just as much a theatrical performance and psychedelic experience as a concert, adding a whole new layer to my perception of them as artists. The night started with opener Surface to Air Missive, a Tallahassee-based southern rock band whose sound was pleasant and uplifting. Their crystal clear, sunshiney riffs and high vocals created a very 70s-era sound reminiscent of the Allman Brothers and the Byrds. Their collective appearance as a band was a just-rolled-out-of-bed-in-my-polo look — a casual simplicity which created all the more of a contrast once Of Montreal took the stage.