Live Look: Miguel @ Fox Theater
Oakland, CA, 12/13/17
I watched transfixed, a transformative experience.
The onset of the former came the moment the show started. Standing halfway between 5 and 6 feet, the sheer presence of Miguel Jontel Pimentel seemed to add inches to his stature as he sauntered toward a mic completely enveloped in white tassels. He was wearing a simple black crew with War & Leisure album art, army vest, combat boots, black chinos, gold chain, and a smile as large as his ego.
While there is thematic duality preserved in the title of his latest release — sacrifice (war) and recreation (leisure) — it was clear that tonight, euphoria had won the battle over stoicism. Tonight was the first of two successive stops preceding the official War & Leisure Tour, which will commence following an extended holiday hiatus through February with a collection of 34 performances scattered across the US and Canada over 49 days. More importantly, tonight was a familiar yet new experience for a hyper-social artist eager to create as many intimate connections as his platform and personality can produce.
So yes, when the opening track to War & Leisure, “Criminal”, began and reverberated throughout the Oakland institution and Miguel crooned, “I just want someone that I can trust / Baby, is that you — is that us?”, I was transfixed. It didn’t matter whether you imbibed or chose your default state — Miguel was a mystic guide on a dopamine and serotonin infused journey away from reality. If you were there that night, you were along for the ride.
Miguel is no stranger to releasing endorphins and the tools that make that process easier. His songs are accompanied with drug references, some overt, others cryptic in nature. It is clear he is an enthusiast, re: “Do You…” from Kaleidoscope Dream. His music leads me to believe that this outlook has been shaped by life experiences that have contributed to a broader understanding of self and the others orbiting this nucleus. Following “Criminal”, he tells us it “is our party tonight” and unprovoked, lets us know, “Lately, I’ve been real keen on taking it easy and smoking a little weed.” With his unwavering optimism and innate ability to woo, I imagine he has had success reaping the pleasure from drugs and curbing their drawbacks. Regardless, he seems to understand that magic is not derived from the substances themselves, but rather, the deep feelings of happiness, interconnectedness, and love associated.
Throughout the show, he weaves the old and new together. A particular highlight comes 30 minutes in when he plays “Pineapple Skies” and transitions to “Do You…”.
With the night’s focus on the leisure of War and Leisure, “Pineapple Skies” was Miguel’s time to shine. We see palpable excitement and increased vigor as he introduces the anthem saying, “We get in our heads too much sometimes — we just gotta let shit go!” Simple and succinct, the statement resonates well, especially so supported by a song that repetitively counsels that “Everything gon’ be alright”. In this moment, Miguel is entirely in the driver’s seat, playing tracks that speak directly to the listener’s neurotransmitter receptors and provide instant gratification. With a grin, he nonchalantly asks us the question that serves as the start to the next song. Looking around the sold-out theater, my eyes drifting from the surrounding GA floor-level up to the reserved balcony seating, I saw an audience of 2,800 in a hypnotic state. We had been seduced.
Upon reaching this peak, Miguel began to experiment. A significant miss was a repurposed “How Many Drinks” with instrumentals driven by a guitar riff riddled with distortion. While his sound has certainly evolved since his booming start in 2010, shifting from traditional to alternative R&B with a strong psychedelic rock influence, this remix came off forced, sounding like a b-side track fit for Lil Wayne’s Rebirth album. “How Many Drinks” excels as is — a flirtatious record with a beat and falsettos working in simpatico to create a melodic vibe. Disrupting that status quo seemed misguided, with rock-forward tracks from Wildheart such as “the valley” and “…goingtohell” already polished to fit the context.
The problem with charisma is when confidence trends conceited
The only other criticism I have with the concert were its overly self-indulgent moments. Sure, Miguel had us seduced, but the allure faded as he went into an excessive rendition of “Wolf”, a track he referred to as one of his “favorite songs to play from the album.” Musically, it is a stand-out, a tune that fits an edgy burlesque performance as naturally as it could a villain’s theme in a musical. Conceptually, it’s a bit disturbing, likening an obsessive, over-sexualized male to a wolf hunting prey. While I understand that the track is metaphorical and meant to be exaggerative, the performance, although impressive, came off as self-gratifying and insular in a show that was overall, quite engaging.
The problem with charisma is when confidence trends conceited. This statement was manifest in Miguel’s choice to close his event with the lascivious track “Pussy Is Mine”. While it is his event and frankly, he can play whatever he damn well pleases, in a performance overflowing with leisure, I felt two particular pieces would have challenged the listener and left them more inspired.
- “Now” — the closing chapter to War and Leisure, a politically-charged call to action against injustice in America pointed at the current “CEO of the free world”. For me, this song epitomizes the way an encore can take a performance to the next level. To be candid, I am shocked it was not played. “Now” hones in on the critical issues present in our country and its figurehead’s rhetoric, specifically, immigration, racially-motivated violence, and the government’s delayed and diminished response to crises. In addition, it implores each listener to speak out in opposition, a viable alternative to a silence that could easily be misconstrued as complacency. A sobering reminder to stand up for something larger than self, “Now” is a message we all could have found value in receiving.
- “leaves” — an underrated track about heartbreak coupling as an ode to California. The beauty of “leaves” is in the way it effortlessly evokes contrasting emotions. Lyrically, the singer is devastated, in a shocked state of disbelief. The break-up is abrupt and unexpected due to his fixation on its former state of bliss, convinced, like the leaves in California, these feelings will never change. It is an apt comparison, one that leads into a powerful chorus of cries alternating between “Sweet”, “Sour”, and “Bitter California”. There is heartbreak with a hint of redemption. Sadness with acceptance. Recovery will be needed, but the singer is glad to have loved and lost than not at all. Set against the backdrop of the Golden State, the narrative could have struck a powerful chord with residents at the show. Catering directly to a listener’s nostalgia, an emotive piece such as “leaves” would have left the crowd speechless.
Now, while I’ve clearly taken the time to speak my peace regarding the closer, I’d be remiss not to mention my inherent bias as a lonely single dude listening along with a friend. In the end, who knows? For a show saturated with pleasure, maybe Miguel’s choice was the perfect cherry to top.
To come full circle — despite my few qualms, witnessing Miguel’s command of the stage and overall exuberance was transformative. It was never explicitly stated, but throughout the night, we were encouraged to feel desired — to see what it’s like to step inside Miguel’s aura. Whatever stress, negativity, heartache, or hybrid of the three had enveloped life prior was evaporated. Confidence was readily attainable. Happiness was effervescent. A return to normalcy was inevitable, like the billowing fog interrupting a sunny San Francisco afternoon, but for two hours on a winter night in Oakland, Miguel revealed how it feels to be a romanticized version of your self.
