The Best Love is Free IV at the Fine Line, 2/9/13

Categories: Last Night
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Erik Hess
The Best Love is Free, featuring Cecil Otter
with Later Babes, I Colossus and Sophia Eris
Fine Line Music Cafe, Minneapolis
Saturday, February 9, 2013

Now that the Best Love is Free showcase and the Twin Cities have had a steady thing going for a few years here, it's become quite a prosperous and happy relationship. After our initial swoon over the handsome Mr. Botzy and company some four Valentine's Days ago, the event's trademark mixtape-exchange and couples-oriented theme has remained intact while the crowd has swelled to sell out the Fine Line's rather spacious digs. But just like any long-term love affair, it's always important to evaluate our partner for who they've grown to be, rather than relying on our memories of that first rush of passion. So is the Best Love Free forever?

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Slideshow: The Best Love is Free IV at the Fine Line, 2/9/13

The Fine Line's two-tiered, club-like atmosphere seemed a natural fit for the stylish-attire-suggested event on Saturday. In fact, with all the dapper twenty-somethings pairing off, the vibe was distinctly "spring formal," I half-expected some patrons to show up in a rented limo. The organizers did a great job of sticking with the Valentine's theme, and features such as a photo-booth near the back provided some fun mugging opportunities before the music got started. Alas, there was no chocolate sponsorship. Next year!

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Erik Hess

Chalice member Sophia Eris kicked the night off after a brief introduction from Botzy, performing with a small band comprised of guitar, bass and a surprisingly fantastic beatboxer by the name of Manny. While such instrumentation definitely had the potential for disaster, the band exercised admirable restraint and locked into some sultry, jazz grooves for Sophia to rap and croon over. While Eris still seemed a bit nervous to be rocking the stage without her usual comrades, the songs she was performing had a really enjoyable smoky, groovy '90s R&B kind of vibe. Rapping with a sing-song almost old-school flow and hooks reminiscent of D'Angelo, the mellow, subdued performance made for a great start to the night. Sophia even took a short break from music to acknowledge her background in spoken word, delivering a couple of short poems that had the crowd snapping along like Love Jones.

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Erik Hess

Eris' homegirls eventually found their way onstage one by one. Lizzo was first, and the two performed a couple of new songs from their Absynthe project, first with the live band and then over-laptop with the accompaniment of DJ Spacebar (a real woman, in this case). Absynthe was tough to gauge during this first performance, with one slinkier R&B number bumping up against two jacked up club bangers. Finally, Claire de Lune took the stage for some Chalice material that got the crowd thoroughly amped. My date and I were split on our opinions of the overall performance from the three women: I was happier with seeing a new side of Sophia during her solo performance, while the better half preferred the empowering collaboration of the three ladies together.

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Erik Hess

Love only stands the test of time if we're honest with our partners and accepting of their shortcomings, so it's probably time to mention I, Colossus's performance. Frontman and guitarist Matthew Sandstedt certainly seemed to be enamored with his vocal-effects plugins, which is a real shame as he appears to be a more than capable singer. The band's entire set was awash in that saccharine blend of Auto-tune-and-vocoder vocal delivery.

Supported by his bandmates on synth and sample-pad, respectively, Sandstedt belted memorable pop melodies that were crushed to a monotone by the heavy digital modulation of their aesthetic. Even the sugar-coated hooks started to feel sickly sweet by the end of set. While we're probably not their target audience, my date and I felt that the band's set was akin to polishing off a box of Russel Stover's in one sitting. Initially attractive, but by the end, "kind of like high school," in her words.

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Erik Hess

Later Babes were a refreshing change of pace, but also seemed to suffer from a sugar overdose. The South Dakota project, featuring member of Soulcrate and We All Have Hooks For Hands traded in the kind of hyperactive quick-mix style of mash-up DJing popularized by Girl Talk and our local Get Cryphy crew. Later Babes put a slight twist on that formula via the addition of live drums and synth, with two members rotating between a traditional drum kit and a newfangled standing-robo-drums type of set-up. Unlike I, Colossus, the group's usage of indie and club rap bangers got the crowd thoroughly amped, but the Later Babes seemed too eager to spend all their chips at once. Quick-mix demands an excellent sense of pacing or it can rapidly become shrill, and while the SoDak band definitely had some fun moments, such as a heavy drumline-style beat behind T.I.'s "What You Know," some of their routines felt dated.

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