Owl City
Friday, April 30, 2010
Riviera Theatre/ Chicago, IL

Review and Photo by Andy Argyrakis

If there was an award for most infectious indietronica album of recent memory, it would unquestionably go to Owl City for its major label debut Ocean Eyes (Universal Republic). But when it comes to seeing primary figurehead Adam Young, alongside a three piece traditional band and two string players in concert, let’s just say there’s plenty of room for improvement.

Sure, the troupe can sell ticket sales in an instant and have every single teen and twenty-something singing along at the top of their lungs, but when actually breaking down the show, it was full of awkward nuances from the ringleader, overly simplistic accompaniment from the band and an overall lack of polish that doesn’t seem to translate from Owl City’s studio outpouring.

Switching between the keyboard, acoustic guitar and straight up singing, Young bounced around with plenty of energy, but appeared like a deer in the headlights, looking wondrously at the sold out audience like a kid entering the candy store for the very first time. He gets an “A” for effort and enthusiasm, but giving shout-outs to Chicago during literally every song was overkill, while his voice adapted annoyingly whiny undertones.

That’s not to say early cuts like synth-pop saturations “The Bird and the Worm” and “On the Wing” weren’t catchy, but they lacked a compelling presentation outside of personal headphone listening pleasure. Although Young admitted “The Saltwater Room” was a silly hand-clapper, the delivery was almost juvenile and childlike, while he spent too much of the massive hit “Fireflies” with his arms outstretched to have the audience supply the parts.

Young was clearly bonding with those gathered, so much so that he kicked off his shoes and joined the band for some goofy dances towards the end of the evening, but casual fans poured out in droves since the album’s single was already addressed. Those that stuck around were given four additional indie pop ear candies, though the climax had already been reached and the encore “Hello Seattle” was simply too timid to truly bring the house down.