“This is one of my favorite venues I’ve ever played in,” said pop singer Mika, when performing at the House of Blues on Tuesday. “It’s absolutely delicious.”
No wonder Mika loves the House of Blues — it’s just like him. The venue was ornate, versatile and filled with all sorts of people, a testament to the performer’s flamboyant performance and diverse group of fans.
Mika isn’t as huge in the States as he is in Europe, but that didn’t stop the venue from selling out quickly after tickets went on sale. Whether they heard about him from radio play, Perez Hilton or that one Ugly Betty commercial, Mika’s fans love him for his upbeat, danceable melodies and, well, adorable mop of curly hair and British accent.
Above the stage were several religious symbols, united by a sign in the middle emblazoned with “Unity in Diversity.” Quite fitting, considering Mika’s diverse background — he was born to a Lebanese mother and an American father, and lived in Beirut, Paris, and London. Diversity was a key issue in the crowd as well; audience members ranged from squealing high school girls in matching T-shirts to squealing 40-year-old men snapping pictures on their iPhones.
The decor at House of Blues suited the singer, since both are ornate and theatrical. On Mika’s stage were strings of lightbulbs, a gardenlike painting and plastic flowers on everything from keyboards to microphones to a set of trash cans Mika drummed on, Boomshaka-style. At one point, someone danced around dressed as a mermaid, and at another point, during “Big Girl (You Are Beautiful),” out popped a giant inflatable “big girl.” It’s clear that a key element in Mika’s show is a visual one, and it’s quite appropriate. After all, this is from someone who named his album Life in Cartoon Motion.
Theatricality didn’t stop there. Mika himself was decked out in tight pants, a white shirt with sparkly add-ons and an occasional purple blazer. His swagger and falsetto draw constant comparisons with Freddie Mercury and the Scissor Sisters. He and his equally spirited band played through his debut album, adding on a few cover songs and testing out new, promising tracks. Every band member almost seemed like a cult leader, inspiring audience members to clap, sing or even scat along with Mika at the slightest gesture.
The show fell flat at a few moments, especially when he went through the album’s ballads, like “Any Other World.” The crowd was there to dance, and they couldn’t do much while Mika was crooning at the keyboard. Another slightly awkward moment was when his backup singer performed a short song of her own and then a duet with Mika himself. She was decked out in some sort of headdress and never explained why she was singing. Towards the end, before “Love Today,” Mika suddenly was drenched in snow-like confetti, and held an umbrella while embracing a figure similar to Jack Skellington. It seemed like his Fantasia-like stage show was getting worn thin.
Any awkward moments, however, were completely obliterated by the show’s fantastic encore, set to the precocious “Lollipop.” Every band member was dressed as a mascot-style animal, and a few dancers showed up holding gigantic lollipops. Giant balloons fell from the ceiling — people were more interested in playing with them than listening to the song — and the entire audience was covered in confetti. (Seriously, I’ve never seen so much confetti in my life.)
When my friends and I left the House of Blues that night, we couldn’t stop grinning. So what if some critics say Mika has no substance? Even the artist himself told the audience that even though he has trouble getting radio play in the States, he always sells out shows. It’s clear why — there’s no better way to have simple fun.