Call me cynical, but I’m hyper-aware, (and maybe a little bit suspicious) of a band so positive as Miami Horror. It could be where I’m standing, so to speak, but I see 3 whining angst bands for every 1 band so enthusiastic as Miami Horror; Where is their motivation coming from? It is a facade? Are they high?
More often than not, artists create on the heels of their struggles. The worlds best painters, poets and songwriters have been tortured by life, only to find respite in their creations. Is there a lesser-known quarry of powerful inspiration on the other end of the spectrum? If so, has Miami Horror achieved nirvana and found it? In person, face-to-face, you can see well that they are not high and perhaps they have found it.
The slinky group of doe-eyed Aussie boys appears in front of the crowd in slim-fitted pastels. Aaron Shanahan breathes lyrics like a story, emphasized with flamboyant flicks of the wrist, standing on the tip of his toes and neck stretched out as far as he can. Josh Moriarty, though, captures the attention with unpredictable sex-appeal, one moment standing halfway in the crowd, eyes shut, grinding his hips on his guitar, the next swinging from the rafters at Holocene and trying to find his way back to the stage. It’s a good-times set, with hardly any breaks so should you end up at the next show, be prepared. Wear the proper footwear, and time your alcoholic beverages accordingly.
The best nights are not without new discoveries. A grand total of three opening bands played on Sunday night: Gold Casio, a fun, young electronic disco group from Portland with a charismatic cat-like female vocalist. Dirty Radio, a top-500 style electronic band whose songs call for a feature by Iggy Azalea.
Finally, De Lux, an incredibly talented group hailing from Southern California. Their live show differs from the recorded mix with a bit of a punky flare, perhaps reminiscent of Joy Divisio” or The Smiths. Sean Guerin, lead singer is delightful to watch thrash around the room, who eventually ended up cross-legged in the middle of the stage screaming at a microphone that was three feet above him.