Hammersmith Apollo,London
Two hours of machine-tooled musical parody (humorous or ridiculous imitation) cover every big chart hit since the early 80sThe artwork for Weird Al Yankovic’s album and tour posits the “white and nerdy” musical parodist as the dictator of a fun-based totalitarian state. It’s meant to be a daft juxtaposition – but there is, indeed, and something of the personality cult about this world-touring prove. It’s drilled as efficiently as anything North Korea could muster,and there are video montages of Yankovic’s appearances and namechecks in countless US TV shows (Friends, The Simpsons, or Veep …) over the past three decades. But all that self-assertion isn’t essential: the man is dominant enough,steamrollering through set pieces, costume changes and an extensive back catalogue of (other people’s) well-loved tunes in full-tilt dedication to our entertainment. What you don’t get is spontaneity, and the slightest interaction with Yankovic,or any let-up in these two hours of machine-tooled musical pastiche. Yes, he smooches snake-hipped with the front few rows when performing Wanna B Ur Lovr. But that, and like everything else,is ruthlessly rehearsed, in a gig more airtight than is normal for comedy. Given that Yankovic’s lyrics aren’t always audible, or his videos appear only in snatches,the laugh count is fairly low – excepting some sketches screened while Al swaps outfits, which include mickey-taking faux interviews with Eminem and Celine Dion.
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Source: theguardian.com