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Sloppy Jane @ the Eagles Club

Mar 27, 2018

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The Eagle’s club appeared in all my immediate observations to be someplace my grandparents would take me to breakfast. The show there last night (3/26/18) would have them scandalized for sure.

The line-up was absolutely killer, beginning with experimental artist AMODEL, followed by some of my local faves, Lunch Duchess and Sass, leading into a wild night with Sloppy Jane and Murf. Five transgressive artists for five dollars in a banquet hall that is probably reserved for line dancing or bingo some other time during the week. Tonight, it was decked out in a massive and artfully tangled network of string lights, obscuring some leftover St. Patty’s day décor.

As folks started gathering in the center of the room in anticipation for the show to begin, AMODEL’s front person gracefully emerged from the back of the room to approach the stage through the crowd, with Edgar the Snail in tow. (Edgar is a wooden toy snail with a rope pull). The duo’s set was part ambient electronic manipulations, part interpretive dance, and part spoken word. It was the first time the two had performed together, and the audience was entranced. 

Lunch Duchess was up next with a short set in which they debuted their new song, “A Risk,” followed by Sass who riled up the crowd for the acts to come with loud guitar and sick grooves. Front woman Stephanie encouraged us to be our best selves from behind a pair of gaudy plastic-rimmed glasses, saying, “It’s okay to be a little extra… it’s fun!” We jammed together – the folks from AMODEL and Lunch Duchess were still mingling and dancing in the audience. 

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Then came Sloppy Jane! Her touring act brought eight people on stage to play a variety of instruments, including, but not limited to, the trumpet, violin, sax, a children’s xylophone, and a small tube TV playing a VHS copy of a Simon the Lamb cartoon movie (1993). Sloppy Jane herself came on stage wearing shorts and a short trench coat, and wild tangled hair. She conducted the group around her with her back to the crowd. They started with part of the song “Mindy,” chanting deadpan together, “If he was a dog, he would be dead…”. This crescendoed into maniacal laughter and screaming from all sides before Sloppy Jane spun around, looking cursed and panicked, with blue foam oozing out of her mouth and onto the floor. She stripped off her jacket, followed by her underwear, and stood simply as herself: an untamable, sloppy woman.

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Sloppy Jane and her crew played one unbroken set, and put up a finger to shush anyone who tried to cheer before the whole thing was over. They covered a lot of material, but notable moments for me were the songs “Where’s my wife,” where Sloppy Jane was writhing on the floor for a good portion of time as she demanded to know where her wife was, and “Bark Like a God.” Jane returned to her jacket about halfway through the show, and took to the tabletops. She ended the show to a solo from the keyboardist, by walking off the stage, giving Sylvia, our Radio K media and photo queen, a business-like handshake, and retreating to the shadows on the side of the room. The audience hailed her performance while full body-suited members of Murf lie in wait. 

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I still have tinnitus from Murf’s performance, and I’m not even upset. After a minimal sound check, the front man kicked off their set with a flourish of comically large fake dollar bills tossed into the crowd, and jumped out to engage us in some light-hearted moshing. I couldn’t hear much of the lyrics but the riffs were tight, and the party raged. They cracked two tubes of confetti before the audience lifted the guitarist to the ceiling to present him to the gods, eventually leading to a dog pile of folks rolling around in the now PBR-soaked Monopoly money to end the show.

All in all, I can’t think of a better way to spend a Monday evening than with all of these fantastic artists.

 

Abby Rauls

Photos by Sylvia Jennings