Kristeen Young hits the stage looking like a vintage Hollywood-musical femme fatale, just escaped from a Palm Springs hospital after a New Year's Eve suicide attempt, doing an impromptu show for a few surprised fans in a dark roadside bar, still sporting hospital bracelets, which temporarily distract one from her kick-ass eye make-up and a glam, slinky black number in which she would contort and cavort, albeit with an unnerving, dysfunctional rage. Despite the appearance of such a dramatic persona, Ms. Young was quite calmly chatting with fans in a soft voice immediately before taking over the stage at Pianos; those hospital-esque bracelet-slash-wrist-antennae she rocks are in fact anti-carpal tunnel devices of sorts; CTS being a Dionysian occupational hazard for a passionate keybs-pounder like Young. If you watch carefully, you can learn some of the notes... In the liner notes to Frankie Goes to Hollywood's stone-cold classic double-album "Welcome To The Pleasure Dome", the band speak about getting a buzz from the fact that Andy Warhol has heard of them, because Warhol gets a buzz out of the fact that Picasso -- or Dali? -- had heard of him. Suffice to say, my initial interest in Kristeen Young was admittedly, similar: the only time I ever saw Kristeen Young was during the last 45 seconds of her support set for Morrissey at the Borgata in Atlantic City last summer, and I thought to myself (paraphrasing here): At least I caught that crazy climax!, not realizing that a <b>...</b>
Kristeen
Young
Michael
Vazquez
Pianos
NYC
