The music felt like performance art based on a stream of consciousness and an endurance test that exists in a bubble where the feminist progress of the last forty years never happened.
Feldman and his Angels, a quintet of female musicians including his new wife, Courtney Anne Mitchell, played some of Feldman’s original music, which included a song from (1989), a movie I’ve never heard of before my research for this review.
The Angels are in a symbiotic relationship with Feldman: not outright exploiting the public figure, but allowing themselves to be used as a symptom of the system that physically and emotionally tortured icons from Judy Garland to Carrie Fisher to death, a system that thrives to this day.
Feldman claims to work with the Angels to save them from the predatory cycle demanding youth in Hollywood, but it’s not readily apparent what Feldman does differently than the figures he denounces.
It felt like Election Night 2016: The Concert, where outrageousness and name recognition triumph over technical qualification.
My final clue came when Feldman announced an incorrect number of years since Haim’s death when I thought he was calling for either a moment of silence or recognition for his late colleague.
The Angels, including their newly 21-year-old guitar player, performed original material unassociated with Feldman that was virtually inaudible.