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The Michigan Daily — michigandaily.com
Arts
Monday, October 23, 2017 — 5A

DAILY ARTS WRITER

Mac Demarco performed at Hill Saturday night
Mac DeMarco is one of us

The singer gave a solo performnce at Hill this past Saturday night

Let’s just start with one very 

true statement: Mac DeMarco 
is a man for and of the people. At 
Hill Auditorium this Saturday, he 
walked onto the stage in his classic 
getup: A red t shirt, stonewashed 
vintage jeans and, of course, his 
trademark baseball cap. Watching 
DeMarco greet the audience was 
almost like seeing a good friend 
on the sidewalk after years of 
separation. There’s just something 
about the guy that soothes your 
soul, whether it be his warm 
friendliness 
or 
his 
smooth, 

virtually perfect singing voice.

This show was even more 

intimate 
than 
others; 
he 

performed sans band, armed only 
with an acoustic guitar and his 
goofy wit. “You may ask,” he said 
to the excited crowd, “Where’s the 
band?” The audience erupted into 
laughter, for what would certainly 
not be the last time during his 
hour-long set. While other artists 
may have been lackluster with 
such a minimal set-up, DeMarco’s 
inviting personality and huge 
stage presence made up for it 
tenfold. It became clear in the 
first minutes of his performance 
that the show wasn’t just about 
the music: It was a conversation 
between the musician and the 
audience, so comfortable it felt like 
the crowd was sitting on his living 
room couch. “Make yourselves 

comfortable,” Demarco offered all 
who sat in the auditorium, “enjoy 
this, be respectful, love each 
other.” That said, he continued 
into a show that could easily be 
deemed “legendary” by anyone 
who sat in Hill Saturday night.

DeMarco brought the house 

down song after song, playing 
old and new tunes alike, often 
relying 
on 
committed 
front-

row fans to feed him some of his 
earlier lyrics. It was clear that 
the audience felt at home, as 
they crooned out favorites like 
“Salad Days,” “Let Her Go” and 
“Ode to Viceroy,” with every 
lyric obviously loved. DeMarco’s 

solo 
guitar 
accompaniment 

allowed his crystal-clear voice 
to shine through, only enhanced 
by 
the 
auditorium’s 
world-

class acoustics. It was almost 
unbelievable to watch DeMarco 
stand there alone and knock 
out every song with impeccable 
showmanship; 
every 
note 

soared, and the crowd ate it up in 
amazement and admiration.

DeMarco made jokes about the 

Jamaican Jerk Pit (“I tell ya, the 
hot sauce: bellísima”), and Nirvana 
at the Blind Pig, playing to the Ann 
Arbor audience with a laugh at 
every turn. Crowd requests like 
“My Kind of Woman” and “Let 
My Baby Stay” echoed warmly 
through the venue, as hundreds 
of crowd members sung with him, 
turning each acoustic song into 
a fully fleshed out experience. 
As the show came to a close, 
DeMarco dedicated the last song 
to his girlfriend in L.A., and began 
to sing “Together,” making it 
easily the most touching tune of 
the night. The audience supported 
him in each word, as he began an 
encore solely based on their “la’s” 
and organized people closer and 
closer together. As voices filled the 
venue, DeMarco did what could 
only be the best show closer of all 
time: The man crowdsurfed. As 
Demarco’s joyful spirit meshed 
with the youth of his audience, 
the often classical Hill Auditorium 
morphed into something different 
for the night: A place for genuine 
fun. 

THE CW

‘Riverdale’ is the best show on television
‘Riverdale’ is absurdly 
engaging in new season

The hit TV show returns for another thrilling, shocking season

Fake blood either awards 

authenticity 
or 
warrants 

mockery. There is something 
about the believability of fake 
blood in TV shows that makes 
it corny or passable. Archie 
Andrews (K.J. Apa, “A Dog’s 
Purpose”), however, looks like 
he rolled around in some red 
paint and called it a day. I mean, 
it wasn’t even close to the right 
color.

This is how the season two 

premiere of “Riverdale” starts, 
and the ridiculousness of the 
show 
manages 
to 
maintain 

amusement throughout the rest 
of the episode.

Originally, the mystery that 

plagued the small town of 
Riverdale was who killed Jason 
Blossom (Trevor Stines, “The 
Fosters”). Now that the murder 
has been solved (spoiler — he 
was killed by his own father) 
the show must shift to a new 
plot and new set of riddles to 
unravel. The new focus appears 
to center around Fred Andrews 
(Luke Perry, “Body of Proof”): 
Why was he shot in the local 
diner, and by whom?

The focal point of this episode 

is Fred’s condition. There are 
many questions swarming in the 
viewer’s mind, but the concern 
is distracted from Fred’s life 
because of Archie’s clothes. 
They are a huge sore spot in 
the middle of the content of the 
episode. The clothes are covered 
in unrealistic blood (from his 
father’s wound), and in today’s 

market, with all the resources 
special 
effects 
offer, 
there 

should be no reason the blood 
is so unbelievable. Then, he 
doesn’t even bother to change 
out of once he returns home. I’m 
not sure what angle they were 
going for there — maybe, “My 
dad is dying, so staying in my 
bloody clothes will surely help.” 
Whatever the questionable logic 
may be, the phony blood seems 
to take up about 60 percent of 
the screen time.

There are many predictable 

side 
effects 
to 
TV 
shows 

broadcasting the improbable, 

like Veronica’s (Camila Mendes, 
“The New Romantics”) perfectly 
dry hair and untouched smokey 
eye after a steamy shower scene 
with Archie. I can get over that. 
It happens in basically every TV 
show and movie ever made. But 
I cannot seem to wrap my brain 
around 15 and 16-year-old high 
school students wearing five-
inch stiletto heels everywhere, 
including the hospital. Or that 
two teenagers can easily waltz 
into the scene of a crime, as 
Becky (Lili Reinhart, The Good 
Neighbor) and Jughead (Cole 

Sprouse, “The Suite Life on 
Deck”) do at the diner, without 
any caution tape or police 
officers in sight. Glamorization 
in Hollywood is expected, until 
it becomes so unrelatable that 
it forces me to lose interest in 
the show, which is exactly what 
“Riverdale” risks by continuing 
to incorporate far-fetched ideas 
of norms.

The plot complicates with 

many moving parts. At one 
end, 
Becky 
and 
Jughead 

have to face the reality of 
their relationship under Mrs. 
Cooper’s 
(Mädchen 
Amick, 

“Twin 
Peaks”) 
disapproving 

eye. Jughead struggles with his 
father’s imprisonment. Veronica 
accuses her mother of putting 
a hit on Fred. Cheryl’s mother 
suffered serious third degree 
burns as a result of the fire she 
started and is now in intensive 
care. Archie is plagued with 
the memory of the shooter and 
is distraught over his father’s 
condition. All of these subplots 
come across forced, arguably 
more so than the first season. 
The constant “looming danger” 
is exhausting to keep up with, 
and it’s as though the producers 
are jam packing all of these 
twisted plots into one episode, 
and it just doesn’t fit. Actually, it 
makes the show convoluted and 
rather unconvincing.

Fred Andrews unsurprisingly 

wakes up, but the heartfelt 
moment is inevitably ruined 
by the tacky and laughable 
dialogue. 
The 
fatherly 
love 

Fred feels for Archie isn’t 
appreciated in that moment — 
it loses all credibility because 
the writers wrote it in such a 

CLARA SCOTT

For the Daily

OLIVIA ASIMAKIS

For The Daily

This show was 

even more 

intimate than 

others; he 

performed sans 
band, armed only 
with an acoustic 

guitar

CONCERT REVIEW

TV REVIEW

way that no genuine person 
would ever say. Mr. Andrew’s 
claim that he “came back” for 
his son is typical and cliche, and 
Perry’s delivery of the line was 
subpar at best. Not to mention 
Archie’s newfound duty to sit 
on the stairs of his home with a 
baseball bat every night in case 
the ski mask shooter comes back 
— really?

The one thing this episode 

did well was offer closure on 
two accounts. First, we finally 
got to see the elusive Mr. Lodge 
(Mark Consuelos, “The Night 
Shift”). The drama in that scene 
was justified, as his arrival was 
long awaited and anticipated. 
Mr. Lodge sits in the back of the 
room, rather Godfather-esche, 

with little lighting on his face 
so he is unrecognizable. Instead 
of a happy reunion between 
father and daughter, the scene 

is tense and uneasy. The second 
is the answer to what happened 
to the creepy music teacher, 
Ms. 
Grundy 
(Sarah 
Habel, 

“Atomica”). 
Episodes 
ago, 

Ms. Grundy had an extremely 
inappropriate relationship with 
Archie that was glossed over 
because attention centered on 
Jason. She simply disappeared 
and was never mentioned again. 
However, the final scene of this 
episode — and cliffhanger — 
reveals Ms. Grundy’s murder by 
no other that the man in the ski 
mask.

Although this show has it’s 

fair share of aspects to poke fun 
at, it ironically keeps viewers 
engaged. Mystery hooks people, 
and “Riverdale” has proven to 
capture a large-scale audience. 
While its acting is weak and 
lines are corny, the desire to 
know whodunit keeps viewers 
sticking around. 

“Riverdale”

Season 2 
Premiere

The CW

Wednesdays 

at 8pm

The one thing this 
episode did well 
was offer closure 
on two accounts

