For much of their showThursday at the Greek, the Black Eyed Peas strutted around thestage like the hip-hop/pop version of the Fantastic Four. Yettheir uneven set proved that the Peas still have plenty tolearn about harnessing their performing powers.

The Los Angeles-based troupe has been around since the late‘90s, but it took a guest spot by Justin Timberlake and therecruitment of photogenic female Fergie — formerly StacyFerguson of the where-are-they-now pop trio Wild Orchid — toput it on the pop map in 2003. Since then, the Peas have beenomnipresent on radio, video channels, TV commercials and majorsporting events, delivering eye and ear candy that‘s sweet anduplifting in small doses.

At the Greek, however, the Peas‘ weaknesses becameapparent, as the group was forced to stretch out to fill atwo-hour headlining set. Hip-hop and pop acts often haveproblems re-creating the excitement and sound quality of theirhits in a live setting because much of it is created by studiowizardry. When the Peas took the stage backed by a four-pieceband playing real instruments, things looked promising.Unfortunately, even the live instrumentation couldn‘t help themreplicate the thrill of their recorded hits. It‘s a bad signwhen an act opens with one of their biggest hits, in this casea sexy slice of Latin-spiced hip-hop pop titled “Hey Mama,” andit fails to connect with the crowd.

It‘s not like the Peas weren‘t trying. Frontman WilliamAdams (aka Will.I.Am), Allen Pineda (aka Apl.de.Ap), JaimeGomez (aka Taboo), and Fergie were balls of frenetic energyduring the set, moving and grooving on a Vegas-style stagesetup. But the material — mostly built around shallow butcatchy sloganeering — just didn‘t wear well live. The momentswhen the group did show a glimmer of greatness occurred onsongs like “Shut Up,” when Fergie‘s vocals took a moreprominent place in the mix over the group‘s pedestrian rapping.

A freestyle segment, however, zapped any momentum built up.Seemingly designed to allow each member of the group to shinein the spotlight and to highlight the Peas‘ cultural diversity,it ended up like the hip-hop version of an extended drum soloat a rock gig. If that wasn‘t bad enough, later in the setAdams took far too much time out to introduce theinstrumentalists, who were competent but certainly not theartists the crowd paid to see.

Even “Where Is the Love,” the group‘s first hit, whichfeatures sentiments that would make Marvin Gaye and John Lennonproud, failed to connect emotionally with the crowd, as Adamsasked the audience to wave their cell phones in the air insolidarity for victims of the recent London terror attacks andthe Indonesian tsunami.

By the time the Peas inexplicably closed the set with theirother hit, “Let‘s Get It Started,” it was clear that they needto rethink their live approach before their next road trip.

Reuters/Hollywood Reporter