The CMJ Music Marathon is a week dedicated to exposing indie/underground artists to a new, broader audience. I can’t emphasize enough how much M.I.A doesn’t fit, or belong, on the bill.

This was a rock star onstage Friday night. Although she was performing at a venue, Terminal 5, that I’d never heard of, she filled it. The venue is seven blocks away from any subway station, but she had the rafters jam-packed.

While the opening act, the Cool Kids, delivered another great CMJ performance, they were outmatched. They gave it their all, and even got the most pretentious of heads nodding — if ever so slightly. The crowd wasn’t there to see them or any other up-and-coming act.

As the lights in Terminal 5 went out, it became clear who they came to see — well kind of. The onstage screen flashed on, and it showed a perturbed Japanese man. He gave a fiery speech asking the “minority” to denounce the “country.” I’m sure I could concoct an analogy with the “minority” symbolizing the typical liberal, abstract, different M.I.A fan, and the “country” representing the status quo, stale music industry, but who cares, really? The crowd went bonkers as they watched.

The insanity only escalated once the music came on. The drums at the beginning of “Bamboo Banger” seemed to go on endlessly, while the crowd cheered in anticipation. Then, finally, she spoke: “Roadrunner, Roadrunner, going 100 mph.”

The crowd again took it up another notch as M.I.A stepped onto the stage. The Sri Lankan-born, British MC hit the stage wearing — God knows what she was wearing, but it was her. She stood there vibrant, colorful and mythical in a sequined jacket, orange-and-black dress, silver Chuck Taylors and tights. And, like my friend Katie said it would, “Sri Lankan Madness” ensued.

The casual nods and “hands in da air” the Cool Kids received were replaced by mass hysteria. The entire venue was packed with the screaming “minority.” The place erupted with each song. A few fans were allowed to come onstage during her performance of “Bird Flu.” More than a few took it upon themselves to join that few, however. Security tried frantically to stop the chaos but barely did. One girl even offered a guard money to join those onstage. She was ultimately unsuccessful and missed the pandemic onstage, as other fans joyously danced.

Things didn’t settle, even after fans left the stage. The lights in Terminal 5 suddenly went out. They were replaced with cell phone lights and the flicker of cameras. The crowd let out a roar, as a sample of the Clash’s “Straight to Hell” – with a little bit of Diplo and Switch mixed in – started to play.

The roar continued throughout her entire performance of “Paper Planes.” During the song’s gunshot-laced chorus, the crowd made guns with their hands and shot into the air.

The crowd’s participation was top notch. Most people have no idea what M.I.A is saying. My friends were surprised when I told them that she’s speaking English. But everyone in attendance knew the words to her songs. This is not an easy task, but all night the “minority” recited them along with her.

The crowd got crazier once Afrikan Boy stepped onstage. Wearing a purple t-shirt with “Who Stole My Visa???” in big, gold print, a kufi and a thick Nigerian accent, Afrikan Boy hyped the crowd, as only he can. He delivered a high energy performance of “Hussel.”

They left the stage after that performance, but the crowd still wanted more. They maintained the same energy. They chanted “M-I-A” in hopes of an encore. She came back onstage with a rousing performance of “Boyz.” It was as if she never left. It further proved she didn’t belong on the CMJ bill. She was a rock star.

See all of hnics85’s and katiekate’s uploads at yourhere.mtv.com…