Funktional Flow and new members brought the funk to Nietzsche’s on Saturday, April 25 with their release party for Let it Settleand not only did they put an album out they also welcomed guitarist Joey Lewis and keyboardist/saxophone player Matthew Lester.
The two local musicians are no stranger to the band as they have been sitting in quite frequently and now officially became part of the growing group.
Sonder, another local product got the party started with some great lights and an equally matched livetronica show. It was a very packed crowd that seemed to have gotten what they have been begging for, a much anticipated album and a complete group of musicians, mission accomplished.
Funktional Flow Setlist
Set 1: Dumber, Strong Feeling , Back Door, Walking Blind ,Moving On, F Trance, Shape , Mulligans>Great Gig in the Sky>Mulligans, Bulls on Parade
Set 2: Trouble, Time Will Tell, Happy Hour Hero>Bullet, Leaving Town, Ambush , You Should be Dancing, Dreidel, Southern Fried, Doin’ Time, Moonlight Tide , Sledgehammer, I Wish
May 6, 1993. I was a high school junior, two weeks out from my 17th birthday. It was a Thursday night and Colonel Bruce Hampton and the Aquarium Rescue Unit were playing a gig in Syracuse at the Pump House, a semi-dive bar in a semi-seedy area of town. I had been introduced to ARU through their association with the first H.O.R.D.E tour the summer prior. I was already a Phish fan at the time, having been to seven shows already.
I missed the H.O.R.D.E. tour, however, so had not seen any of the other bands, but probably owned all of their CDs at the time. Somehow I was alerted to this ARU show in town (pre-Internet I can’t even recall how that might have been), and somehow I convinced my parents to let my friend and I go out to a bar on a school night. Just the “bar” part of that equation alone was enough to warrant a solid “no,” so not sure how I managed that, but I am forever thankful.
So my friend and I headed down to the Pump House with no idea of what we were getting into, musically or physically. We got there probably earlier than even the listed time, completely unaware how bar shows operate. We had no fake IDs. The bouncer understandably balked. We pleaded with him to let us in, promising we wouldn’t try to drink, we just wanted to see the band… which was true. I don’t remember it being all that hard, a little convincing and he let us through. We got in the bar, and it was empty. Completely dead. We took a seat at a table and waited. And waited. And waited. And waited for what felt like an eternity, and likely was well over an hour. Finally a band appeared on stage. But it wasn’t ARU. It was the (unlisted) opening band. Ugh. We were restless. Lucky for us, the opening band was pretty freaking great. They were a band from Syracuse University named Sons of Papaya. I would end up being one of their biggest fans, seeing them quite often a year later, when I went to school there. But that is a story for another time.
Finally the Aquarium Rescue Unit would take the stage. Jimmy Herring (guitar) Oteil Burbridge (bass) Apt. Q258 (on Earth known as Jeff Sipe (drums)), Matt Mundy (mandolin), and Count Mbutu (percussion), played a short intro jam before their unkempt leader, Col. Bruce Hampton, ambled on and led the band into “Payday,” off their then new release, Mirrors of Embarrassment. At this time there was still just about 20 in attendance, four of which were the opening band and two of which were my friend and I.
Listening back to the show now, I can’t even imagine what the younger me was thinking. It still sounds fresh and mind-blowing different today. They were an all-star band in reverse. We all now know their names, and know them to be some of the best at their respective instruments, but at the time they were just a young rag-tag bunch being led around by this eccentric uncle-type. It was most certainly a mind and taste-expanding experience for me. Their unique blend of bluegrass, blues, lounge, rock, jazz and everything in between filtered through the bizzaro lens of Hampton’s vision was enough to send even the most educated music fan’s head spinning.
The Colonel wasted no time getting into his antics. “Jimmy Herring, born right here in Syracuse, returning for the 2nd time to his hometown!” (Every stop on tour was his hometown…) My friend and I, none the wiser, ate it right up. Amazing! He’s from here?! “Oteil, from Egypt!” (Again, not true…) He does look kind of mysterious… “Apt. Q258!” OK, that’s just weird. (After the show they handed out signed promo posters promoting the new album, and Jeff Sipe’s signature was a drawing of a house with Q258 written on the door.)
Toward the end of the set, Hampton beckoned for Bela Fleck. Out walked the dorkiest looking musician I had ever seen, playing an electric banjo, what the?! Sadly I had no idea who he was, and as such, had no clue how great he could make the banjo sound. Meanwhile, we couldn’t quite hear what his name was and my friend continually joked how great it was that we saw Roberta Flack. I don’t even remember when it was I realized that I had seen Bela Fleck then.
Over a year later, my tape trading buddy (that was such a thing back then) re-introduced me to him when he sent me a recording of the Flecktones (which I would eventually wear thin) and was forever hooked. But at the here and now of this particular story, I was still completely clueless. Through the beauty of the internet I can now confirm that the Flecktones had a show in Syracuse that same night as well. If only I knew. Fleck would join them from Trondossa through the end of the set. On memory alone, I would say my impressions were that he was surprisingly good considering he was, I had assumed, a local musician. But listening back now, I was a fool to think that he was anything short of spectacular, shining on a solo in “Too Many Guitars” and completely owning ARU’s tribute to Sun Ra’s “Space is the Place” in particular.
The band would come back for a rather lengthy encore, as the “Aquarium Flecktones Unit” with Fleck and Futureman joining the band. Futureman would play the real drums as opposed to his usual Drumitar. But I was none the wiser. Hampton said it best, “that’s one hell of a drum section there” with Futureman, Apt. Q258 and Mbutu all together. He also called out Victor Wooten before the night closing “Jack the Rabbit,” though he was just hanging out on the side of the stage, not playing, unfortunately.
https://www.youtube.com/watch?v=bId4TxH5Q2U
This was one of those out-of-the-way random-weekday playing-in-front-of-no-one special shows. And I was there. But in this case, I was the “unsuspecting crowd”; unknowing and under-appreciating of just how unusual it was. Ending the night “past curfew” according to the stage announcement, leaves me wondering again exactly how I pulled this trick off on a school night and underage, not even a year of driving under my belt.
After the show I headed for the bathroom. Who was that at the urinal next to me? None other than Jimmy Herring. He washed up and headed out. He left the water running and I went to wash my hands. Yow! Just like his guitar playing, the water was scorching hot. My soft unworked 16-year-old skin was nearly burned. In addition to his wizardry on guitar, the fact that he could wash his hands so casually under boiling hot water had me shaking my head. Was he of this earth? No, he was from Zambi, just like the rest of them.
The show was like nothing I had seen. The Aquarium Rescue Unit put on one hell of a unique live performance, unmatched in its combination of musicianship, utter disregard for convention, and creation of its own alternate universe, without the use of over the top theatrics… pretty much on attitude alone. This original lineup would soon after dissolve, first losing Mundy and later Hampton. The band would never be the same. But with their impending reunion, the magic may be reignited.
I gave the one taper there my information in hopes of hearing that amazing music again someday. I never heard back from him, or got the tapes, but thanks once again to this internet thing, I can listen at the touch of a button now. The recording is very high quality, and as stated the music is quite incredible. I definitely recommend giving this one a listen. Take a trip to Zambi-land.
Setlist: Intro> Payday, Compared To What, Time Flack, Dead Presidents. Same Old Thing. Basically Frightened, Lost My Mule In Texas, No Egos Underwater. No Reason To Complain, Time Is Free, Yield Not To Temptation, New River Train, Trondossa*, Too Many Guitars*, Two Truckloads*, Zambi*> Space Is The Place* > Drums > Rocket #9/Space Is The Place*, Workin’ On A Building*
Encore: Swing**, I’ll Go Crazy**, Fixin’ To Die**, Shoeless Joe**, Jack The Rabbit**
I don’t go to Bogies often, because that was the high school/early college venue for me, with few bands sparking my interest to bring me to Albany’s famed dive venue; Nietzsche’s, eat your heart out.
I found out about this show through Jambase and was surprised to learn the only band listed on the lineup, Firestarter, was not the headliner. In fact there were three bands that played prior to Firestarter – Broken Field Runner (Albany), Coldfront (Canada) and Routine (Albany, playing their first ever show), all who had 20 minute sets. Knuckle Puck, out of Chicago and drawing the majority of the crowd, headlined the night.
Firestarter is an Albany based band with influences from Blink 182, New Found Glory, Silverstein and Starting Line. I was thrown back to the late ’90s and my pre-jamband heyday with the influences ringing loud and clear, and it was alright. Matt Bliss, Firestarter’s lead guitar/vocalist spoke to me about the two year old band, who have done four cross-country tours and four regional tours, generating solid fanbases in pockets around the country, as well as a few Warped Tour shows. For a band this young and with an audience that is flocking to shows and singing every word, their potential is limitless. A new EP, A Life Inconsistent, is due out this summer.
Knuckle Puck, a great rock n roll band name if there ever was one, had a similar sound to Firestarter, but their audience was not just singing/shouting every single word of every single song alongside the band, they were more raucous and lively than before. Crowd-surfing and moshing was the norm for most of the night, just without the flying fists. Being Star Wars night (May the Fourth be with you), the crowd also had lightsabers worked into their fist-pumping action. The dudes in the front row were singing the words right into the face of the lead singer, pushing ever closer towards the lip of the stage, with surfers falling into the pit. I still don’t get moshing, but the crowd was welcoming and full of energy all night.
The band has a vast following and an intense crowd at that, and while Knuckle Puck is far from my usual listening, it was a treat to see a thriving fan base for a completely different genre pack 200 people into Bogies, one of the last four shows at the venue, which is closing on May 31.
Next up in this Music Marathon: Halestorm and Pretty Reckless at the Palace Theatre.
Jesus On The Mainline is a fifteen piece ensemble comprised of some of the best young musical talent New York City has to offer. Led by band leader Andrew Neesley (lead vocals, violin) his ensemble consists of Mel Flannery (vocals), Amanda Brecker (vocals), Tim Emmerick (vocals,guitar,banjo), Tomek Miernowski (bass), Dave Scalia (drums), Pascal Le Beouf (keyboard, organ), Andrew Miramonti (guitar), Simon Kafka (guitar), Mike Gorham (trumpet), Sam Oatts (trumpet), Natalie Cressman (trombone), Frank Cohen (trombone), Mark McGinnis (tuba), Jake Goldbas (percussion) and Austin Walker (percussion).
When you are preparing to see a band of this magnitude there is only one question you must ask yourself; will they all fit on stage? In stark contrast to past venues JOTM has played, Brooklyn Bowl gave them a chance to get comfortable on the roomy stage and let their sound shine through. With an eclectic range of tunes, at times ranging from southern rock to gospel and soul, the audience was captivated by the precise arrangements and compositions.
Neesley donning dark shades, shaved head, and a prolific beard, soon to be approaching ZZ Top status, began the set with the soulful and powerful tune “War” and made clear that given the right space to spread their wings JOTM could do not wrong. The gospel sounding “Angel From Montgomery” set the crowd up for a seamless transition into the rocking ruckus of “Jump Right In” with the entire cast firing on all cylinders. JOTM was reminiscent of a young, fresh, Tedeschi Trucks Band, combining all their talents to ensure their compositions resonated with everyone in attendance. Neesley takes time throughout each tune, while leading the band, to step aside and let each musician shine through, whether its Le Beouf’s organ solos or Flannery’s angelic voice giving us a soul filled cover of Nirvana’s “Lithium”.
To close outthe evening the entire ensemble took part in “Sister City, Brother Bone” with a classic rock sound, that gave way to the rhythm section to showcase their synergy. As long Jesus On The Mainline can find a stage to hold them and a room to contain their huge sound they are here to stay.
You can listen to Jesus On The Mainline here or catch them at Rockwood Music Hall on Thursday, 5/14, 5/21, 5/28 at midnite.
Jesus On The Mainline, Brooklyn Bowl, 4/28/2015
War, The Wrong Side, Chronically Lazy, Angel From Montgomery, Jump Right In, Sweet High & Dry, Take Me, Cry The Mamas Did, Lithium, Sister City Brother Bone
Throughout this week, I’ll be seeing one show a night in the Albany area, aiming for seven shows in seven days. Here is Night one of a marathon week of music.
Starting the night at The Low Beat was Dylan Jane, a singer/songwriter with Liz Phair lyrics and a slightly raspy voice. She brought up a mandolin and fiddle player for her last three songs which were the strongest of the night – the mix of string instruments and Dylan’s voice are a natural combination. Looking forward to seeing her down the road.
Cobblestone, a folk/Americana band with a touch of Lumineers worked in, picked up the energy with a dialed back version of Bob Dylan and Old Crowe Medicine Show’s “Wagon Wheel” and a great cover of “Uptown Funk.”
Black Mountain Symphony, a six-piece folk group with a strong jam edge were consistent and had crazy energy in a Railroad Earth style. The songs built up in tempo with a Appalachian/Hackensaw Boys vibe, including a very danceable version of “Rhiannon” and a big closer with the original “We the People,” off their recently released album. All together, a lively start to a week of music.
On Saturday, April 18 ShwizZ played to a full house at Garcia’s as the official after show for Jeff Beck at The Capitol Theatre. The progressive funk outfit played in support of their new 2 disc album My Good Side/My Bad Side, which will go on sale May 16 with a late night release party at Knitting Factory in Brooklyn, NY.
ShwizZ at Garcia’s Setlist: 12, Duggan, Orange Wreck, Pomegranate, City Of Tiny Lights, Bad Side, Zone, Doorbell, In The Bag, Good Side, Slop Cream, Slow Down, Tax Man, MGF
Photos and Review by: Nick Irving
Upcoming shows:
May 23, Arch Street Tavern, Hartford CT
May 29, Good Times Getdown, White Haven, PA
May 30, Domefest Terra Alta, WV
The Disco Biscuits officially set the record for the fastest sellout show at Higher Ground ever, when they announced a late night after party for their UVM Springfest show Saturday in Burlington, Vermont. They hauled all their gear a few miles across town for a late night show starting at 11pm and going all night. Given the small size of the venue and the fast sellout, anticipations were high and the band certainly did not disappoint the lucky few who managed to get a ticket.
The band wasted no time, jumping into a nice version of “Aceetobee” which segued into “Bombs”. Bass player Marc Brownstein was really prominent, ironically dropping what some would call “bombs” during the song, before leading the band back into the end of “Aceetobee”. “The Very Moon” followed, and was stretched to almost 15 minutes long, but remained unfinished. It was a rather standard version, but the segue into the Grateful Dead’s “Crazy Finger’s” must be heard. Guitarist Jon “The Barber” Gutwillig really nailed the segue and had the crowd cheering and singing along to the classic tune with a modern electronic twist. They ended the first set by finishing off their own classic song “Mr. Don” from April 16 in Denver,CO.
The second set started things off with fan favorite “Trucker’s Choice”. The time was after 1am, but nobody in attendance showed any signs of letting up, the band included. “Mindless Dribble” followed, and was almost 17 mins in length. The band jammed on several themes through this version, a nod to their older style of jamming, called “rotation jams.” This was a common theme throughout the night, and the band was clearly enjoying it. “Mindless Dribble” segued into “Sound One” which features weird lyrics and a standard jam. The highlight of the night was next in “Crickets”. This 20 minute version was a monster and featured some major jamming across different styles and themes.
Approaching 2am, the band closed the set with “Hope”. A rather unique choice to close the night, but very welcomed by everyone in attendance, many signing along with the band. They quickly returned, and Brownstein gave a huge thanks to the crew for hauling all their gear across town and setting it up again with only a few hours to spare. “Pilin’ it High(er)” closed the night off, and isn’t played very often. This version was great and was a great end to an amazing day and night of music.
The Disco Biscuits. Higher Ground, Burlington VT. 4/25/15
Set I: Aceetobee-> Bombs-> Aceetobee, The Very Moon (unfinished)-> Crazy Fingers-> Mr. Don (completes 4/16 version)
Set II: Trucker’s Choice, Mindless Dribble-> Sound 1, Crickets, Hope
Gearing up on a chilly Friday afternoon in Brooklyn, I was about to embark on a new journey, my first Widespread Panic show. For somebody who has been seeing live music consistently for twenty years now, it came as a shock to those around me I have avoided, unintentionally, Widespread Panic for all these years.
This show came at the end of a week where WSP got nothing but bad publicity, from Mayor Pro Tem Jeff Silvers of Orange Beach, AL admonishing The Wharf for booking them on a holiday weekend due to the “floppiness” and unruly behavior of their fans, to a local news affiliate in Washington DC, discussing the rampant use of nitrous oxide outside of the concert only days before.
Albeit, Spreadheads, as the die-hard WSP fans are commonly referred to do have a reputation for enjoying their booze and getting rowdy. I guess I’m going to have to go see WSP in the south if I want to encounter that type of behavior, because at the newly renovated Kings Theater in Flatbush, Brooklyn the fans seemed to be on their best behavior this Friday evening.
As I showed up to the venue there were no signs of a party taking place anywhere in sight. The crowd was adhering to the instructions of venue personnel and everyone was filling the theater in an orderly manner.
Walking inside the Kings Theater is like entering a palace, newly renovated and pristine. Dwarfing the antiquated look of the Beacon or the glamour of Carnegie Hall. It looked like a palace on the inside, not the type of place you would want 3,200 wasted and unruly Spreadheads.
Most people were coming from their jobs and seemed to be grabbing their first beer of the day just before showtime. Maybe I would see a different side of the crowd towards the end of the show, but at this point everyone was dressed nicely and seemed ready to enjoy some music.
The venue couldn’t have been more accommodating as everyone I came with, mostly WSP veterans, were able to spend the whole evening together, dead center, fifteen rows back from the stage. This was a good thing for me, I always had a little birdie to give me background on the song they were playing.
As the lights went down and the band took the stage, the energy that filled the room was reminiscent of what I normally experience at a Phish show, a band I have been seeing for over fifteen years.
Dave Schools lights his first cigarette of the night, take a few drags, and places it into an ashtray on top of his amp. They let you smoke in here? Only if you’re in the band I assume.
Second song in “Travelin Light” by J.J. Cale. Hey I know this song, and these guys really do it justice, while putting their own spin on it.
Jimmy Herring and Duane Trucks drive this band, they both have a commanding presence and seem to play off each other flawlessly. Wait, they’re not original members? What did these guys sound like before… They sound excellent now.
John Bell’s voice has that perfect amount of southern twang to remind you this is a southern rock band, but not too much where you think this is just a glorified country rock band. Allman Brothers-esque but completely different.
WOW! The Kings Theater has cup holders, I bet this is the classiest venue WSP has ever played. Friend whispers in ear “This is nothing, you have to see Widespread Panic in the south.”
Dave Schools lights another cigarette.
The energy in the crowd is growing with every passing tune, the collective smiles and bright eyes are evident of two things, people passed on the $14 beers for hallucinogens and WSP plays a consistently excellent rock show night in and night out, they seemed flawless, tight, and in tune with what the fans wanted.
Even the jams seem composed, short, and tight. Nothing like other bands that just take songs for a ride for twenty plus minutes into a far off territory, then bring it back to right where it started. They may just be more of a great rock band than a jam band.
Dave Schools lights another cigarette.
“Chilly Water” is a great song, if it were at a festival… outside… in the dead of summer… I bet the red-headed woman next to me would have loved the nearly full bottle of water dumped over her head by the wasted girl behind her. Unfortunately, we were inside, on a 30 something degree night in Brooklyn. She was offered a whiskey to compensate and even the empty water bottle to throw. The two blonde girls next to her almost started a cat fight, but cooler heads prevailed, “It’s just “Chilly Water”” a reasonable gentleman said. In my opinion this is a thousand time better than to be hit in the back of the head with glowsticks, my least favorite Phish tradition. Once again told “You want to see some shit thrown during “Chilly Water” go see WSP in the south…”
I hope this venue has a great system for smokers during setbreak, because I didn’t see one in the venue the entire first set. Shocker… They didn’t; trying to corral 3,000 tipsy WSP fans into a one in one out system to go outside to smoke almost incited a riot. Luckily they gave up on this policy rather quickly. Panic fans like to smoke as much as Dave Schools does.
Everyone is back in there places as set break comes to an end. Halfway to the finish line. Through first set have nothing but respect for the Spreadheads, seems like 30% of the crowd traveled from afar to see their favorite band. On another note, these guys rock and I am really enjoying everything about the show. The music, the venue, the crowd, even the drunk girl who dumped water on our heads, everything is working in perfect harmony.
Widespread Panic comes back on stage; Schools lights another cigarette. I probably wouldn’t be making such a big deal about it but, first off, he smokes a lot, second, I can’t believe the venue allows it, they just spent ninety-five million dollars renovating this place.
The band brings the energy from to start and gets the crowd right back into it.
Sly & The Family Stone’s “Thank You (Falettinme Be Mice Elf Agin)” another song I know. Interesting I have been just as captivated by WSP’s originals that I have never heard before as with the cover’s I know every word too. This is usually a good sign, while most people get lost in all original music they are not familiar with.
Bell & Schools are amazing musicians and talented entertainers, but Herring and Trucks are powerhouses. The bring the type of musicianship that would propel any band to the next level.
This very large man behind us has obviously had too many, and may topple over at any moment. Fans politely move him out to the aisle and security walks him to the back. I’m beginning to think Mayor Silvers of Orange Beach has no clue what he is talking about.
“Up All Night” is an extremely catchy song, and got everyone involved in a sing a long from the first chord. Well everyone but me, but I faked it because I was having such a good time.
Another cover, and another song I know, Warren Zevon’s “Lawyers, Guns, and Money”. The song choice has been stellar up to this point, originals and covers alike.
During “Bust It Big” the band went into full on jam mode. Finally leaving the structure of a song completely behind and taking us to another realm, where still Herring & Trucks led the way.
Panic does an excellent job of keeping the energy level up, not a conscious person in the house was sitting deep into the second set.
“City Of Dreams” encore! I love this song, and Bell does a great job of singing it. One more stellar cover to close out the night.
Oops, I’m wrong, a little ZZ Top to close with “Waitin’ For The Bus” seems like an appropriate band for WSP to cover, given their shared southern roots.
Wrong again, one more ZZ Top tune to close out the night. “Jesus Just Left Chicago” had me singing at the top of my lungs only hearing Bells voice ringing out over my own.
I had a fantastic time seeing Widespread Panic for the first time and have to wonder what took me so long. Maybe, if I saw them in a previous incarnation, with different band members, I would not of enjoyed them as much. I relate this experience to seeing an Elephant at the zoo, no matter how remarkable it is, it would obviously be better to see it in its natural habitat. I am hoping my next Widespread Panic experience can be south of the Mason-Dixon line, in their natural environment.
Dave Schools lights another cigarette.
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The University of Vermont (UVM) hosted its annual Springfest event and invited The Disco Biscuits to jam out this year. Hardcore fans and newcomers were plentiful for this late afternoon set and the band did not disappoint.
Diving right into a daytime “Strobelights and Martinis,” the band was already in sync and you could tell we were in for a treat. “Strobelights” morphed into “Air Song” which slowed things up a bit before segueing into fan favorite “Spacebirdmatingcall”.
The band was having a ton of fun at this point, and so was the college crowd, many who had never seen The Disco Biscuits before. An intense sandwich of “Digital Buddha” into an inverted “Little Betty Boop” back into “Digital Buddha” was certainly the high point of the afternoon. The “Digital Buddha” featured some great interplay between guitarist Jon ‘The Barber’ Gutwillig and keyboardist Aron Magner.
The set ended with a nice rendition of “Little Lai”. They returned for an encore of “Little Shimmy” in a Conga Line which had the crowd dancing to its sweet rhythm and melodies, leaving many wishing they had tickets to the sold out show later that evening at Higher Ground.
The Disco Biscuits – UVM Springfest, Burlington, VT. 4-25-15 Set One: Strobelights & Martinis-> Air Song-> Spacebirdmatingcall-> Digital Buddah-> Little Betty Boop (inverted)-> Digital Buddah-> Little Lai Encore: Little Shimmy in a Conga Line.
Wearing his signature sleeveless vest and neck kerchief, Jeff Beck took the stage at a sold-out UPAC in Kingston on Tuesday, April 21. From 8:50 p.m. until nearly 10:30, the crowd listened and watched in awe, mesmerized by every note.
After his band warmed the crowd up for a minute, Beck strutted onto the stage and picked up a gleaming white guitar. Without hesitation, he jumped headlong into an intense night of jamming. A thick diamond wristband glistened with each turn of his wrist. Beck’s thumb flicked like a hummingbird’s wing across the strings, rapidly and Instinctually. He paid particular attention to the lower end of the guitar’s neck, yielding high, emotional notes that each tap of the whammy bar contorted with surgeon-like precision.
Beck was front and center for the first two quick, yet poignant songs before bassist Rhonda Smith reminded the Kingston crowd that it was no one-man show. Dressed coolly in high heels and harem pants, she swaggered to the front of the stage and dazzled with a long solo, alternating between picking and slapping. Notes flew from her bass in fluid, creative patterns. She flourished in the spotlight before ambling back to her amp for a swig of beer. When she did so, Jonathan Joseph kicked into high gear and erupted for a massive drum solo, mixing in intricate time signatures and utilizing his entire kit.
A few instrumental rock jams ensued. Jimmy Hall stepped up to a microphone and serenaded the crowd with powerful vocals during a Blind Faith cover. He yo-yoed on and off stage all night, showcasing a soulful voice and a huge range when participating. The highlight of Hall’s contribution came during a high-octane cover of Stevie Wonder’s “Superstition.” The final musician on stage, supporting guitarist Nicolas Meier, stood out during a tantalizing Middle Eastern-esque segment of the show.
With the help of the immensely talented musicians surrounding him, Jeff Beck put on an unforgettable show. At times, he hammered his guitar, taking us on a trip to shred-city with carefully orchestrated chaos. Jams teetered on the edge of being so creative and unique they were nearly nonsensical. Before overdoing it, however, Beck nimbly eased up, subtly bringing us back to a comfortable place with gentle meticulousness.
Portions of the concert ranged from bluesy to Middle Eastern to heavy shredding and soul was aplenty. Whether it was covering Hendrix or The Beatles’ “A Day in the Life” or playing original instrumental compositions, Beck held devoted fans spellbound for ninety minutes. Like a fine wine, age has treated the rock hero well; he has not lost a beat, merely added to his repertoire.
Starting the night at 
ShwizZ at Garcia’s Setlist: 12, Duggan, Orange Wreck, Pomegranate, City Of Tiny Lights, Bad Side, Zone, Doorbell, In The Bag, Good Side, Slop Cream, Slow Down, Tax Man, MGF
Diving right into a daytime “Strobelights and Martinis,” the band was already in sync and you could tell we were in for a treat. “Strobelights” morphed into “Air Song” which slowed things up a bit before segueing into fan favorite “Spacebirdmatingcall”.
The set ended with a nice rendition of “Little Lai”. They returned for an encore of “Little Shimmy” in a Conga Line which had the crowd dancing to its sweet rhythm and melodies, leaving many wishing they had tickets to the sold out show later that evening at 
