TV On The Radio And Grizzly Bear Rock The Hollywood Bowl

It had been a while since I'd been able to collaborate with my brother, Paul, on a show project, so when we heard that TV On The Radio and Grizzly Bear were teaming up for a show at the Hollywood Bowl AND Paul was free ... we were there. I've been to a lot of great shows at the Bowl this summer, but none of them really fell into the "Rock" category - and that's what we were in the mood for.

A beautiful Harvest Moon was rising as we took our seats in the Bowl, but the opening act was not rock. It was more like a little bit more upbeat spa music, with modern dancers interpreting it. Kaitlyn Aurelia Smith handled the synthesizer, while three dancers jumped around acting it out. It was o.k., but the Bowl was still pretty empty at this point, and most were pretty well focused on their picnics at this point (ours was courtesy of Bay Cities, and was delicious, thank you). I like listening to anything at the Bowl, so I was fully entertained, if a bit head scratching.

KCRW's Anne Litt took the stage to welcome everyone to the last "World Festival" show of the season, and got cheers just for being Anne Litt - deserved. KCRW is a great curator of shows, and this one was no different. I had read an article in the L.A. Times earlier in the week where both TV On The Radio and Grizzly Bear hinted at this being their last L.A. show - kind of going out with a bang at the big landmark venue that the Bowl is. They both sounded kind of over it and crabby (it was even entitled "Navigating Grumpy Old Manhood" - so we didn't really know what to expect for this show, but we were happy we'd see them before they hung it up. If they do.

TV On The Radio was up first, and they were "Very pleased to be with you here tonight!" Tunde Adebimpe said, "We're gonna blow it that way, and we hope you'll blow it back this way!" It was  very atmospheric to begin with, and then they kicked into "Young Liars" and we got that rock we'd been needing. Adebimpe was dancing all stiff-legged in his style, and soon the whole place was - especially the dude right in front of us - FEELING it.

"Lazerray" went off, as did "Golden Age" and "Province" (that features David Bowie on its recorded version). Horns chimed in on this one, and man, the brass always elevates things, don't they? Love it. The Bowl's bandshell was all psychedelic projections during their set, and that also elevated things, as there was always something fun to look at. Little kids were dancing in the aisles during "Happy Idiot", clearly brought out on a school night by parents that dug these guys 20 years ago.

"Could You", "Winter", ("This is a song about the climate heating up, and affecting people ... but that's not happening") and "Red Dress" were all awesome (with Kyp Malone and his beard alternating lead vocals with Adebimpe), and "Shout Me Out" had them all shading their eyes and looking into the audience for their friends at this hometown show (as they've all since moved to L.A. from Brooklyn). "Trouble" is the song I feel like the whole country needs to listen to right now, as Adebimpe sings, "Don't worry, be happy ... everything's gonna be o.k." ... and for a moment at the Hollywood Bowl - it was.

"Is it the full moon? Can you feel it?!" asked Adebimpe, and we sure did. It was beautiful out, and we felt the good vibes absolutely. "Repetition" was amped all the way up, super high energy for a song "Loosely about an amoeba ... that climbed out of the ocean ... became human ... got thumbs ... and the thumbs are now on a phone ... but you can vote with your thumb! Thumbs UP to the People!" Well, the dancers gave thumbs up to that, and the energy was so full throttle you thought it couldn't get any more hyped, but then they did "Wolf Like Me" and it was bedlam - at least in the box right in front of me. Thumbs up to THAT dude, 'cause he didn't let up for a second. Their last one was their first one, the debut single "Staring At The Sun" ... and it got TV On The Radio a standing ovation, for what we very much hope won't be their last time. They were AWESOME.

Intermission. Picnic. Wine. Chat with box neighbors. Compare notes on shows you've been to. Ignore the guy that said he'd seen them before and they were way better (there's always one of those guys). Look up at the moon. Lights go down - time for Grizzly Bear!

Grizzly Bear took the stage with no introduction, and started things off with the trippy sounds of "Aquarian". "Losing All Sense" was next, and singer Ed Droste (in his "With Pleasure" tee) commented that all three girls from its video were in the house. Fresh. "Cut Out" and "Yet Again" were both "Fine For Now" (then), but their energy just didn't match that of Tv On The Radio's set. Not even close (though the guy in front of me was just as active - it may have been substance-fueled though). It didn't help that their backdrop looked like an asbestos spiderweb, and they didn't utilize ANY lights or projections on the bandshell, so it just looked boring ... and kind of rubbed off on the sound, if I'm honest. It didn't feel special. It didn't feel like one's last show - if it was indeed that. (Grizzly Bear has more shows scheduled, but they're as openers for Florence & The Machine, not headlining their own Bowl show). Maybe it IS time for them to hang it up, if their boredom with it all is this relatable? The little kids were now dozing, and their parents seemed close.

"It's such an honor to play here, let alone with these guys", said Droste in a shout out to their openers. "Ready, Able" - "Mourning Sound" - "Sleeping Ute" - "Two Weeks" - "Foreground" - "While You Wait For Others" (for contrast, TVOTR got Bowie to do backing vocals ... Grizzly Bear had Michael McDonald on this one ... and their sets felt that different) ... one was hard to distinguish from the next.

They did "Knife" and the really good "Three Rings", and then Droste said, "The clock is ticking, so we can't have much banter, but thank you to the crew!" ... and rather than talk, they did another song, and "On A Neck, On A Spit" was probably the high point, with the bass player doing a quick change from bass to sax that was impressive.

"There's no encore, but we feel so lucky to live here! Thank you and good night!" and the house lights came up and that was that ... and we all ambled down the hill humming TV On The Radio tunes. No matter what you see at the Bowl, it's always a great time, and this gig was no different ... just less WOW than it usually is, musically. The venue and the stars (and that moon!) are always wow though, and as another season of wonderful Hollywood Bowl shows comes to a close, we can count our lucky stars that Los Angeles gets to have this special place to share these moments of togetherness and music. We love you, Hollywood Bowl!


Photos by Paul Gronner.

KCRW's Summer Nights Backyard Party With Jim James!

I finally got to see the new KCRW Headquarters in Santa Monica on Saturday night when they held their Summer Nights Backyard Party in the courtyard of their super impressive new digs on Pennsylvania Avenue. The bonus to seeing the new space was that it was for a Jim James (My Morning Jacket) solo gig, and I'll go see that dude anywhere.

It was a perfectly gorgeous evening for an outdoor concert, and the line for the first come, first to get in line stretched around the block for this really fun - and free - event. The crowd was very KCRW Westside Liberal, with friends and families out for a lovely neighborhood jam under the stars. DJ Liza Richardson warmed up the proceedings, spinning popular tracks while people got their buzz on with delish lavender lemonade or spicy tequila drinks - or beer. Food trucks were there, per usual, and a whole lot of schmoozing going on. So much so that when Mr. James took the stage, it was kind of subtle, like he was just all of a sudden there singing "Rainbow Power". "America needs Rainbow Power" is sung truth, and James had the crowd in his hands from then on (aside from the very chatty scenester girls that always seem to be standing near me).

"All In Your Head", "I'm Amazed", and "Just A Fool" were thrown down back to back to back, as James wove his spells among a backdrop of projected art done by Future Lighting that served up a trippy atmosphere that went perfectly with his 70's rock vibe. Backlit with hair blowing in the summer breeze, slinging a red, glittery guitar, James could have been there from a Zeppelin-era time machine. And we were all loving it.

"Throwback" was therefore an apt track to be played, and "Changing World" was straight from now. James sang about living in the now, which was crazy, because I had just run into Rocky Dawuni (another KCRW favorite, the reggae singer from Ghana) earlier and we had talked about exactly that. Living in the moment, as it's all we really have. And these moments were good ones to be living in. Glancing around, everyone seemed happy, and all cares seemed to have been forgotten, at least for the moment.

It's kind of amazing when just one guy with a guitar and no backing band can hold such a big crowd's attention (by now the place was jam packed), but James sure did. "Here In Spirit". "No Secrets". "Too Good To Be True." All awesome. James didn't talk too much, but when he did, he urged everyone to go out and see Blackkklansman - "The most important film in our lifetime". Whoa. That's a pretty hefty claim ... but now I'm going tonight. James sings about things I agree with, so I'll take this as a solid film referral (and get back to you).

"I'm excited to be here to break in this wonderful new space, what a cool place to gather, I'm honored to be here with you tonight," James addressed the surroundings, and I think we all felt the same way. James brought it home with "A New Life", "Rome", "Over And Over", and finished the set with Brian Wilson's "Love And Mercy" with its great line, and great show-ender, "Love and mercy, that's what you need tonight, Love and mercy to you and your friends tonight." How lovely - and we'll take it.

There was no encore, and after the applause died down, DJ Chris Douridas took over the turntables to spin until the party ended ... though no one wanted it to. What a delightful first visit to the new KCRW Campus! If you haven't yet checked it out, there's another Summer Nights Backyard Party next Saturday - this time with Henry Rollins! Yessss!

Bu-huuuut, Oh! Those Su-hum-mer Niiiii-iiiiiights! See you there.

*Photos courtesy Everett Fitzpatrick for KCRW.

Bon Iver + TU Dance Come Through The Hollywood Bowl

In another enchanting evening at the Hollywood Bowl, Sunday night was the West Coast premiere of the collaboration between Bon Iver and the TU Dance company performing "Come Through" for an appreciative Los Angeles audience.

We got there early for once, and were rewarded by both a leisurely picnic and a super interesting performance by "Spiritual America" - another collaboration, by William Brittelle, and performed by Wye Oak with Metropolis Ensemble.

                                                                                                                     Composer William Brittelle

"Spiritual America" is a good title for this project, because it sounds kind of all over the place, but still beautiful ... as spirituality in America definitely also is. We used the term "Experimental" a lot while listening, as it hit you in the same sort of place that Björk's more out there stuff does, then brought it back to a more ethereal, dreamy space, that was made even more so by the colors of dusk and the emerging stars and moon.

                                                                                                                                                Wye Oak

"Nostalgia is a poison," opined singer Jenn Wasner at one point, causing us to do a double-take look at each other and back to her, as I've never thought about nostalgia as such, but when you think about it ... hmm. Their last number was called "Shriek", I believe, and Wasner said it was "about understanding the power of believing in your own myth." But not nostalgia. And that rather nicely sums up their set, and their sound. Wasner closed their set by saying, "We're Wye Oak ... and we did a thing." And we dug it.

We also dug the absolutely gorgeous night that we were sitting within - which was also Scene Central - as scores of KCRW listeners came out in a mass L.A. agreement that this was the place to be. They weren't wrong. Once Bon Iver took to the sparse set of the Bowl stage, with the dancers from TU Dance bringing his music to life, it looked and sounded as if everyone was more than happy to be right exactly there. Here's a sneak preview so you know what I'm talking about:

Justin Vernon (Bon Iver) has come a long way sonically since his breakout hit, For Emma, Forever Ago. This bearded cat from Wisconsin seems awfully far from his cabin in the Wisconsin woods, incorporating Autotune on a majority of the songs - a sound that, honestly, makes me want to puncture my own eardrums to stop hearing. Why, Bon Iver? It's really not necessary, when all the talent gathered is so natural and beautiful, why warp it all up to sound like T-Pain? But I digress ...

                                                                                                                            Bon Iver/Justin Vernon

The St. Paul, Minnesota (so I loved them before they took a step) based TU Dance performed mesmerizing modern dance choreography in front of Vernon and his ensemble of musicians in the dark on a scaffold behind them. Video screens behind them all flashed words like "Laughing" "Crying", "Power" and "America" with trippy colors and shapes swirling into a mind-bending whole that hit all the senses. There was also definitely a socio-political slant to the whole deal, in another example of art being the hammer that shapes reality.

                                                                                                                                                TU Dance

All of the music was new to this project, so no one knew anything to sing or dance along to, but no matter ... we were all happy to just sit there and take it all in over copious amounts of wine. Perfect. As all the songs were new, I have no idea of the set list, but suffice it to say that every track packed an emotional punch, especially when so beautifully enacted by this strong troupe of modern dancers. WOW.

At one point the music even veered into hip hop territory, and caused us to do another double-take ... like "This isn't Bon Iver" - but it was. It was Bon Iver stretching and reaching, feeling and creating, to bring us an extravaganza for the senses in a performance that anyone who was there will not soon forget. The whole place stood up and applauded at the end, breaking the spell, but still leaving us all feeling dreamy, as the dazed masses wandered back out into the streets of L.A.

"Welcome to Hollywood, what's your dream?', asked the street hustler asks at the beginning and end of Pretty Woman. Well, last night for nearly 18,000 people in Hollywood, the answer was Come Through. 

*There are plans for this show to be taken on the road. You will not want to miss.


*William Brittelle photo by Stephen Taylor
*Wye Oak photo by Alex Marks
*Bon Iver photo by Andrew Blackstein
*TU Dance photos by Michael Slabodian
*Bowl performance photos by Craig T. Mathew/Mathew Imaging

The KCRW Best Of 2017 Party!

2017 is almost over, and I think we're all breathing a collective sigh of relief. I know we all breathed one together last night at Apogee Studios for the KCRW Best of 2017 shindig, in the best way possible - through the most acclaimed music of the year.

Music and public radio lovers gathered at the excellent Santa Monica facility run by producer Bob Clearmountain to count down the KCRW D.J. picks for their favorite albums and tunes of the year. Small bites and delicious drinks were served, and the newly added cocktail tables in the studio made it all the more easy to enjoy. Early arrivals were treated to a smooth d.j. set from Reggie Watts, who we discovered is as funny as he is talented. He was soon joined by our host, Morning Becomes Eclectic D.J. Jason Bentley, clad in a holidazzling shiny jacket to be proud of. When Bentley asked Watts what was the highlight of his 2017, he responded after some thought with, "I saw this kid pick up a penny ... " and he was right. That was about as good as it got ... besides the music.

Each album selection was announced by a KCRW D.J. opening a sealed envelope, and after an extra rough week in Southern California with all the awful wildfires and an awful government, everyone was ready to celebrate with some good year-end jams.

The list kicked off with #10, announced by Rachel Reynolds, who books the bands for MBE, and chose Father John Misty as her favorite live session of the year. The tenth spot was given to Elbow for their Little Fictions. Reynolds called it "Incredibly beautiful", and "Absolutely stunning .. you can feel the warmth of their living room in Manchester, England. They played "Magnificent (She Says)" from the album, and it was enough to immediately put it on my to-get list.

Travis Holcombe was up next to announce #9, which was Beck's Colors. "I like happy Beck, and it's been a long time since we've heard him. He's on my personal Mount Rushmore of musical icons, and Happy Beck is even better." When asked if it made his personal list, Holcombe replied that it did not, cracking everyone up. They played the track "Wow", prompting the guys to say that they think Beck has been listening to his kids' records a lot in this return to his "Odelay" sound.

#8 honors were presented by Dan Wilcox, and given to Washed Out for their Mister Mellow. This one DID make the Wilcox Top 10, who said he got lucky because this was the album he had listened to the most in 2017. They spun "Hard To Say Goodbye", and I could see why they gave these accolades to this groovy chill-wave group. Cool.

Smooth-voiced Garth Trinidad came up to throw down the #7 spot, which went to Dan Auerbach for Waiting On A Song. This one was definitely on my personal list, and my album of the Summer. It sounds like Summer. It was also my favorite Apogee session of the year, as I was introduced to this lovely album live in this very room. Trinidad remarked that Auerbach was "Our new generation of greats, when we've lost so many ... he dispels the myth that white people don't have soul." Bentley agreed, calling Auerbach a "Genius", and when they spun "Cherry Bomb" it was not hard to hear why. LOVE this album.

Newest D.J. José Galvan took the stage with his drink in hand, ready to reveal the occupant of the #6 spot. Chicano Batman took it home for their excellent Freedom Is Free. It made Galvan's personal list, and he spoke to the fantastic year this band has had. An epic sunset slot at Coachella that by all accounts was especially memorable, and Bentley commented on how they were the only band there that was really SAYING something, socially and politically. They got the biggest applause so far of the evening, and it got louder when they played the title track, "Freedom Is Free". The bass line gave Galvan shivers, and Bentley added that "They also have style, which I appreciate." Clearly. Chicano Batman is a group you want to know more about, trust a sister.

"You're such a character, I love you.", said Bentley by way of welcoming Jeremy Sole to the stage, to which Sole replied, "I like me." Between his shirt and Bentley's jacket, they combined to "break the internet" as they said, (though this was for a radio show). Sole got #5, and gave it to Gabriel Garzón-Montano for his Jardin, which garnered huge applause. "We can talk about this album all day long,"  Sole said, adding that Garzón-Montano knocked it out of the park this Summer at the Annenberg Space outdoor concert opening for Miguel. He dedicated this album to Prince, so he had me at hello, but it is truly exceptional. Everyone was shouting requests, but they played "Fruit Flies", which was so good it had Sole kicking both feet straight out, yelling, "Come ON!" They also played "Crawl" and Bentley shook his head, saying, "It's SO Prince." It would have been fine if they'd played all the tracks, but we had a list to get back to. When Bentley asked Sole what he was looking forward to in 2018, he answered, "Impeachment!" - which received perhaps the biggest applause of the night. Rightfully so. Get Jardin though - it's great.

Eric J. Lawrence is a real music scholar, and you could kind of tell he wasn't that into the #4 spot that he announced .. LCD Soundsystem's American Dream - which made neither his nor Bentley's (nor mine) lists. Lawrence called it basically a James Murphy solo album, but called LCD Soundsystem "one of the most potent live bands around", and said "I have no problem with the new album." Not exactly a ringing endorsement, but the list makers and Grammy committee must have thought differently. OK.

"I'm having 'Best Of List' remorse!", said Chris Douridas when he took the stage. It really is so hard to choose from so much good music every year, but it has to be done, and the #3 spot this year went to King Krule for The OOZ, probably my own least favorite album of the year. Blech. Like, I'll change the radio station if it comes on, and I love me some KCRW. I don't get why people like this stuff, but they do. They played "Dum Surfer" which made me sick, and made Douridas say "I thought it delivered on his weirdness." Yeah. It did. Moving on ...

D.J. Valida gave #2 to "one of the best poets of our time" - Kendrick Lamar for Damn. This one made Valida's list, my list, and probably everyone else's list at #1, because, just DAMN. His social consciousness, his production, his lyrics ... "He does it all so beautifully," Valida said, and I wholeheartedly agreed. Bentley clearly did not, cutting short the track "Love" saying, "Alright, alright...". Not everything is for everyone (*See: King Krule), I get it, but on this one Bentley may be all by himself.

As I might be in thinking that KCRW's #1 would not have made my any-numbered list, but Raul Campos came up and gave it to The War On Drugs for A Deeper Understanding - which I do not have for the choosing of this album in the top spot. Not my cup of tea, but Campos called their songs "epic" (meaning in their length, I believe), and called their Apogee Session his favorite of the year (I missed that one. On purpose.) I don't mean to be snarky, it's just not my jam. The honors were accepted by Atlantic Records' Brian Corona, who thanked KCRW for "sharing all the musical joy in this room", which there really was. A joy both tangibly felt and sorely needed, especially this weird and trying year. An acceptance video by The War On Drugs was played, and they were rightfully grateful.

Best Song of the Year honors went to Amber Mark for "Lose My Cool", and Best New Artist was given to Tom Misch. How all of the year's music can be gone through and chosen as best is a hugely daunting task, but KCRW does it well, and stresses to the listener once again how very, very important music is to us all in our daily lives, and how important KCRW is in delivering it (their pledge drive is on now - thank them with your support!). Individual D.J. Top 10 lists can be compared HERE.

Bentley thanked everyone for coming, though we should have been thanking him. The party carried on to celebrate this year's victors, but I raced across town to The Miracle Theater in Inglewood to catch a benefit show (for The Miracle Theater Foundation) from Tom Freund and friends. I love the Miracle space, and though I missed a bunch of the music, I caught Freund backing up the excellent spoken word poet, Adwin Brown to a rapt audience. It was another round of awesome music, making us feel lucky we live in an area with so much abundant and wonderful live musical offerings. 2017 is almost behind us, and music was probably the best part of it. THANK YOU to the music makers, and to the people that bring it to us as well. Cheers to an even better list - and world - next year, everyone!

*KCRW photos courtesy of Brian Feinzimer

Ziggy Marley Live With Orchestra At The Hollywood Bowl - One Love!

One of my favorite nights in Los Angeles went down last night with the 16th annual Reggae Night from KCRW at The Hollywood Bowl. It was extra special this year, because the headliner this year was Ziggy Marley playing the songs of his father, Bob - on Father's Day, with the Hollywood Bowl Orchestra for the first time. Special, for sure.

The good times were already rolling when we arrived at the Bowl, due to the ever-awful traffic that one must endure to reach this storied venue. Once there, however, the long lines were a distant memory as the whole place was raring to go to have as good a time as possible. Which we all most certainly did!

The show opened with a set from Keith & Tex that got the people dancing in their seats. It was still light out, and picnics were still the main focus, so these cats provided a welcome soundtrack to the al fresco dining. "Sweet Jamaica", indeed. I ran into a whole slew of people I knew, and many of them were mainly excited to see The Specials. The legendary U.K. punk/ska band had the folks up and at it from the first note. People were excited, and it showed. The dancing was non-stop, as was the wafting of weed from the last row to the stage. It felt like a giant, open-air club, of the best possible kind, with only the very best vibrations. Everyone looked to be in an awesome mood. At one point, Lynval Golding shouted out, "Are there any father's here?!" A huge roar indicated yes. "Well, Father's Day has been cancelled, it's Mother's Day every day!" Right on.

The Specials got quite a long set, and it kept building until it reached the superhits, and the superfans were overjoyed. "A Message To You" was ever-classic, as was the ultra-upbeat, "Monkey Man." By the time Lynval Golding, Horace Panter, Terry Hall, and their excellent backing band reached the final number, "Enjoy Yourself" - well, that's exactly what everyone there was doing. Beyond enjoying themselves, really ... it was just an absolutely perfect night. That was about to get even better.

I LOVE Reggae, and it doesn't get any better or more legit than when played by a Marley. Tonight was Bob's eldest son Ziggy's turn to shine in the spotlight, and the fact that it was Father's Day made it feel even more poignant when Ziggy played his father's songs. Marley was introduced by KCRW host, Aaron Byrd, who said that it felt more like April 20th than June 18th in there, and acknowledged single mothers (like his and mine) who pulled double duty ... "Happy Father's Day, Mom!" We toasted our own mother right then and there. Byrd added that there were three things that brought Los Angeles together ... "The Lakers, The Dodgers, and Reggae Night!" That certainly felt true last night, and when Marley and his band took the stage, as it felt like instant global unity the moment they began to play.

They opened with "Revolution", which was very well received by this most-likely lefty crowd that would be more than fine with a revolution here in the U.S.A. right about now. Timely stuff. "True To Myself" is some great advice disguised in a peppy song, with the line "I can't make you happy unless I am", particularly resonating. "Wild and Free" was an homage to all the marijuana blowing in the breeze, and the miracle that the plant itself truly is. Watching Marley, you can tell he means every word he sings, and performs with everything he's got. His denim shirt was soon soaked through with sweat, from his non-stop dancing and entertaining, with long dreads flying. He's great.

1988's "Tomorrow People" is the one that put Ziggy on the reggae map for me, and he has only made his own name as prominent as his father's ever since. After that one, Marley introduced the Hollywood Bowl Orchestra, who took the stage with their conductor this evening, Thomas Wilkins. I got immediate chills as the majestic horn section chimed in on "Beach In Hawai'i". Orchestras always make everything sound even better - and more emotional. Like on "Love Is My Religion", which is very much true for me, and always brings up a lump in my throat as we used that song for a friend's funeral years ago (RIP Sponto!), and it still always gets me.

The whole place was got when "Is This Love?" started up, and the lights on the Bowl turned to the rasta colors of red, green and yellow. People love themselves their Bob Marley songs, and Ziggy is the closest thing we've got now to the real thing. He didn't speak much between songs, but at one point shouted, "It's so good to see people gathered in unity! Oneness!" That's what it feels like at each year's Reggae Night, total unity and One Love ... and that's why I've never missed one. My soul needs this feeling annually. Thank you! (It should also be mentioned that pretty much all I want is to be a Marley backup dancer or flag waver. I'm available!).

"We Are The People" carried on that theme, and it urges all not to "let them divide us" as we are "People, not corporations" (exactly what we say in Venice these days). "Get Up, Stand Up" - I did, I do. Last night, we all did in there, as this one caused the Bowl audience to leap to their feet, front to back. "Don't give up the fight" ... there's no way we can. Not when things keep happening, like Philando Castile's murderer being acquitted of that crime. NEVER give up the fight.

"One Love" summed up the whole event, as we all sang along to that reggae-defining song that really is the answer to world peace. Just love everyone ... we're all in this together. Why is that so hard for people to remember in regular life outside of Reggae Night? Thank Jah for this reminder of a tune.

Looking around, everyone was so happy, up and dancing and singing (and smoking and drinking and hugging and laughing), that all one could really feel was truly One Love. My heart was full.

"Exodus" was the last song, and proved to be our outro as well, as there was no encore to Marley's surprisingly short set. I haven't mentioned much more about the Hollywood Bowl Orchestra since their first song, because, frankly, it was very hard to hear them. The reggae beats pretty much drowned them out, but it was still nice to know they were there. Or it all blended so seamlessly that you couldn't discern between it, but I think it was the reggae guitar domination. Before our mass exodus, Marley brought out his own kids, who shouted, "YEEEEEAAHHH!" in their Father's Day appearance on this grand stage. With that, the Marleys were off to have their own celebration, and we all filed out, still humming along, with springs in our steps. Happy. Full of One Love.

Reggae Night is the very best. All thanks and praise to KCRW, The Hollywood Bowl, the wonderful bands, and the people that provide all the unity and fun each year for one of my very favorite nights of the year. JAH! Rastafari.


*Photos by Paul Gronner Photography.

Dan Auerbach Live For KCRW Apogee Sessions - Waiting On A Song

KCRW's Jason Bentley introduced Dan Auerbach for last night's Apogee Sessions (at Bob Clearmountain's Apogee Studios) by saying, "Please welcome one of the most important musician/ songwriter/producers of our time," and it was no hyperbole. Auerbach and his friend, Pat McLaughlin, came on to the tiny little stage at Apogee and showed us just why he garners such high praise.

It had been a perfectly gorgeous day in Southern California, and when Auerbach and McLaughlin sat down - and got down - with their first song, "Waiting On A Song" (from Auerbach's new album of the same title), it was so lilting and lovely, it immediately recalled a summer day sitting on a riverbank watching the clouds drift by. For me, anyway. I dug it right away, as did everyone packed in there so tight you truly couldn't move.

By way of introducing "King Of A One Horse Town", Auerbach said that he and McLaughlin had written it together when "We had a fling last summer ... it was hot." He and McLaughlin exchanged looks, and he added, "Nah, not that hot." They sang of how they "could barely pull my weight around", and I got it. Some days even that feels like too much. But we persevere ... often thanks to music. 

"Never In My Wildest Dreams" promises to be this year's big wedding first dance song, trust me. It's so beautiful, and absolutely dreamy, I couldn't help but get choked up. If someone sang you that song - never mind wrote it for you - it would be so on. I instantly got crushes on both of these dudes, as their harmonies wove together a deeply touching love song where the honest lyrics of "Never in my wildest dreams would I be loving you ... dreams come true." The whole joint was in a full on swoon after that one, and hopefully it gave the guys present a mental note to step up their own game. Phew.

"Livin' In Sin" featured some serious riffage from both, and McLaughlin's mandolin really shone. I also like how Auerbach puts his whole body into his playing, really crouching into his guitar and becoming a part of it. These cats are really, truly players' players ... all of which was further illuminated in the interview portion of the evening that came next.  Bentley came back and McLaughlin split to give his chair up for the Q and A.

Bentley shared that Auerbach had just written a song in the green room, and had to immediately record it, which is why the whole shebang started a little late. Auerbach cracked that it would be available for sale at the door on the way out ... and I wouldn't be surprised, with how prolific this guy is. Auerbach, though from Akron, Ohio, has made his home in Nashville for the last eight years, and it's very clear how much he has embraced the legendary music town.  After constant touring for years with The Black Keys, The Arcs, and solo, producing albums for a ton of people (Dr. John, Lana Del Rey, Ray LaMontagne, etc, etc...), he decided to stick around Nashville last summer and just work on writing music. His friend, "Ferg" (David Ferguson) made introductions to all the players and writers around town for him, and before you knew it, he was so inspired he bought a building - a former call center - and turned it into his own studio, Easy Eye Sound.

Easy Eye Sound is now also the name of Auerbach's own label, to help bring music to the world from people that live in Nashville, and have spent their entire lives being creative. "I feel a connection to music that draws from everything, but isn't one thing in particular ... and that is the Easy Eye Sound." I love it.  Auerbach told about how when he was recording his new "Shine On Me", he kept hearing Mark Knopfler's (Dire Straits) guitar in his head, so got his email and sent him the song. Two days later he sent it back with his guitar part  ... "And I've still never met him." That anecdote speaks to how highly Auerbach is respected among his musical peers, and the feeling is mutual. "You pray a song comes along ... that's a bit dramatic, but you want to work with somebody that helps ignite that creative spark." It seems as though there's a whole lot of that going on over at Easy Eye Sound these days, and it feels exciting. "I hoped it would happen, and it's happening. It's very special," he said, confirming that. He said he records so much, and employs so many musicians in Nashville that the President of the Musician's Union pats him on the back when he sees him, saying, "Anything you need." He ribbed Bentley a bit, saying that they have a recording of Bentley saying, "I can feel the reverberation of your rocking through the walls" from a past KCRW performance that they play on a loop to entertain themselves. In those days, all the players wore big beards and intimidated Bentley, he said. Auerbach laughed, and said, "I've never intimidated anyone, it's empowering."

That wrapped up the interview, and McLaughlin returned to help Auerbach further intimidate us all. They kicked off the second set with "Trouble Waits For You", a jangly, strolling along kind of a song. Again, these players were all the way into it, yet kind enough to take us along with them on this jaunt. "Stand By My Girl" (also off the new Waiting On A Song album), which cracked everyone up when they got to the lyric, "I'm gonna stand by my girl ... she'll kill me if I don't." At song's end, Auerbach joked that "That's a true story. Sad, but true." It was again awesome, as was "Trouble Weighs A Ton" from Auerbach's first solo album, Keep It Hid. It was gorgeous, even though Auerbach had promised "not to be too intimidating" - they still were. "You've got a couple miles to go to drive me crazy ..." - Auerbach writes great lyrics, man.

"Shine On Me" is the obvious hit, and was again extra- evocative of summertime. I mean, it shouts out to Raybans. I was feeling a bit of a burn on my arms from a day trip along the PCH, so summertime was on my mind, but if it hadn't been, this song would have done the trick for sure. Blast it, roll down your windows, and enjoy yourselves this summer, friends! With jams like this, you really can't help it.

We all clapped wildly, enough to get the guys to jam one more song, which was "Goin' Home". The beautiful strumming took me back to the river's edge, on a lazy day where maybe getting some Countrytime Lemonade would be the tallest order of the day. Wholesome goodness that instantly made you homesick, even if you were home. I almost hitchhiked from this studio to Minnesota when  Auerbach sang, "I spent too long away from home ...", and it hasn't even been that long. The prominent line from the tune goes, "Be thankful for all you got", and was so just LOVELY that I again choked up - of course. What a wonderful reminder through song - to indeed be SO, SO thankful for what you got, because if you were here, in this moment, hearing tunes like these, you truly had an awful lot to be grateful for.

With that, it was "So long, hope to see you again soon in some form!" and Auerbach and McLaughlin were off - probably to record another excellent tune backstage. And I was off - to go get Waiting On A Song to help me have an even more beautiful summer. I hope you'll have the same! Thanks so much to KCRW for putting on yet another fantastic evening of live music. Love you.

Waiting On A Song is available now - everywhere.

*Photos courtesy of KCRW/Brian Lowe

The Preservation Hall Jazz Band Live In L.A.!

I've been to Preservation Hall in New Orleans, but not when their legendary namesake band was playing. That's been an empty spot in my soul ever since, so when I received the kind invitation from KCRW to attend their private live session with the Preservation Hall Jazz Band at Apogee Studios, I leapt at the chance.

We were greeted upon arrival at the door to Apogee with Mardi Gras beads, and directed to the bar where authentic Hurricanes were being served up to set the tone. It felt festive before the band even took the stage, and only went up from there. The listening room at Apogee Studios is tiny, so we revelers were packed in hip to hip, heel to toe, ready to be dazzled. KCRW DJ Garth Trinidad was our radio host for the evening, and Bob Clearmountain was the host of the event, as Apogee is his excellent, state of the art, perfect sound studio.

Trinidad introduced KCRW jazz aficionado, Bo Leibowitz, to tell the tale of how Preservation Hall came to be. Leibowitz took it all the way back to the 1800's with his encyclopedic knowledge of this "Cultural mélange" of a musical genre. It went a bit long for a SRO audience who were antsy (and drinking Hurricanes), but I'd be into circling back to hear more about it some day ... because Trinidad finally had to cut him off and introduce the band people were fiending to see.

The PHJB took the stage, led by Ben Jaffe, whose parents founded the Preservation Hall, and who serves as bandleader and its upright bass player. Their brand new album - of original songs! - comes out the 21st of April, and we got to hear So It Is front to back, live (and so will you when it airs soon on Morning Becomes Eclectic!). The album was produced by Dave Sitek from TV On The Radio, so you know it's gonna be good. They kicked it off with the title track "So It Is", and the party was officially started then, but really lit up when they launched into the second number, "Santiago". It was pure energy, and featured blistering solos from every player, heavily influenced by their time recently spent in Cuba. These are virtuoso musicians we're talking about, and it was all basically a master class on what you can sound like if you practice your instrument every day of your life like you were taught. WOW.

The whole proceeding was held down by the excellent drumming from Walter Harris, who Jaffe called "the gas in their engine". Indeed. "Innocence" and "Malaga" were both outstanding, and really showed off what a hambone their trombone player, Ronell Johnson, is. His use of his mute and fully infectious enthusiasm was not only super impressive, but impossible not to smile at. This cat is INTO it, every note.

It was cool to see the conversation between the two saxophonists, Charlie Gabriel and Clint Maedgen. Gabriel is the elder, and you could see him flexing his experience to the younger whippersnapper Maedgen, who more than ably kept up, he answered with his own flair. Both of them made my brother wish he had kept up with his own sax lessons. Yep.

"One Hundred Fires" WAS that hot, and pianist Kyle Roussel made sure of that. I was watching the blur of his fingers and thinking simply "How?" - while wishing I'd kept up with my own piano lessons. Yep.

If you want to know what an awesome trumpeter sounds like, pay attention when Branden Lewis plays - though his playing demands it, so you won't be able to help it. Geez Louise! He's so good. All the guys not seated lined up at mics for their song "Mad" and sang "I ain't mad at you, no matter what you do" while we answered with the "Lalalala" chorus. This was the only song with vocals, and everyone was feeling it, and belting it out. It whipped up everyone into a frenzy, so much so that then when the guys left the stage, we could not accept that it was over.

Trinidad brought them out for an encore after all the screaming and whistling demanded it (you'll probably hear me whistle on the broadcast. Sorry.), and Jaffe thanked KCRW, saying they have a cool radio station that they also adore in NOLA as well (WWOZ) so they know what it means. Seriously, thank GOODNESS for KCRW these days! As Jaffe was saying his words of thanks, I was thinking how even as messed up as the world is right now, I hadn't thought about any of it while I was in that room listening to this remarkable band. I was purely in the moment, loving it, and so was everyone else, it appeared. Just as I was thinking this, Jaffe said, "When the world's got you down, think of the Preservation Hall Jazz Band. We love you all." And we love them.

They blazed through an encore of songs from their Jim James produced album, That's It! and we all danced like there was no tomorrow. Because you never know ... and we want to go out dancing.

Thank you to the wonderful Preservation Hall Jazz Band and KCRW for a night of musical escape that no one in there will soon - or ever - forget. Laissez les bon temps rouler - all the way to L.A.!

*Photos courtesy of KCRW and Brian Feinzimer.