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.

Jeff Lynne's ELO Live With The L.A. Philharmonic - Roll Over Beethoven!

Jeff Lynne's ELO and the L.A. Philharmonic just shared a three night stand at the Hollywood Bowl and those shows were something to behold. The truly nightmarish Friday night traffic (Thanks, Vice President Biden!) came close to road rage inducing, but the show served as an excellent balm to frazzled nerves once inside the Bowl. We were late, but we were not alone, as hundreds of people were pouring in still behind us. The Bowl staff holds you from your seats until there's a break in the music, so we missed the National Anthem and the first orchestral selection, but it sounded lovely from the concourse.

Once settled in to our seats, the pastoral sounds of a Vaughn Williams March, "Seventeen Come Sunday from English Folk Song Suite played beautifully by the L.A. Phil (conducted by cool cat Thomas Wilkins), instantly relaxed the vibe. It helped that the entire Bowl was a light show, so all senses were fully alert and stimulated. It was awesome right from the beginning, and only got better as the night progressed. Wilkins has a great way with explaining classical music, and a sharp wit, so you look forward to his commentary as much as the music. "You an almost smell the fresh air of the English countryside," said Wilkins, and he was not wrong. that led into two pieces from Sir Edward Elgar, the first being "Nimrod" from his Enigma Variations. It was written for his best friend, and as Wilkins described it, was "Music inspired from true love." You could absolutely feel it.

As the gorgeous sounds swirled around us, so too did all kinds of lasers and prisms and spaceships not only on the jumbo screen, but projected on to the actual Bowl bandshell as well. It felt like we were actually WITHIN the music, and it was excellent. When they closed the first part of the show out with Elgar's Pomp & Circumstance March No. 4 in G, Wilkins said it was not only one of the most beloved works in England, but in all music - and it was clear to see why. It was so transcendently beautiful that even Wilkins raised his firsts in triumph at its conclusion. What a joy.

Intermission was fun as we met and chatted with our very cool box mates and people around, all of whom were thrilled to be getting to see ELO after like 30 years since they've played the U.S.  When Jeff Lynne and the current line-up of his ELO came out with the L.A. Philharmonic players, the place just went nuts. They lit right into "Evil Woman", stoking everybody in there, but none more than the man a few rows in front of us who turned into a dancing machine the moment it began. He was almost as entertaining as the very trippy light show, and that's saying a lot. I've never done acid, but I kind of felt like I had when watching this light extravaganza.

I was also having strong childhood AM radio memories, as all of these ELO songs were hits from back in the day. "All Over The World" featured a world map of lights - and more strong dancing from the Dancing Man, who at this point jogged up the aisle and bumped fists with us all. STOKED. I was happy for him, and maybe a bit jealous that I didn't share his dancing nerve. Lynne addressed the crowd (with his sunglasses at night), saying it was his first time ever playing the Bowl, and that it was beautiful and marvelous. He was fully correct. Before jumping into "Love and Rain", Lynne introduced his daughter Laura, who was performing with him on backup vocals. It was sweet, because you could tell she wasn't all that into being thrust into the spotlight, and also tell how proud he was to be doing it. "She's a lovely girl, and she sings good too!" Dads.

"Livin' Thing" was a real highlight, as it was clear it was many in the crowd's favorite song - but then that was a phrase I kept hearing throughout the show, so there were many highlights for many people. Everyone was up and dancing, and it really was as magic as the lyrics imply. The screen turned into a lava lamp-like projection for "When I Was A Boy", and I thought how awfully similar Lynne sounds to Paul McCartney at times, but especially on this one. "Don't wanna work, just wanna play my guitar instead" probably inspired many young boys, like the one that was now all the way grown and shouting, "YEAH JEFF!" the moment it was quiet. I get it.

A woman sang an operatic aria to open "Rockaria" and the Orchestra really shone on this one too (as they did on every single moment, to be fair. They're incredible!). "This is my favorite song!" chimed in my friend in my box for the opening chords of "10538 Overture" that also featured virtuoso playing from Orchestras, both electric and regular. SO good. "Can't Get It Out Of My Head" was extra dreamy, probably made more so by the pretty much required and massive clouds of ganja floating overhead. There were all these new prism like lasers flying around and when I mentioned that I'd never seen those light show things, the guy next to me said, "Oh, that's just you, I don't see anything" - just to mess with me. Which was appreciated.

"Shine A Little Love" turned the Bowl into a complete Disco dance party, and the ushers pretty much gave up hope of keeping people out of the aisles, as a LOT of love was being shone. "Wild West Hero" might have been my favorite, as it was accompanied by stunning visuals on the screen, and wonderful a cappella harmonies. It was super inspiring, and made me and everyone else really, really want to be wild west heroes. Of course. Lynne introduced his longtime piano player, Richard Tandy (who also shone on a voice box ala Peter Frampton!), but left the introductions of the rest of the players up to his band leader (it must rotate fairly often). They resumed with "Telephone Line", and it was here that I noted that the entire show was a veritable feast for every sense, with all the music and lights and fresh air, and wonderful food for the belly as well. The Bowl is the best and that's just that.

The classic rocker "Turn To Stone" was rad (as were the asteroid field visuals), and "Sweet Talkin' Woman" was equally great, but the place REALLY went off for "Don't Bring Me Down" which changed my mind and was now my favorite (my notes say "Everyone LOVING it!"). "Mr. Blue Sky" was equally joyous, maybe even more so. The band took a triumphant bow with Wilkins after this one, and they all turned their backs to the audience to get a selfie with us in the background. I'd like to see it, because everyone must have looked SO happy.

Everyone came back for the Fireworks Finale, that really was spectacular. "Roll Over Beethoven" was the selection, and the Orchestra began with the very serious/famous tones of Beethoven's 5th, then the ELO came in with the rock, and had there been a roof, it would have been obliterated off at this point. The Fireworks burst in the air above the Bowl, the screens were full of spinning records and more trippy lights and the crowd was absolutely thrilled. All the players were working so hard that I thought to myself how weird it must be to not be seeing how very cool it all looked above and around them. As the last notes rang out, the performers were met with such an ovation that their ears are probably still ringing today (especially after two more nights of this!). It was simply wonderful, and I didn't even know how much of a fan I was until I experienced this show.

Another fantastic show at the incredible treasure that is the Hollywood Bowl. Many thanks to all involved in creating a unforgettable night of music and spectacle. ELO!!! Awesome.


* Photos courtesy of The Hollywood Bowl and Matthew Imaging.

Ben Harper Live With The L.A. Philharmonic At The Hollywood Bowl!

Ben Harper and The Innocent Criminals played with the L.A. Philharmonic for the first time ever at the Hollywood Bowl on Friday night, and it was nothing short of breathtaking. It was the perfect Summer evening under a full moon, and the crowd gathered together at the Bowl was in a fantastic mood. For good reason. Harper has reunited with the Innocent Criminals - a great thing - but this time they had about 50 more in their posse, as the Orchestra players joined the band for this one special night.

There was an air of anticipation and excitement above it all, as people knew this was historic, that Harper had never played with a full orchestra before - and in his hometown - so the also historic venue was full of family, friends, and longtime fans. The buzz grew as the seats filled with picnickers and the sun set as the moon rose.

The opening act was City and Colour (aka Dallas Green), with a solo acoustic set. He (and it's just a lone guy ala the trend of guys naming themselves a couple of things, like Iron and Wine) was an interesting choice to open, as it was pretty mellow. I'm comparing it to the utter disco inferno of Harper's openers the last time at the Bowl (Fitz & The Tantrums), who really got the night going. Green's slow songs mostly about death were not nearly as invigorating, but that didn't stop several gals from shouting, "I love you, Dallas!" throughout his set, putting us all at ease that Green is indeed loved. Or was loved, as the rest of his songs were about lost love. "Just keep your negative tweets to a minimum," Green implored, and I'm sure that worked out, because after he closed with his popular "Lover Come Back" song, he had certainly created a bunch more new fans. Green left the stage saying, "Thank you to Ben ... You're in for one hell of a night!" Yessss.

A brief intermission (soundtracked by Nick Drake) followed, where people poured more wine and stretched. I also noticed a lot more grey heads in the crowd. Grey heads getting coffees for the show. Harper has been playing his multi-genre music for decades now, and his ardent fans have now grown up with him and are sharing his music with their families. It was very much a family affair.

Harper and his original Innocent Criminals took the stage kind of subtly, other than the spiffy suits they wore for the occasion. They got right down to business with a fiery version of "Fight For Your Mind" that featured a guitar and bass battle between Harper and crowd favorite, bassist Juan Nelson. Nelson SHREDDED his bass apart, and Harper graciously cried "Uncle" before the song merged into Buddy Miles' "Them Changes" with Nelson on vocals. The gauntlet was thrown even before the notes of the first song had died out ... and the Orchestra hadn't even shown up yet!

"Thank you! It's a privilege to be here with you tonight!", shouted Harper over the roaring applause. They went right into the very Rastafari number "Finding Our Way" from the latest BHIC album Call It What It Is. The Bowl was lit up in reggae red, green, and yellow as Harper tipped his hat to Bob Marley with a snippet of "Trenchtown Rock" woven in for good measure. "One good thing about music is when it hits you feel no pain!", Harper sang as we all for sure felt absolutely no pain, because this night was already ruling. Harper must have thought so too, as he looked around seemingly in awe of it all.  He name checked a bunch of Inland Empire towns ("Claremont! Cucamonga!") and added, "Your boy made good." Indeed, he did. And when the band lit into the dreamy "Into The Colors", everyone let him know with their whistles, cheers, and yes, "I love you, Bens!"

That one was utterly lovely, and then the entire Bowl sang "Happy Birthday" to guitarist, Relentless 7 hold-over, Jason Mozersky, as a roadie brought out a cake for him to quickly blow candles out on before they went into "Shine", the new one with the catchy, "If you were all I had, I would have it all" chorus.

People loved it, but you could tell they were not yet as familiar with it as the ones like "Welcome To The Cruel World" that came next. People roared to hear the opening chords on Harper's signature Weissenborn of a song that is over 20 years old now - and as great as ever.

The night would only get greater from there, as Harper brought out L.A. Philharmonic conductor, Thomas Wilkins, to introduce the orchestra. "Good evening, Brother!" said Wilkins as he gave Harper a bear hug, in what is clearly a friendship based on mutual admiration. Wilkins said he'd been to Harper's family music store in Claremont and was "like a kid in a candy store" as they are both "instrument geeks". Wilkins asked Harper at what age he switched over to the Weissenborn, and Harper answered that he never switched, "That's where I started." As the musicians filed onstage, Wilkins asked when was the last time Harper had something like this behind him, to which Harper replied, "I've NEVER had something like this behind me before!" - letting us all know that we were in for something extra special.

The orchestra began tuning, and Wilkins said, "This is my favorite sound, because it means it's time to rock and roll!" It sure was. Harper turned around, taking it all in, and said, "That's a lot of Innocent Criminals, huh?!" The extra Criminals were dressed in white, setting them apart, if their clarinets, harps, horns, and strings didn't already do that. They began with the title track from the new album, the very heavy, social justice track "Call It What It Is (Murder)" that calls out murdering police officers to their faces. It had an extra weight with the orchestra playing behind it, and the band was TIGHT (which seems miraculous when you know how little practice there must have been with how much Harper tours). It felt important - and it is.

"Amen, Omen" with its majestic, soaring strings brought me to tears for the first time of the night - but it would not be the last. There's just something about symphonic music that touches my heart directly, and when it's being played over some of the most lovely, heartfelt lyrics ever, you just better have brought some tissue along. I wasn't alone either, I saw people dabbing their eyes - male and female - plenty on that one. The strings section was really showing off throughout, in fact, as they wove their magic through "Forgiven" next, and the whole thing was so gorgeous that Harper would turn around to listen to them during his lyrical rests. It was truly something else.

As was "Power Of The Gospel". First of all, for any act known mainly for rock and blues to come up with this beautiful gospel hymn to above and sing it so raw and meaningfully is pretty dang rare, but then to have it be accompanied by an orchestra of this stature, it really was a religious experience. Complete with the requisite guy yelling out, "Take us to Church, Ben!" He did, and he sang his heart out while doing it - taking off his hat out of respect while doing so. Wow. Just wow.

The crushingly beautiful instrumental "All My Heart Can Take" was next, and Harper turned his chair around to play his Weissenborn facing the orchestra. It was completely silent in the Bowl, save for the chirp of crickets in the surrounding hillside. The music began slow and lilting until building to a crescendo that was again so sublime I felt the tears sting my eyes and my chest tighten. The entire audience was transfixed, and transported up into the stars, where we were more than happy to stay. I'd rewind this part of the night over and over if it was taped, and in my mind, it was. I'm back there
now, in fact ...

'K, I'm back. And so was the show, with "Roses From My Friends", and then one of my favorites, "When She Believes". The song has always made me feel like I'm at an outdoor café in Paris, but now with its added strings and harp and all the glorious rest, it was elevated into something from a real symphony. When Harper sang the line, "Now I have heard a hundred violins crying", he turned and gestured to the orchestra with a big smile that let us know he was as thrilled as we were. He looked so happy that it was impossible to not feel as happy for him. He shared at song's end that he had written that song in 1998 for his daughter Harris on the occasion of him feeling like she believed in him to take care of her. There was very little stage banter as there was a strict curfew to adhere to, so it was nice to hear that little back story.

"Goodbye To You" featured a gorgeous, lush arrangement (all written by David Campbell in collaboration with Harper) that just made you want the night to never end. That's when Harper told us about how he too goes to shows, and just saw Radiohead at Outsidelands, and wanted them to play the hits, so he understands. "Burn One Down, Kisses, I know, I know! See you tomorrow in Santa Barbara!" - meaning that wasn't happening on this night, in this setting, with this orchestra. Exactly no one was mad at that.

You'd think it couldn't get better, but then they threw down, "How Dark Is Gone" and it was SO. GOOD. This one has a kind of Spaghetti Western soundtrack feel to it, and as such, feels automatically epic. Percussionist Leon Mobley was going OFF, and Harper joined him by shaking maracas while singing, as the rest of the band/orchestra made the whole thing simply SOAR. Looking around, all you saw were joyous, rapturous faces enjoying themselves to the fullest. Hit with music, and feeling no pain. Perfect.

Conductor Wilkins came down off his platform and held hands aloft with Harper, as they thanked each other and the audience for what had just been pulled off. There was no time for the usual make-'em-wait-for-an-encore, so they lit right into Harper's anthemic, "Better Way" - a song full of truth and passion that is perfect for these crazy times we're living in - even though it was written ten years ago. It's one of my favorites, and Harper pours every ounce of himself into it, every time.

If you were at that show, you know that we can do more than BELIEVE in a better way, we can DO something about it. That might mean going to a show like this and getting inspired, because so many people feel the same way you do. That might mean having that song get stuck in your head as you hum it to yourself on your commute, remembering Friday's incredible show. And hopefully that might mean that you start thinking of ways you can help to make sure that a better way is being implemented in your life, because every individual effort at making things better affects the whole. So, LET yourself be hit with the music. It truly matters.

Thank you to Ben Harper, The Innocent Criminals, The L.A. Philharmonic, Thomas Wilkins, David Campbell, and the wonderful Hollywood Bowl for giving us this magical night of music that no one there will ever forget.

*Photos By Paul Gronner