Last week I had tickets for M Ward at Webster Hall and the Avett Brothers at Terminal 5. Since both then booked outdoor shows for Celebrate Brooklyn and SummerStage respectively, I decided to sell those tickets. I was especially happy to not have to go to T5. I hate that place. But here I was at T5 anyway to see Ingrid Michaelson. As much as I dislike the venue I wasn’t going to give up an opportunity to see one of my favorite artists. I was especially interested to see how the new songs would sound live with a full band instead of the half-band she had at Joe’s Pub earlier this year.

rtb and I weren’t able to get the good spot on the second level but we did score two seats on the third level. The sound was much better than it had been for shows I’ve seen in the past and I noticed that they weren’t using the house board but instead Ingrid is now traveling with her own system and they were set up on the floor taking up some valuable real estate. The show was sold out and I’m sure the venue would have rather had extra bodies in there.

There was a paper taped near the box office and I noticed that there was an act before the opening act but I walked by too quickly to read it. On the way in we were offered glow sticks as a surprise for Ingrid but said no because neither of us were sure what the woman was saying.

Even if you didn’t know the woman walking on stage the tremendous applause that greeted her would have clued you in to the fact that this was no ordinary opener. It was Ingrid’s bandmate, Allie Moss. Allie sang a song solo with acoustic guitar and then another bandmate, Bess Rogers, came out to sing and play on two songs with Allie – “Melancholy Astronautic Man” and “Water and Dirt.” Then Allie left the stage while Bess performed solo and then Ingrid joined Allie and Bess on “Bye Bye Love.” There was a funny moment at the end of the song where Ingrid missed a cue. The song felt a bit sadder than the pop original but keeping more with the lyrics. Allie and Bess both sing beautiful harmonies and fit very well with Ingrid. They don’t have Ingrid’s slight quirkiness or exuberant personality. And even where everyone was on their side, the songs were still a bit too quiet for the crowd.

Scars on 45 was another good fit with Ingrid. They’re an English indie rock band who have released two EPs that contain songs featured on CSI: NY and Grey’s Anatomy. The band is Danny Bemrose (lead vocals, acoustic guitar), Aimee Driver (vocals), Stuart Nichols (bass guitar), David “Nova” Nowakowski (keyboards, backing vocals), Chris Durling (drums, percussion), and Matthew Baxter (lead guitar). The songs were all pleasant but I can’t say that I remember any of them. The band was hawking their cds like crazy – going through the crowd, coming upstairs, and standing outside while the crowd left the venue.

Ingrid Michaelson is an indie pop sensation who figured out how to sell out rooms without signing with a major label. Her songs can be heard on TV soundtracks and commercials. They are funny and witty with great music but what makes her special is her just this side of unique voice and powerful stage presence. She can fill a big part of her set with new songs and her fans will pay attention. So I was disappointed that I did not enjoy her latest album as much as everything else she has put out. And this is not a case of ‘I liked her better before she became famous’ or anything like that. I want an artist to grow and explore. Some things work and others don’t. But the cd feels overproduced to me and much darker than her previous work.

And Ingrid looked overproduced also – she was wearing a leather halter, pants, and high-heeled boots. The halter had strips of leather hanging down and her hair was this modern version of a bar mitzvah/Italian wedding hairdo – big rolls going from top to bottom as if she was wearing those big curlers that girls wore in the 1960s (making sure the color of the curlers matched their outfits).

For the first song, “Fire,” each member of the band was beating on a tom and then Ingrid made her entrance. Next was “Palm of Your Hand,” “Soldier,” “Parachute,” and “Corner of Your Heart.” Ingrid played guitar or ukulele for these. Allie and Bess were on either side of her singing harmony and playing guitar. Behind the women were Chris Kuffner (Mr. Bess Rogers) on electric bass, Saul Simon-MacWilliams on keyboards, guitar, percussion, and Elliot Jacobson on drums.

Ingrid now travels with an upright piano instead of an electric keyboard. She then sat at the piano for “Do it Now,” “Blood Brothers,” and “Ghost.” “Blood Brothers” got one of the classic Ingrid treatments with a story about her performance of that song for the Macy’s Thanksgiving Day parade. When she performed “Ghost” I thought it was kind of cool how her shadow appeared on the white backdrop.

The band then left the stage and Ingrid and the crowd all sang “Can’t Help Falling in Love,” which she says she’s performed so often that it feels like it’s her song. For “The Way I Am” she used to instruct the crowd on how to clap along but she couldn’t since she was playing ukulele. As the crowd started to clap she asked them not to because it’s now a much quieter song when she does it solo.

Allie and Bess joined Ingrid for a new song, “San Francisco.” And the rest of the band came out for “In the Sea,” “This is War,” “Overboard,” and “Black and Blue.” Old or new, the crowd sang along for every song. A surprise cover was Rihanna’s “We Found Love.” The disco ball spun and the house lights came up while everyone sang and danced. It would have been nice if the song had been dedicated to Donna Summer. Even better if Ingrid had learned a Donna Summer song for that night.

The band left the stage (although Ingrid assured us that it would all happen as we expected – we would keep applauding and they would return to the stage.) We were told to take out the glow sticks in order to surprise Ingrid so that she came out this –

Ingrid was delighted. It was the last show of the tour and everyone seemed happy to be in NYC. They performed “Come Back” and “Be OK.” Then Ingrid asked Scars on 45 to join them on stage for “You and I.” Everyone left their instruments behind and most of the people on stage took a turn at a lyric. For the “baby how we spoon like no one else” everyone on stage spooned together and kept the position long enough that there were plenty of flashes going off.

The evening ended with probably her best live song, “The Chain.” I can’t say it was the best version I’ve heard but even not the best is better than a lot of what you hear out there.

So not my most favorite Ingrid experience but then I had the pleasure of seeing her in Joe’s Pub earlier this year. And even if I’m a bit disappointed I know that won’t last. I’m sure she’ll delight me soon with new songs.

Lisa Bianco is an artist that people fall in love with the first time they see her perform. It happened to me years ago when she was fronting Red Jacket and I was at a small East Village bar to watch my friends perform. And it’s happened to friends of mine when I take them to see her perform – either solo or with a band. This time I was at The Studio at Webster Hall, which is a small club beneath the giant Webster Hall. While Bianco was on stage the bartender leaned over to me and asked, “What’s her name? She’s great!” Bianco managed to impress a NYC bartender who had seen it and heard it all.

I had never been to a show at The Studio so I was interested in checking out the space. It’s a small space, good sound, and decent sightlines. This Friday night was five bands with each getting a half-hour set.

When I got there an acoustic duo was performing mostly blues. They were very good. Bianco was supposed to go on at 8:30pm and it was time but then another band came on – as usual everything was running late. This band started a small sound check and they were LOUD. For the first time in a very long time I took out my earplugs. They did announce themselves but I wasn’t paying that much attention. They were unusual – it was a little psychedelic sixties with a little heavy rock with some off-tune singing/talking. The female singer was good and should have been given more to do.

Then it was time for Lisa Bianco & the Fury. Bianco is promoting her new cd Momentum so most of the songs were from the new album. Bianco is a knock-out – it doesn’t matter if she’s dressed up or down. This time she was dressed up and looked a little uncomfortable (or maybe I’m projecting because I’d have been uncomfortable with those shoes and short dress on stage). Her outfit said pop but her music and her playing are pure rock and roll. I’ve said it before – Bianco is one of the best guitarists you will ever hear in your life.

The new songs are more of what I want from Bianco – kick ass and loud (by the way, her band was loud without being LOUD) with a sweet soft side also. Ari Sadowitz on bass and Ben Bynum on drums helped fill out the sound that night.

She ended the show with a Red Jacket favorite “Sun Glare.” As always, Bianco blew people away with her playing and my only complaint is the show was much too short.

Last May NYC got David Ford for three nights (spread out – Piermont, Manhattan, and Brooklyn) but this year it’s a short tour with only one night in NYC. There were pleas to buy tickets because if we didn’t then David might never come back to the US. And you know we couldn’t let that happen so rtb, violaleeblue, and I each bought a ticket. violaleeblue couldn’t make it so she gave her ticket to mollyT, who is always fun. And this was her first time seeing David in concert so we knew that would be a treat.

Rockwood Music Hall has expanded and David was playing in the new room with a small stage. The place was packed. I had found a spot leaning up against the railing but the stage wasn’t that high so my view was blocked by a lot of people both tall and not so tall. There were also a lot of people who seemed to love David but found it vital to speak during the quieter songs. I don’t get that at all.

David got up on stage and started playing. It was one of the newer songs and I was dancing and enjoying myself so much that I forgot to write down the title. Since all I could see was his head I couldn’t tell when he was looping but I soon realized that the drums weren’t looped and then I saw the drummer behind him. I’m sorry I didn’t catch his name – he really gave the songs something extra. We don’t get to see David with a band like they do in England so it was a special treat.

“The Ballad of Miss Lily” started off with a Santana guitar cry and Latin beat. The vocal inflections and lyrics immediately made me think of Tom Waits. Next was “Waiting for the Storm” and “Requiem.” When David and the drummer started clapping for “Decimate” and the audience started clapping along he asked us not to and to leave it to the professionals. One guy said he was a musician so David invited him up to clap along with them. “Decimate” led into the first verse and chorus of “You Shook Me All Night Long” and when the audience sang the chorus David realized that the musician and his girlfriend could both sing so he brought them up to lend their Canadians harmonies to AC/DC.

The next song was another new one – “Baby Don’t You Worry ‘Bout Me” (I think). Then “Philadelphia Boy” for which he gave a short intro. We had heard the full story when he played The Rock Shop last year – the nervous breakdown on stage in Philadelphia and how the crowd (and some individuals) got him through the performance. So his heart belongs to Philly. But NYC still loves him madly.

Then we got a bunch of the old favorites – “Go to Hell” “I Don’t Care What You Call Me” “To Hell with the World” “State of the Union” There wasn’t quite the manic energy that we usually get with “State of the Union” but I don’t think the small stage could have supported that much action.

David ended with “Every Time,” which is his answer to “Why aren’t you more successful?”

He hadn’t planned on an encore but we demanded it and our reward was “Song for the Road,” which is always a pleasure.

I don’t like using my flash at shows so these photos are not great. But I kind of like the look of them.

Two friends had an extra ticket (in the orchestra!) for the Metropolitan Opera and invited me to join them to see Guiseppe Verdi’s La Traviata with libretto by Francesco Maria Piave and based on Alexandre Dumas’ La Dame aux Camélias. (Dumas is the son of the author of The Three Musketeers.) The novel and play are based on the Dumas’ life. Most people are familiar with the story from the many movie versions – Camille, the story of a courtesan, who is dying of TB, falls in love, breaks her beloved’s heart when she leaves him so that society will not turn their back on him, he forgives her, and she dies. Opera.

This is a contemporary production with a very stark set. As the audience is getting to their seats the curtain is up. We can see a gray amphitheater with a bench along the wall. On one side is a giant double door and the other has a huge clock leaning against the wall with Doctor Grenvil (Luigi Roni) sitting next to it in a black trench coat. He hovers around like Death frightening Violetta Valéry (Hei-Kyung Hong) until the end when she embraces him. Violetta enters dragging her feet, sick, and weary. She’s wearing a bright red party dress and red high heels but she doesn’t brighten up until the guests arrive and she gives them what they want – all smiles and happy energy. The people at the party are all dressed in black suits and are played by both the male and female chorus.

When Alfredo Germont (Matthew Polenzani) convinces Violetta to love him as he loves her and they go to the country the set is a bunch of sofas covered in floral cloth. Each of them is wearing robes of the same material and the back wall is covered in the same flowered cloth. When Giorgio Germont (Dmitri Hvorostovsky) convinces Violetta to leave Alfredo, she takes the cloth off each sofa revealing a white sofa underneath and all the color drains from the flowers on the back wall.

Besides ticking away the minutes of Violetta’s life the clock also serves as a roulette table and a bed when Violetta is dying.

Choreographer Athol Farmer also has a featured role as one of the guests who dresses as Violeta and teases Alfredo during the masked ball. The choreography is very good. At one point the chorus backs out the door singing and it wasn’t until they were all gone that I realized they’d taken all the sofas with them. It was very subtle. And when Alfredo rages at Violetta it is actually a little scary. The party guests are very menacing while not being violent – it’s very well done.

I found one fault with Willy Decker’s production – a lot of the action takes place upstage and it was difficult sometimes to hear the solos, especially Hong. But the opera moves quickly and I barely glanced at the subtitles because the direction made the action easy to follow. Set and costume designer Wolfgang Gussmann, associate costume designer Susana Mendoza, and lighting designer Hans Toelstede all did a great job.

This was my first time seeing this opera but I thought conductor Fabio Luisi did a wonderful job.

Others in the cast were Kyle Pfortmiller (Marquis d’Obigny), Patricia Risley (Flora Bervoix), Jason Stearns (Baron Douphol), Scott Scully (Gastone), Peter Volpe (Gentleman), Juwan Lee (Giuseppe), and Joseph Turi (Messenger). Among the featured singers I thought Maria Zifchak was a stand-out as Annina.

Hvorostovsky received the most applause of the night and he deserved it.

Violetta was supposed to be played by Natalie Dessay but she was ill. It turns out she was ill on opening night also and Hong filled in for her then. I thought Hong did a very good job but her acting is not as good as her voice and she sounded weak during some moments when I don’t think she was supposed to. But overall she did an admirable job.

At the end of the intermission General Manager Peter Gelb came out to lead a tribute to principal timpanist Richard Horowitz, who was retiring from the Metropolitan Orchestra after 66 years. Sixty-six years! He started with the orchestra right after World War II. Horowitz stood quietly while there was a prolonged applause from the audience. Horowitz is a craftsman, who has made all the batons for James Levine. Horowitz is also a man of very words. It was fun being able to pay tribute to him.

This site has photos from the current production.

Many years ago Schaefer and then Dr. Pepper used to sponsor summer concerts at the Wollman Rink in Central Park. For $5 to $15 you could see top acts surrounded by NYC’s green oasis. Later the concerts moved to the pier next to the Intrepid (where I did not see U2 because who knew they were going to explode and become an arena act?) but it wasn’t quite the same. And then the concerts stopped although we do have SummerStage now.

Twice I saw Hall & Oates at those concerts. Both times Daryl Hall made me cry. I don’t know what it was but there is a quality in his voice when I heard it live that moved me to tears. So there was a lot for him to live up to when I went to see the live version of Live From Daryl’s House at the Beacon Theater. Special guests were Allen Stone and Miss Sharon Jones. I’d never heard of Stone but I knew Miss Jones would live up to all my expectations.

It was a beautiful spring day so I walked the twenty blocks up to the Beacon instead of switching trains. My seat was in the second row of the lower balcony in the center section. What a great seat. While we were waiting there was a screen showing past performances from Live From Daryl’s House.

First the LFDH Band came out and started playing and then Hall and the lead guitarist came out to huge applause. I’ve found mentions here and there online of the band members but I can’t find a full list. Hall played electric and acoustic guitar. There was a lead guitar, keyboard player, electric bassist, drummer, percussionist, and two saxophone/flute players.

The band played a few songs – the show opener, “It’s Uncanny,” “Save Me,” and new single, “Eyes for You.” Then Hall introduced Allen Stone by saying that he had an instant connection with him and that Stone reminded him of a younger version of himself. As soon as Stone opened his mouth you knew why. He sings the same type of blue-eyed soul that made Hall famous. With Stone as with all his guests Hall traded verses so you could hear the maturity in his voice compared with 24-year-old Stone. But Stone held his own with both Hall and Miss Jones. Stone and Hall sang “Celebrate Tonight,” “Figure It Out,” and “Unaware.” “Unaware” is the song that Stone is most known for and it is a wonder that someone so young created a song so simple and so soulful.

Then Hall introduced Miss Sharon Jones as one of the wonders of the world. She came out wearing a red, black, and silver fringed and sequined mini-dress and grabbed the mic and never stopped moving. She engaged everyone in the band and everyone in the audience. She started with “100 Days, 100 Nights” and had the band start playing it with a reggae beat so that she could dance around the stage. During “Tell Me” Miss Jones sang the guitar parts and dueled with the lead guitarist and then she and Hall scatted. Miss Jones asked Hall if he knew her life story and he said he did and the band launched into “I Learned the Hard Way.”

Then the weirdest thing happened. Hall explained that on his show they always break for a cooking spot. But because of the fire marshal they couldn’t set up a grill on the stage at the Beacon. So we watched a video of Tony Luke showing Hall, Stone, and Miss Jones how to make a pizza cheesesteak (Hall’s favorite). Towards the end of the video the audience was getting restless but the band returned just in time with Luke, who sang a song. A cheesesteak song. He wanted the audience to sing the chorus “cheesesteak Philly cheesesteak” and being a NYC audience most of us refused. But that and the occasional feedback (and the buzzing during the first half of the program) were the only problems.

Hall took the lead for one song, then Stone for “Say So,” and then everyone for “Everytime You Go Away.” Miss Jones took one verse that blew everyone away. She said the song reminded her of her mother who had recently passed and then she did another song for her mother, “Got a Thing on My Mind,” where she kicked off her shoes and danced all over the stage. Stone did another song and then everyone sang “I Can’t Go For That.”

Everyone left the stage and keyboards were set up for Hall. Everyone came back and sang “You Make My Dreams” with the audience bouncing and clapping and singing along and then the night was over.

This time Hall did not make me cry but he did live up to my expectations.

It was still a gorgeous night so I decided to walk the twenty blocks downtown to the subway home to Queens. But since I was in the neighborhood I stopped for the recession special at Gray’s ($4.95 for two hot dogs and a drink) because who knew when I’d be back.

My Boys™ were back at Webster Hall. Not my favorite venue for them, especially on a Friday night. Webster Hall starts the live music an hour earlier on Fridays and Saturdays because at 11pm the show has to end so they can clear the audience out and become a dance club. Back in the old days when that venue was The Ritz we used to be able to stay after the bands were done and then dance the rest of the night away to a combination of Motown and New Wave. And before the band came on we’d be entertained by a huge screen on stage showing New Wave videos.

Another reason I don’t care for Webster Hall is because the sound can get muddy. Plus it’s a big space and since I don’t stand right in front of the stage I lose some of the intimacy that I want. Who doesn’t want to be intimate with Lucero?

I got there very early and got the spot that rtb had seen earlier in the week – two platforms sitting on top of each other. Much higher than the bass trap we usually sit on and it was against the back wall with a perfect view of the entire stage and the entire club.

Also a view of all the wires under the sound board.

The problem was how was I ever going to get up there. It would take more than a boost from a friendly stranger. Then I saw the bar stool tucked in the corner between the platforms and the bass speaker. Now we had a stepping stool up. Because I was so high up I felt like a lifeguard. People starting asking me questions about the club and directions to the balcony. The bartenders saw me and laughed. When I got a drink I found out that Webster Hall doesn’t have Ketel One (how is that possible?). The bartender offered me a choice between Grey Goose and Stoli. I dissed the Grey Goose, which he agreed with. I took the Stoli and then he said he did have Absolut but in a tone the assured me that he knew I didn’t want it. Then he offered me a double, which I figured would be convenient because then I wouldn’t want have to leave the platform too often. I don’t know how well that plan worked – I ended up having three double Stolis.

While waiting for rtb and violaleeblue I enjoyed the music – Motown, soul, and R&B intertwined with Elvis Costello and other new wave acts. It was almost like the old days.

I took a photo of the stage while rtb and I were waiting for the opening act. The guy who decided to be in the shot asked me to take a photo of him and his friend, which I refused on the grounds that I had no idea who they were.

I knew I had seen J. Roddy Walston and the Business open for Lucero before. rtb reminded me that it was at Governor’s Island in July 2010. If I hadn’t remembered them before I would have as soon as I saw all that long hair being flipped and thrown. I think they opened with “Don’t Break the Needle.” I’m not familiar enough with their songs to give you a set list. During his set J. Roddy told the crowd that Ben does a better show when he drinks Appletinis instead of whiskey. Later in the set Ben came on stage and set an Appletini on J. Roddy’s upright piano. During Lucero’s set, Ben warned the crowd not to buy him an Appletini. I don’t think I’ve had as much fun with Appletinis since Scrubs.

The Business is old school southern blues rock. The floor was pretty packed for an opening act and most of the crowd knew all the songs. Unfortunately they suffered from the opening act bad mix syndrome. They ended their set with a Led Zeppelin song. I can’t find a list of the band. J. Roddy Walston played upright piano and electric guitar, there was one long haired guy on electric guitar, one long haired guy electric bass, and one short haired guy on drums. I think violaleeblue got there after the The Business were done but she did see Lucero’s full set.

It gets more and more difficult to find new things to say about Lucero. Not because of them but because of my limited vocabulary. They play a kick-ass show that manages to please the old fans and the new fans at the same time. Despite the fears of many of the long-time fans, the incorporation of the horns does not take away anything but only adds an accent that you didn’t realize was missing from the older songs and completes the newer songs. Their mix of hard rock and arena rock with some Memphis R&B and soul delights me. And Ben Nichols’ (vocals/guitar) heartfelt lyrics – whether he’s singing about a lost love or a drunken night or both – combined with his voice where you can hear every shot of whiskey and every smoked cigarette makes every woman want to be the one to mend that heart and makes every man want to live a life that full. Brian Venable (lead guitar), John C. Stubblefield (electric bass), Roy Berry (drums), Rick Steff (keyboards, accordion), Todd Beene (pedal steel), Jim Spake (saxophone), and Scott Thompson (trumpet) make each of the songs sing in way that I am sure that could never happen with any other combination of players.

My only disappointment of the night was that I wish there had been a mention of Levon Helm and maybe even a song in his honor. I know Lucero performed “The Weight” with Guy Venable at the Fillmore but it sure would have been nice to hear something like that in NYC also.

Because I was too far from the stage I couldn’t tell how many requests Ben filled. My seat was great for the view but not so great for getting ‘close’ to the band. It also looked like Ben didn’t get a lot of free shots and he didn’t seem to get that drunk – always a good thing. Also there were only one or two incidents of beer throwing from the crowd. Are they maturing?

My wish is that the next time Lucero comes to NYC they play a smaller venue – Bowery Ballroom, Music Hall of Williamsburg, or Bell House. I like my boys up close where I can see every expression on their faces.

The second song was from the latest album so when they finished with the intro the new banner came down.

Set List

Ben solo with Rick and Todd

Entire Band

Encore

Ben and Todd

Band

Last night rtb, violaleeblue, and I went to see a new (to me) band at Webster Hall. The problem is that the sound at Webster Hall can get muddy. Plus it’s the size of the space – it’s a little to big to get that intimate feeling you can get from a band at Bowery Ballroom or Music Hall of Williamsburg. Mercury Lounge is the best for feeling close to a band. Terminal 5 is the absolute worst for any good feelings. So when I go to a show at Webster Hall I prefer if it’s a band I’ve seen before and that I’m familiar with. Although I did see Ingrid Michaelson, David Ford and the Old 97’s for the first time there. Well, the Old 97’s I saw the second time for the first time at Webster Hall. And keep that thought about the Old 97’s because it’s going to come up again.

The show wasn’t sold out but the floor got very crowded by the time the main act appeared. But when we first got there it was empty enough that I had a clear walk to my spot on top of the bass trap. There was another couple already on there but they drifted into the crowd before the show started. And violaleeblue had to give me a boost up because I’m short with no upper body strength – it took two tries but I got up there. After sitting there for a while I noticed something new. No one said anything to us all night but look what Webster Hall stenciled on there:

Opening act was These United States, who rtb and I saw open for The Head and the Heart at MHoW. They’re a happy bouncy bunch of people. Thrilled to be in NYC. Thrilled to be on tour. Thrilled to be playing music. Nothing of theirs stands out for me but I always enjoy seeing them. Lead singer and guitarist Jesse Elliott is the most thrilled. But also thrilled are pedal steel and electric guitarist J. Tom Hnatow, guitarist and keyboardist Justin Craig, bassist and vocalist Anna Morsett, and drummer and percussionist Aaron Latos. For the last three songs of their set they first brought the mandolin player from Trampled by Turtles, then the fiddler, and then the guitarist/lead singer to join them.

Trampled by Turtles start off slow and quiet but soon speed up to a version of punk bluegrass I haven’t heard since Killbilly and haven’t been reminded of since the first (second) time I saw the Old 97’s. Everyone stands in a straight line across the front of the stage – Erik Berry (mandolin), Ryan Young (fiddle and cello), Dave Carroll (banjo), Dave Simonett (acoustic guitar/harmonical/lead vocals), and Tim Saxhaug (acoustic bass guitar). Everyone sings backing vocals and they all took turns showing off just how fast they could play with the standouts being Berry and Young. There was one point where Young was sawing away so fast and hard that I was reminded of a movie (cartoon?) where the violin bursts into flame (was it Marx Brothers, Three Stooges, or Bugs Bunny?) as if two sticks were being rubbed together for a campfire.

The band alternated between the quiet and fast songs – the audience was appreciative but was talking a little too loudly during the quiet moments. One really nice moment was for “Alone” when These United States came out and stood in a line behind Trampled by Turtles. It was a quiet song until the end when they all started clapping and singing the “ooohs” and the audience joined in and people on the stage were bouncing up and down and people in the audience were bouncing up and down and Webster Hall was bouncing up and down.

Here’s the quiet moment with everyone on stage.

During most of the show there was guy yelling for “Wait So Long” and I thought he was going to have a stroke if they didn’t play it. When the song started, he yelled, the crowd roared, and it was definitely worth the wait. Trampled by Turtles is one of those bands that I’d like to experience in a smaller more intimate venue but I think I missed that chance. So second best is getting to see them with a crowd that adores them.

This was the last weekend of Dr. John’s residency at BAM – this weekend the focus was the music of New Orleans. I got there just before showtime and the lobby was crowded. This time there was an art exhibit and I took a look after the show but nothing really stood out for me.

The opera house was crowded and you could feel the excitement. One of the guest performers was Irma Thomas and I think everyone was there to see her. From the balcony I could see a set of stairs going up onto the stage and I was hoping…hoping…and yes! You could hear the music coming from the back of the theater and there was Dr. John wearing his purple suit and leading the second line with his voodoo walking stick in hand. Behind him was the Dirty Dozen Brass Band and Dr. John’s band – Alonzo Bowens (tenor saxophone), Bobby Campo (trumpet), Ronnie Cuber (baritone saxophone), Sarah Morrow (trombone), and Raymond Weber (drums) beating the bass drum. On stage already playing were the rest of his band – Kenneth Williams (percussion), John Fohl (guitar), and David Barard (bass). Also joining the parade were some friends who came out at the end of the show to dance on stage and some of the night’s performers.

Dr. John sat at the grand piano and Davell Crawford (with magenta hair) joined him on organ for a few songs along with the Dirty Dozen Brass Band and Dr. John’s band. There were a few prayer candles on stage but fewer than the previous weekend. And the skull was sitting on the organ.

Then the Dirty Dozen and Crawford left the stage and Tami Lynn joined Dr. John for “Iko Iko.” Big Chief Donald Harrison (saxophone), who many people know from Treme, joined Dr. John for a few songs and he danced and hopped across the stage during the solos. Next it was Ivan Neville on the organ with Dr. John. Tami Lynn came out again to do a bluesy jazz song.

It was a whirlwind of music that didn’t stop long enough to let you catch your breath. Funky bottoms, blues high notes, with jazz interwoven in Dr. John’s great New Orleans-style.

Trumpet player Nicholas Payton came out and just blew everyone away. He hit high notes that I didn’t even know existed. His two songs were a highlight of the night. We heard Dr. John’s funkified “St. James Infirmary,” which had everyone dancing in their seats.

Finally Irma Thomas came out. As she explained, while she was leaning against the piano, she had just had knee replacement and she didn’t want to be seen with a cane so she had help bringing her to her spot. She was wearing a beautiful black sequin dress and very sparkly earrings. She is a star. Unfortunately we only got two songs from her – “Wish Someone Would Care” and “You Can Have My Husband (But Please Don’t Mess with My Man).” But two songs from Miss Thomas is worth the price of admission.

Dr. John finished up with “Right Place, Wrong Time” and then the Dirty Dozen came back out to have us dance and sing along to the Rolling Stones’ “It’s All Over Now.” Everyone (except Thomas) was on stage for the finale, “Big Chief” with the audience singing “Burn it down, burn it down” as Dr. John danced off stage.

This review has a setlist from the Thursday night show. It looks like it might be slightly different from what I saw.

While leaving the opera house the crowd outside noticed a bicycle built for two that was over six feet high. The woman got on the back seat and the guy walked quickly while holding the handlebars, which were way above his head, and then he just hopped up and was on the bike and they rode off. Everyone on sidewalk applauded. It was one of those moments that a magical night just seems to conjure up.

The southern USA weekend continues in full force. We move from the bayous of Louisiana to Memphis with a short roundabout detour through Texas.

rtb, violaleeblue, and I started the evening at Mable’s Smokehouse, which is next to the Brooklyn Brewery, which is next to the Brooklyn Bowl. The three of chose the pulled pork sandwiches and each of us had a different side. It was delicious and I can’t wait to go back and try the brisket.

As I’ve written before, the Brooklyn Bowl is huge. I was lost in the entryway and it took me a bit to figure out how to get to the bar in the main room. It’s like a maze and I don’t know how people navigate their way around when they’re drunk and the place is crowded. Lucky for us there were three barstools with a straight-ahead view of the stage. Once the place got crowded the view disappeared but there were screens so we could still see what was happening on stage. Just before the show someone came over to us and told us that he’s supposed to take away the barstools so that people can get to the bar more easily. Since we weren’t moving from those spots and we were going to continue drinking it didn’t make much sense for us to give up our barstools and I convinced him to let us keep them. They did finally take them from us just before the show ended but by then we didn’t care.

I’m ashamed to say that we didn’t pay much attention to Jarrod Dickenson. He was solo with an acoustic guitar and we did pay attention to his short soundcheck. The show wasn’t much – the music from most of the songs immediately reminded me of another song. Sometimes the Allman Brothers, sometimes someone else. There was nothing that stood out for me with the lyrics. The three of us were enjoying our conversation and there was nothing he sang that made us sit up and take notice.

While I was listening to the North Mississippi Allstars’ first song I realized how close they get to jam band territory and I was waiting because I knew it would happen and then violaleeblue asked me why I liked them when I hated jam bands. My answer? Because the blues are front and center in everything they do. And because when Luther Dickinson plays guitar there is not a single wasted note. There is not a single note where you wonder why he threw that in. Every note has a reason. The rest of the band is Cody Dickinson on drums and electric washboard and Chris Chew on electric bass. Chew took the lead on a few vocals and when he did you could feel that bass roll across the room and hit you in the stomach. Cody’s electric washboard is a wonder – it’s a psychedelic percussive theremin with a few wah-wahs thrown in. Luther also plays a cigar box guitar but this time he was playing the coils without the box and singing into the pickup. These aguys are truly master musicians and it’s an honor to be the same room with them.

Back to BAM for the second show of Dr. John’s residency at BAM. This weekend’s shows feature Locked Down the Dan Auerbach (Black Keys) produced cd.

For this show the beautiful Howard Gilman Opera House was packed and seemed equally divided between Black Keys fans and Dr. John fans. They were also a noisy bunch – I didn’t mind the woman behind me who kept shouting, “The doctor is in the house,” both before and after Dr. John hit the stage but there was also endless conversations happening all around me.

In front of the closed curtain a man walks across the stage and goes to a jukebox. It wasn’t until I read the Rolling Stone review (which includes a set list) that I found out that the jukebox had been playing all along and that the man was switching it off. Sitting up in the balcony I never heard it.

The curtain opens and the band is onstage and playing. Dr. John in an electric blue suit, fedora, and necklace is front and center sitting at the keyboards. There’s another keyboard at his right, a grand piano further right, and organ behind him. On the front keyboard is a skull. The piano has various percussive instruments and objects on it. There were prayer candles all over the stage.

Stage right is Auerbach, who led the band and lent an occasional backing vocal but otherwise just kept his head down playing. His guitar stayed in the background and was only featured briefly but it was heavy on the bottom as was fitting for the mood and music. Auerbach’s friend Brian Olive was next to him on guitar or with the horn section on tenor sax. Backing vocalists were the McCrary Sisters who gave the dark music the gospel lift it needed to keep from sinking down. Daptone and Antibalas regulars were on stage also – Nick Movshon on bass, Yoshi Takemasa on percussion, Aaron Johnson on trombone, Dave Guy on trumpet, and Leon Michels on baritone sax and keyboards. Max Weissenfeldt from Germany was on drums and if you didn’t already have Dr. John on stage then Weissenfeldt would have been the focus – from his low key hitting of the cymbals to (grand)standing at the end of almost every song. There were also vibes on stage, which is another instrument for the multi-talented Michels but he never touched them.

The band played the cd mixed in with some of Dr. John’s very early music and it all fit together perfectly. Auerbach has brought Dr. John back to the music of Gris-Gris that made so many of us first fall in love with him but with a darker quality because Auerbach had Dr. John dig deep into his past to create some very personal songs.

The show ended with Dr. John at the piano for a solo “Such a Night,” where he showed us all just why we love to hear him play. The band came out and joined The Night Tripper for one more song and then it was over all too soon.

The New York Times reviews both shows.