The Machine—Saenger Theatre—Mobile, AL—01/18/2014

Written and Edited by: Rosemary A.W. Roberts

Photos by: Clayton Roberts

As a lifelong fan of Pink Floyd, I often fondly recall the one time I got to see them in concert, at the Superdome in New Orleans in 1994. I was seventeen, but even at that young age I was enthralled by the magnitude of their sound, how it seemed to reach inside me and grab hold. But other than a singular performance by Pink Floyd at the Live 8 concert in 2005, and Roger Waters’ touring The Wall, seeing Pink Floyd is no longer possible. However, for those still craving a live stage performance of their incredible music, there is an alternative: welcome to The Machine, a band that has been performing the music of Pink Floyd for 25 years.

Brought to Mobile’s historic Saenger Theatre by HUKA Entertainment near the end of their southeastern USA tour, The Machine arrived onstage amidst smoky shadows, with a large round projection screen at center stage. A pulsing heartbeat, a distant scream, and we found ourselves in “Breathe”, and I had chills. The screen imagery was exactly as you’d expect to see at a Floyd show, and the multicolored lights were perfectly synched with the music. As “Time” followed, I was impressed with how Tahrah Cohen attacked the drums with precision, and also noted that guitaristRyan Ball played the solo note-for-note, on a red Fender that sounded much like David Gilmour’s guitar. Next came the gorgeous ballad “Coming Back To Life”, and it became obvious how similar bass player Adam Minkoff’s voice is to Gilmour’s. “Another Brick In the Wall, Part 2” was intense, with driving bass hits, audience assistance for the chorus, and a record-accurate guitar solo. But The Machine then brought us more, as the band slid into a jam, with all four musicians working together to show that they are in their own right a band. In a way, it’s the best of both worlds, as they deliver the beloved album-precise songs, and then diverge on their own path afterward. Keyboardist Scott Chasolen wove some graceful ambience into the intro to “Learning to Fly”, and next they played the lovely and obscure “Fat Old Sun” from Atom Heart Mother. “Welcome To The Machine” was well done, and Scott Chasolen provided expertly placed synthesizer effects. The first set ended with an excellent version of “Pigs (Three Different Ones)” that included a great outro jam.

After a brief intermission, The Machine returned for a second set, beginning with “Shine On You Crazy Diamond”, giving a sensation like being in the midst of a delicious dream. “Money” was… well, right on the money, down to the timing of the cash register’s clinking. The band did a great job highlighting all the facets of Pink Floyd’s career, including an otherworldly “Echoes”, a bass-funky “Young Lust”, a wistful “Wish You Were Here”, and the rocking instrumental “One of These Days”. The set closing “Comfortably Numb” included a surprise treat, when 92ZEW’s Gene Murrell joined the band onstage to add rhythm guitar to the mix; as for the sublime lead guitar solo, Ryan Ball absolutely nailed it, making for a righteous end of the show. The crowd showed much appreciation with a standing ovation, and The Machine returned to encore with “Run Like Hell”. It turned out to be quite a show, and you can check out their upcoming tour dates here: http://www.themachinelive.com/tour/ .

Mobile and The Saenger Theatre are fortunate to have HUKA Entertainment on their team, bringing great musical acts to our fine city. 2014 will find HUKA Entertainment presenting some amazing concerts at The Saenger, including:

*Gov’t Mule – 2/15

*Buddy Guy and Johnny Lang – 2/19

*Southern Soul Assembly (with Marc Broussard, Luther Dickinson, JJ Grey, and Anders Osborne) – 4/1

*Umphrey’s McGee – 4/3

If you’re in Mobile during those times, be sure to head downtown to the gorgeous Saenger Theatre to see what a great job HUKA Entertainment is doing, bringing musicians sure to stir your spirit!

Galactic featuring Maggie Koerner–Vinyl Music Hall–Pensacola FL–January 15, 2014

It’s unusual to go to see a favorite band play and not have any expectations.  A midweek show, driving an hour to the venue, my mind filled with a list of to-do’s still to be tackled before the weekend, the only thought about the show I was going to see was what some friends had told me: “Galactic always kicks ass at Vinyl.” So, I just assumed it would be a great show and let my mind wander to mundane tasks.  No speculating about set lists, no wondering about guests performers, no guessing about attendees.

Arriving later than intended, unfortunately missing the opening band, I luckily found a nearby parking spot.  Surely this would mean a small crowd on this cold, windy night? Leaving my jacket in the car, I briskly walked to the box office to find a slow-moving line stretching around the corner of the building. Trying to keep my mind off the cold, I listened in to the conversations around me filled with chatter about “Maggie.” When I made my way inside, I found a nearly packed house. Nevertheless, I had no wait at the bar, no line in the restroom and even managed to manoeuver my way through the bottleneck around the merchandise table to the back room. I also wiggled my way to the rail at the side of the stage where I watched friends meeting up and fans claiming their spots ready to get funky.

You could feel the anticipation in the air, and as the lights went down and the cheers went up, Galactictook the stage with bassist Rob Mercurio leading the way into a slow building “Cineramascope.” As each musician added a layer, the song built momentum, and when Ben Ellman joined his sax to the mix, as if to say “WE’RE HERE,” the crowd responded with yells and whistles. I moved back from the rail and deeper into sways of dancers on a steamy “Balkan Wedding” that featured a sublime organ solo from Richard Vogel. The laser-like fingers of the lightsstretched out over the crowd and seemed to pull everyone in, creating a dual feel of a full-size stage show and an intimate private party.

With no delay into the third song, the band welcomedMaggie Koerner to the stage. They took off with “Hey Na Na.”  The party was on as she bounced around the stage; the crowd responded singing “Hey!” with their hands flying in the air.  Accustomed to hearing David Shaw front this tune, Koerner, a co-writer and singer on the album, was equal to the task. A little spitfire with huge gritty vocals reminiscent of Janis Joplin, she kept it coming on one of her own songs, a sveltey, sensual “He Calls Me Mama” (Neutral Ground, 2013) which showcased her soulful sensibilities and dynamic range. Even the non-smokers needed a cigarette afterwards! Koerner then introduced a new song, the pumped up, hip-hop-esque “Dolla Diva”: “You ever met somebody that walked into a club and they just acted like they were the shitty-nitty with one dollar. There’s probably one of you in here. I’ll find you and I will smack you in the ass.”  As fans know, Galactic has had a number of featured vocalists since “Houseman” left the band 10 years ago including Cyril Neville, Corey Glover, and most recently, David Shaw of the Revivalists. (Personally, I’ve been loving Shaw!) Aside from Irma Thomas singing “Heart of Steel” on their 2010 album Ya-Ka-May, however, I believe this is the first female to take the role. There is no doubt that Koerner is a brilliant match in terms of style and sound.  With her rich, sometimes throaty, powerful vocals, and spirited and sexy dance moves, she is an arresting performer, yet she has a compelling down-to-earth way about her. Neither the crowd nor the band could take their eyes off of her. As she left the stage, Corey Henry said it all: “Yeah You Right!”

Opening act, Jamaican artist Brushy One-String, joined the band on an older Galactic tune, “Bongo Joe” that also featured a seriously dirty harp from Ben Ellman. I didn’t know this song even had lyrics, but hearing Brushy, I was sorry I had missed his set.  “Who was this guy?” I asked.  I got shrugs or “he opened.”  I sought him out.  He was incredibly kind, even giving me one of his CDs. With his one-string acoustic guitar, island beat and soulful phrasings, his music is like Reggae-meets-Delta Blues. His story is also extraordinarily inspiring. If you are into roots music at all, or just plain good music, you must check him out at http://brushyonestring.com/.

The second half of the two-hour single set continued with a number of old-school covers, including Dr. John’s “Quitters Never Win,” The Jackson 5’s “I Want You Back” and James Brown’s “It’s a Man’s World.”  Two of the highlights of the whole set, however, were the jaw-dropping instrumentals that keep Galactic fans coming back.  Jeff Raines on slide and Ellman on harp shredded “Shibuya,” while the astounding Stanton Moore threw down like a man possessed. Nasty and fiercely funky southern rock, it’s one of my favorites and my only complaint is that it didn’t last longer. I moved to the back of the house where there was a bit more room to dance and take in the spiraling lights.  It also turned to be where the sound was the best.  The acoustics were balanced and clear and the high energy from the stage was as encompassing as it was at the rail. I was especially glad as Mercurio launched into a solid, complex bass solo during “Ooh Na Nay.” With its unexpected lines and phrasings, it was if he were talking but then, nay, it turned into giving someone a serious talking to. That someone wasStanton Moore who answered Mercurio, phrase for phrase, awing the crowd as he turned his drum set into full out, somewhat sarcastic, scolding! Mercurio gave him a big knowing smile and a “thumbs up” as the room filled with shouts and praises.

Galactic ended the show with a double-encore that included a scorching cover of The Rolling Stone’s “Gimme Shelter” that still left everyone wanting more. Even at midnight on a Wednesday, people lingered about, some flooding the merch table, most hoping to get an autograph or picture or a few words with the band, and none ready for the party to end.

Overall, though it was not a planned strategy, going with no real expectations turned out to be a good thing.  All I found wanting was more.  I would have liked to have seen some of the songs open up and allow more time and space for improvisation, some longer solos and a few more instrumentals. In a seven song stretch, there was only one, “Tornado” that featured the hugely talented Corey Henry on trombone. Still, my friend was right. Galactic does kick ass at Vinyl. The energy between the band and audience was almost tangible.  The atmosphere was fun and relaxed. The crowd was attentive and enthusiastic. Maggie Koerner, certainly the star of the night, brings yet another dimension to the Galactic sound. Some will be critical of that, but I think it is part of what makes Galactic such an interesting band to follow.  They are forever shifting, stretching and evolving. And if this show is any indication, they are as tight and funky as ever. I can’t wait to see what they bring when they return to the Gulf Coast for Mardi Gras season: they’ll be in Mobile, AL at The Soul Kitchen Music Hall, Feb.28^th2014!

One set

Cineramascope, Balkan Wedding, Hey Na Na *, He Calls Me Mama*, Dolla Diva*, Tornado, Bongo Joe #, Quitters Never Win *, I Want You Back *. Daddy’s Song*, Chicken Pox, Shibuya, It’s a Man’s World*, Like a Feather*, Heart of Steel*, Ooh Na Nay,  

Encore:

Does it Really Make a Difference*, Gimme Shelter*,

*w/Maggie Koerner

#w/Bushy One-String

 

Written by: Shari Hartmann

Edited by: Rosemary A.W. Roberts