Gomez and Black Joe Lewis at the 9:30
Gomez headlines but opening act Black Joe Lewis steals the show.
Sometimes front row center is not a blessing. Such was the case at the 9:30 C
lub last night. When UK rockers Gomez took the stage, the technical gods cursed those of us in the front center as all three vocal mics were muted. It may have been an issue with lead guitarist Ben Ottewell’s amp turned up too high. Whatever the reason, the strength of Gomez lies with its three lead vocalists and I (and friends) could not hear their vocals at all.
Speaking of vocals, Ben Ottewell, in my opinion, is one of the greatest voices in rock and he should be singing harmony at all times when not singing lead. He was a bit underutilized last night.
By the fourth song, I left my prime spot, moved back quite a bit, and voilá! Vocals—loud, clear, and well mixed. As an older Gomez fan, the highlight for me was “Tijuana Lady” from their debut album, the only song they performed from it. Gomez tours the States infrequently enough that “Whippin Picadilly” from that same album should be a staple at their shows and wasn’t played this time, but I digress.
Another highlight for older Gomez fans was “Shot Shot” from their second album, In Our Gun, which opened the show (and during which I rocked out despite no vocals). Another gem they played from that album was “Detroit Swing 66.”
The new album, A New Tide, which comes out tomorrow, sounds pretty good and in line with their usual sound. The single, “Airstream Driver,” is catchy and fun, and Ian Ball does a great job on lead vocals.
But the opening band’s tight 45-minute set stole the show. Black Joe Lewis and the Honeybears, a blues/funk/soul band from Austin, with a funky—and quite multicultural—horn section, positively rocked the place. I’d caught part of their set at Austin City Limits last fall and knew what this seven-piece powerhouse was capable of doing. Joe entertained with “Big Booty Woman,” a song inspired by his observations during a visit to DC. Perhaps most poignant was his song, “Bitch, I Love You.”
As they rolled through much of their debut album, Tell ’Em What Your Name Is, one could
easily detect the James Brown and Lightnin’ Hopkins in his influences. During “Gunpowder,” I was transported back to college marching band as the horn riff was pulled from “Soul Finger.” The set was a booty-shakin’ and enlightening experience.
Sometimes front row center is not a blessing. Such was the case at the 9:30 C
lub last night. When UK rockers Gomez took the stage, the technical gods cursed those of us in the front center as all three vocal mics were muted. It may have been an issue with lead guitarist Ben Ottewell’s amp turned up too high. Whatever the reason, the strength of Gomez lies with its three lead vocalists and I (and friends) could not hear their vocals at all.Speaking of vocals, Ben Ottewell, in my opinion, is one of the greatest voices in rock and he should be singing harmony at all times when not singing lead. He was a bit underutilized last night.
By the fourth song, I left my prime spot, moved back quite a bit, and voilá! Vocals—loud, clear, and well mixed. As an older Gomez fan, the highlight for me was “Tijuana Lady” from their debut album, the only song they performed from it. Gomez tours the States infrequently enough that “Whippin Picadilly” from that same album should be a staple at their shows and wasn’t played this time, but I digress.
Another highlight for older Gomez fans was “Shot Shot” from their second album, In Our Gun, which opened the show (and during which I rocked out despite no vocals). Another gem they played from that album was “Detroit Swing 66.”
The new album, A New Tide, which comes out tomorrow, sounds pretty good and in line with their usual sound. The single, “Airstream Driver,” is catchy and fun, and Ian Ball does a great job on lead vocals.
But the opening band’s tight 45-minute set stole the show. Black Joe Lewis and the Honeybears, a blues/funk/soul band from Austin, with a funky—and quite multicultural—horn section, positively rocked the place. I’d caught part of their set at Austin City Limits last fall and knew what this seven-piece powerhouse was capable of doing. Joe entertained with “Big Booty Woman,” a song inspired by his observations during a visit to DC. Perhaps most poignant was his song, “Bitch, I Love You.”
As they rolled through much of their debut album, Tell ’Em What Your Name Is, one could
easily detect the James Brown and Lightnin’ Hopkins in his influences. During “Gunpowder,” I was transported back to college marching band as the horn riff was pulled from “Soul Finger.” The set was a booty-shakin’ and enlightening experience.
posted by Dana @ 12:31 AM
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