After a Friday show full of revamped Beatles classics, jazz-funk veterans returned to Saturday night with a new legend to pay tribute to: James Brown. Led by a captivating performance by fellow Royal Family Records artist (playing the role of the Godfather of Soul), Soulive did not disappoint.
Under the circling reflections of the ballroom’s colossal disco ball, the show began at 9:50 with a brief three-song set by Hall. He was accompanied by the Soulive rhythm section, brothers Neal and Alan Evans on keys and drums. Playing a piano center stage, Hall channeled the great Stevie Wonder in his soulful delivery and astonishing vocal range. The 20-minute set grooved, but it was a slow, open ballad where Hall’s vocals were most impressive.
Though they sported classy black ties and stylish fedoras, Soulive’s music was anything but stiff. The trio teased the anxious crowd with two or three minutes of ambient chaos before breaking into an hour long set of dance-inducing original funk.
“This is the last show of our tour,” drummer Alan Evans announced to the rowdy crowd after two songs. “Looks like we are going to end it with a bang!”
The head-turning talent of each member was on display throughout the night. Most noticeable was the dynamic organ playing of Neal Evans via a four-level keyboard rig. In the absence of a bassist, he held down pocket bass lines with his left hand while simultaneously playing fleeting solos with his right — for hours. Jams throughout the night seemed to perpetually build from Neal’s expert use of piercing, sustained chords through his classic Hammond B3 organ and clavinet.
Eric Krasno’s masterful guitar playing also highlighted the first of the band’s two sets. He looked calm and calculated, often with his eyes closed during eye-opening solos. His trademark time keeping was a treat to watch, at one point using hand signals to improvise stop-time hits to the rest of the band. His progressive runs and creative timing left little doubt why he is one of the most respected guitarists on the jazz circuit today.
Just after midnight, Soulive returned to the stage with a tight three-piece horn section. Nigel Hall did the rest. Having mastered the mannerisms and smooth dance-moves of a young James Brown, Hall was the perfect ringleader to conduct the band through a scorching set of James Brown classics. Song after song, Hall was spot-on in his delivery of Brown’s signature shrieking style on crowd favorites like “Gimme Some More,” “Soul Power” and “Make It Funky.” Using rhythmic body signals he seamlessly guided the rest of the band, who responded with alert precision.
It was Alan’s mastery of syncopated funk rhythms and cutting rim-shots that kept the dance floor so alive. Playing through multiple snare troubles throughout the night, Alan’s drumming continued to grow in comfort and complexity as the show progressed. For the band as a whole, playing Brown’s music seemed to be as effortless as playing their own.
After an extended encore performance of Curtis Mayfield’s funk classic “Move On Up,” Hall collapsed on the stage, dripping in sweat. On Saturday night he was “the hardest working man in show business” for one of the hardest working party bands on the scene today.
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Nate Etter is a Boulder-based musician and a new contributor to Reverb.
