In its first U.S. show after five European dates, returned to Friday night before a capacity crowd.
San Francisco funk band Afrolicious began the night getting the early arrivals dancing. With lyrics like “Say, now” and “Take it from the minimum to the maximum,” Afrolicious’ strengths drew from its percussion and horn sections. But the party band turned out to be a good contrast for the heavier material to follow.
Belly dancer Zoe Jakes unveiled Beats Antique’s set under a light rain, winding herself across the stage in a performance accented by Southeast Asian dance traditions. She was present for about half of the songs and sometimes joined by another dancer, such as when the two collaborated on the setap last song with Vegas showgirl peacock feathers, a good sign that Beats Antique is more interested in having fun live than delivering a music lesson. Led by classically trained musicians David Satori and Tommy Cappel, the band explored Middle Eastern rhythms for most of the show, occasionally dipping into klezmer and Eastern European sounds. Pedals and pre-recorded beats augmented an electric banjo, clarinet, baritone sax and drums. Beats Antique pulls you in a bit more with each song until you’re not completely sure whether you’re witnessing music or theater, nor do you care.
The “Corporation’s” supergroup — we lost count at 11 on stage simultaneously — began spotlighting singers Natalia Clavier and Loulou Ghelichkhani, and included Loulou’s haunting take of “Lebanese Blonde” off the album “Mirror Conspiracy” from 2000. As they are known to do, Eric Hilton and Rob Garza’s collection of musicians traveled from genre to genre; there was hip-hop spit by two dance-hall style singers via early Busta Rhymes, plenty of reggae, world lounge and even a curious but danceable version of the Doors’ “Strange Days.”
By the time Thievery closed things out with “The Richest Man in Bablyon,” most in the crowd had danced themselves dry of the intermittent rain showers, if not quite into a sweat. Indeed, Thievery Corporation’s live shows are more energetic than its recorded material, but, itap still groove music.
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Denver-based writer Sam DeLeo is a published poet, has seen two of his plays produced and recently completed his novel, “As We Used to Sing.” His selected work can be read at
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