PurpAll Day and All Night at Purple Hatter’s Ball
Photographs by kind permission of Mandi Nulph
Audio recordings by kind permission of Butch Almberg
Who was the genius who booked Spafford to close night one and Lettuce to close night two at Purple Hatter’s Ball? Because those were two of the most astounding performances I have ever witnessed in 50+ years of concert-going.
The answer, of course, is Paul Levine, the man who has lovingly curated the lineups for all 11 Purple Hatter’s Balls. This year’s event was pared down from three days to two, but there was no decrease in the awesomeness of the musical performances, including the four bands who have played every PHB since its inception.
Mother Nature was also involved in the schedule — for several reasons. Due to excessive rains recently, the Suwannee River was too high and the the current too rapid, so the beach was closed. That demanded a change in the schedule for Saturday, which actually was ultimately more convenient than the original. And the weather report suggested a very soggy weekend. Fortunately, the window for rain was relatively short if powerful.
FRIDAY
I didn’t read the schedule carefully enough to realize that Hive Mind was opening the festival proper at 4 PM, missing part of the set before jetting over to the Amphitheater Stage. They were blasting out a superb set of jamtronic goodness to all those who were down on the “floor” and those on the tree-covered tiers of that magical venue.
This band, working out of Atlanta, features Don Cox on guitar, Niles Roberts on keyboards, Dave McSweeney (formerly of Greenhouse Lounge) on bass (and a crutch!), and Rohan Prakash (Space Kadet) on drums. Be sure to check this project out. What a great way to kick off PHB18!
Those who made it to hear Southern Avenue (or have seen them before) saw superstars on a meteoric rise. This quintet delivered a performance that would have fit right into the late ’60s and ’70s, except that sonically it was far more dynamic. Front woman Tierinii Jackson is one of the most dynamic performers you will ever see, a whirling dervish dancing and singing, and what a voice!
Sister Tikyra Jackson adds backing vocals while pounding out the beat at her drum kit. “Freedom” was a great tune, as was “Slip.” Tierinii knocked Aretha’s “Rock Steady” all the way out of the park. This was a magical funky soul show, and we were lucky to be there to dance to it. Hometown Memphis is beaming with pride!
It was a great return to the Spirit of the Suwannee Music Park for Toubab Krewe, who last played Wanee and Bear Creek in 2013. And it was also Dave McSweeney Redux, as Toubab had a last-minute need for a bass player, and who better than McSweeney to fill the slot? It sounded seamless from our side of things.
The first several songs kept to the tried-and-true TK playbook, but then the quintet shifted to a really uptempo jazz feel, followed by another great uptempo change, and another. Luke Quaranta and Terrence Houston were on fire as the percussion duo. They offered the ballad-like title track to new album Stylo, then a really spacey slower tune from the album with a great groove. The first single, “That Darn Squash,” also popped out.
The Heavy Pets represent Sunshine State royalty, and they played a tremendous set of music, much of it from their great new album Strawberry Mansion. We missed the first part while we grabbed dinner. “Higher” from the new album led to “EBR (Real News),” Jeff Lloyd on vocals. “Dewpoint” was next (huzzah!); Jim Wuest always sends this one skyward on vocals and keyboards, such a great dance vamp.
Guitarist Mike Garulli sang the “Fortresses” and “Shahryar’s Rage,” Jeff Lloyd soaring on the solos. West’s organ helped introduce “Everything You Can.” Great love always for the dynamic duo of Tony D’Amato and Jamie Newitt on bass and drums.
An odd thing happened during the break. The music pumping out of the sound system began with the greatest break music I’ve ever heard, followed by absolutely the worst hip hop I’ve ever suffered through. How did that happen?
So. Spafford. Admittedly, I’d only caught a glimpse at Hulaween, and by then my brain was toast, so this was truly the first time seeing this quartet from Phoenix. This was a jaw-dropping, mind-blowing, face-melting performance, and you’ll find near-universal agreement on that point.
Right before they started, Donna said, “I hope they’re not twangy.” So of course they opened with John Hiatt’s “Memphis in the Meantime.” The vocal harmonies were glorious, bass player Jordan Fairless on lead vocal. It was a 15-minute romp with Andrew “Red” Johnson on clavinet and electric piano and Brian Moss with a big guitar solo. After a slower vamp for a bit, they launched into some astounding jamtronica, at a more frantic pace than anything I can remember. Johnson’s synths colored everything. Mostly, my notes say HOLY SHIT. This is Spafford’s patented “electrofunk therapy.”
They pinball from an odd tune with weird vocals to bouncy rock and then more crushing trance-dance music, Brian Moss’s guitar killer and Cameron Laforest with his foot on the throttle, wide open. You know we called them back for an encore. They surprised by playing a great cover of “Into the Mystic,” with Johnson singing (no foghorn, though), and they finished off Friday night playing “The Reprise.”
Spafford FTW!
We were unaware that the ubiquitous Custard Pie, Valdosta’s jam ambassadors, were hosting a late-night gig nearby. And apparently missed on whale of an afterparty with the Breaking Biscuits boys!
SATURDAY
The entire schedule was revamped due to the riverfront closure. Once again, I misread the lineup and missed all but the closing tune by Catfish Alliance, Sex Manatee wailing on “Give It Away.”
I returned to camp to get Donna. Dubconscious was already on stage as we approached exactly when the first big thunderbolt shook the park. We hightailed it back to camp, not one minute too soon, as the skies opened up.
And it rained. And rained. And rained a lot more. The butterfly release with Mama Margie in honor of Rachel Hoffman, the girl in the purple hat, was postponed until about 6 PM.
Then it was time for Vlad the Inhaler, performing on Uncle Charlie’s Porch Stage. And that was exactly the time I discovered a massive and total failure of our easy-up. I am glad we could hear Vlad, who was throwing down an incredible set, because I never made it over there in person. One dead easy-up and — fortunately — minimal leaking in the tent.
Roosevelt Collier is a park superstar, and he was joined for this outing by Rodrigo Zambrano (bass), Armando Lopez (drums, Electric Kif), and Jason Matthews (keyboards, Electric Kif). The quartet began with a huge 20-minute jam. The jams got totally crazy when the Lettuce boys — Benny Bloom, Nigel Hall, and Ryan Zoidis — joined in. When they left, Collier got down and dirty bluesy. Another long jam emerged, Matthews with a tremendous Hammond B3 solo. Zambrano and Lopez really showed their mettle on the closing Hendrix-like funk jam.
The next stop was up the hill to the Porch Stage again, this time to see one of my favorite fun bands, Tallahassee’s Trial by Stone. Their music is an unadulterated amalgam of ska, rock, funk, punk and reggae. They were one trombone short of their two-trombone approach, but it didn’t affect the sound at all, as they blasted through many fan favorites. After the opening “Jah,” Buck Lemons, front man, vocalist and guitar player, led us on the “why-o” chorus to “Grow.” “17” was full-throttle ska, followed by “Whiskey and Pickle Juice.”
“Police” was another ska delight, introduced on trombone, with rhythm section John and Wes (bass and drums) setting the pace. Buck announced dancehall music, and out poured “Rick James” with my favorite line: “We’re stronger together; you do the math.” After “Dub Vader,” Buck made sure we knew the words so we could sing along with “Fuck You Mr. Fuck Face.”
They were still getting set up on the other stage. Buck said, “We’ve got one song left. Two songs. Ten minutes left? That’s unheard of! Ten minutes left. We’ll play 12 songs. We’re a punk band!” They did “Radio” and then “Best Buds.” More? Buck: “A few more minutes. That one was about smokin’ weed. This one’s about drinking acid.” Perfect ska FTW.
There was great anticipation about the Breaking Biscuits set to come, a collaboration with Aron Magner and Marc Brownstein of The Disco Biscuits and Adam Deitch and Jason Borahm of Break Science. Brownstein has never met a collab he didn’t love and didn’t nail, never more true than here. Magner was on the left as we viewed them, Borahm on the right.
I’ve seen Break Science numerous times and Lettuce a lot, always loving both. Somehow, though, I had never properly appreciated Deitch, whose performances in this set and later with Lettuce were nothing short of magnificent.
Deitch and Brownstein laid down a superb bottom as the keyboards danced on top. the opening tune featured Magner on synths, Borahm on delightfully jazzy electric piano. Then it was Magner on clavinet as Borahm played synths. Smokin’ disco funk poured out next before Roosevelt Collier joined the party for a raucous “1999.” Borahm played the vocals on synths, and Deitch was stratospheric.
Brownie had a bass featured with Borahm again laying down some really jazzy electric piano before they powered into a tune much like Conspirator’s “Orch Theme.” What a tremendous set from this quartet!
MZG had the last set on the Porch Stage. I love this duo of twin brothers, and I have always appreciated their wide-ranging mix of electronic music and their dancing. This set was a simple DJ set, and I was unmoved. I’d love to tell you that Charles and Zachary Weinert had a great night, but it wasn’t — for me. This is more about my tastes than theirs.
Lettuce party! This was — by far — the most amazing performance I’ve ever heard from this New York powerhouse, and all of them have been amazing. Two hours, no letup, no letdown, just pure funk. Benny Bloom decorated the monster opener with wah-wah trumpet. Third song of the set, Ryan Zoidis busted out some Maceo-style alto sax, stupid funk perfection.
Nigel Hall took a great spin on synth, Deitch just remarkable before another alto feature. Adam (Shmeeans) Smirnoff was killer all set long on guitar. Then Hall took us to church with “Can I Get a Witness?” (not the Marvin Gaye tune). “Squadlive” as badass as always. If you are familiar, when they get to the “Can you help me?” portion of the program, it usually goes “one time,” “two times,” “three times,” and “four times.” But here? 1, 5, 3, 10, 8, and I have no idea. It was wild!
We highlighted Deitch’s amazing work at the drum kit all night, but I failed to point out the other centerpiece of this funk juggernaut, and that would be Erick (Jesus) Coomes, the monster bass player front and center on stage and in the mix. He is a beast, none better at what he does for his band.
Yoga and acrobatics were just a few of the activities on tap Saturday.
There was a great display of art up on the hill to the right of the Amphitheater Stage, including installations by Because of the Lotus, the Complimentary Bar, Short-Cut Camp, and numerous others.
And I did find the Custard Pie jam later on, if only briefly. Those boys are cookin’!
Eleven Purple Hatter’s Balls in the books, thanks to Paul Levine (we’ll say right now we wish there was never a reason to HOLD the PHB). We look forward to heading to the Spirit of the Suwannee Music Park next June to hear great music, be with wonderful fiends, remember the legacy of Rachel Morningstar Hoffman, and release butterflies with Mama Margie.
