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artists•January 30, 2025
Lotus
In eastern religions, the lotus flower has many meanings including purity, rebirth, resilience, transcendence, hope, and transformation. As the new year begins, we reflect on the past and pay homage to those who have helped to guide us, which in turn, will hopefully bring good will to our year ahead. That good will was felt on Friday night at Bowery Ballroom as the four-man electronica, jazz, and funk brigade, Lotus, kicked off their 'How to Dream in Color' tour to promote their new album. How to Dream in Color is a poignant tribute to former Lotus percussionist, Chuck Morris, who tragically passed away in 2023 and whose undeniable talent and loving spirit left an indelible impact on the band. From the musicians to their music, Lotus has evolved so much over the years; it seems like every time we see them play, it’s an entirely new experience, and tonight was no different.
From the moment we stepped in the building, the crowd was pulsating with cosmic groove energy and their enthusiasm was infectious. The quartet wasted no time starting things off with a synthwave space jam of “Phantom Tooth” then right into “Livingston Storm” lifting us on a cloud and gently placing us on to the doldrums of a soft flowing river. The first set continued with a jazzy tone and intricate bass melody to start “Slow Cookin’” then quickly blasting into ephemeral stunt guitar chops by Tim Palmieri over upbeat drum melodies from Mike Greenfield that had the crowd shaking like a plate of jello during an earthquake. The mood shifted as Lotus introduced “Glass” from the new album flowing between lo-fi beats and euphoric melodies then ended their set with a rockin’ “Eats the Light” giving a sense of Talking Heads type of nostalgia to their sound along with sing along samples.
It's on my hands, it's in my head
It's all around, it's everywhere
It's on my screen, it's all I see
It eats the light, it's a machine
The beautiful cosum of space and sound continue to meld perfectly as an epic light show and unreal cover started the second set with Lotus playing “Automatic” by Mildlife. Needless to say, we were ecstatic to see a Mildlife cover as we reviewed them a few months ago and thought “the balance between their experimental jams and the more structured grooves kept the energy fresh and unpredictable,” -Sarah Stacki.
From their third track, the set, Spiraling Line of Light, on the music never stopped… literally. The intricate ebb and flow between bass and guitar jams, hypnotic drum beats, and crazy instrumental builds turning into nirvana like counterpoints kept us guessing while making us beg for more. "Juggernaut" was the last tune of their set and took us on an absolute journey through visceral bass lines by Jesse Miller and an array of arpeggios from Tim leading us to the promised land of an impeccable jam.
Short on time, the boys went right into their encore, "Condor," a soaring uplifting number with syncopated piano and guitar and of course Tim cheesing the entire time. As you continue on your journey through the new year, remember the blessings of the lotus flower and celebrate them by seeing Lotus today on their 'How to Dream in Color' tour!
Connect with Lotus on Instagram, Spotify, X, and their website.

artists•January 30, 2025
Lyons Lane
Lyons Lane transported Mercury Lounge into a 50s prom night for their NYC debut, with a suave and fresh take on nostalgic rock. If this first show is any indication, we need to bring Lyons Lane back to NYC.
The night started with The Revel’s sultry guitar melodies. The band brought the energy immediately — sequin jackets, tiny scarves, and all. The production was addicting, and the drums had everyone dancing.
Lyons Lane filled the stage with their six-piece band. The group embodied the prime of alternative rock, down to the greaser hair, footwork, and layered vocal lines. The drum/bass intro to Femme Fatale started our night. From this first song, it was evident that the band loved to perform and woo a crowd. The lead singer, Mark Leo, was sliding across the dance floor with grace -- like the child of Alex Turner and Elvis. The guitarist was smiling and groovin' the whole night. The female vocalist added depth and flirt with her doo-wops. And the saxophonist had a striking resemblance to Kenny G. The band blended perfectly as if they had been playing together for decades, building layers of call and response.
As the show continued, Lyons Lane showed an impressive breadth of sound and musical talent. Most band members joined in on backup vocals throughout the set, giving every song a powerful and soulful texture. Leo turned up his footwork during “Emma’s Addition” and “The Streets We Used to Roam,” twirling around the stage. And they even gave a cheeky shoutout, “this one’s for your girlfriends.” “Stoplight Kissing” felt like the peak of our 50s prom, and we envisioned the crowd in full tulle skirts and tuxedos. The night's climax was “For Josie,” a jolly drinking song that riled up the crowd.
The band gave their twist on classics like Del Shannon’s “Runaway” and Wet Leg’s “Wet Dream,” which they somehow made even more sultry than the original. Leo brought out a gorgeous chrome pink guitar to cover Brenda Lee’s “Sweet Nothin’s” and enunciated, “my baby give me that special look,” with a twang that would make Elvis blush.
Towards the end of the show, Lyons Lane teased some new music, like "Honey Dripped," which featured a dramatic phone call mid-song. Keep an eye out for when they drop this one!
Lyons Lane's cover of the Clover’s “Love Potion No. 9” closed out the night. They make this song their own, speeding up the tempo and featuring a tasteful sax solo that left us craving more of the Kenny-G-lookalike. The night ended with a bang as Leo dropped to the ground in a dramatic end to Love Potion No. 9.
Connect with Lyons Lane on Instagram, Spotify, and their website.

artists•January 27, 2025
Taper's Choice & Friends & Casual Acquaintances
Taper’s Choice, along with a cohort of insanely talented musicians, collaborated for an all night celebration of Relix Magazine’s 50th year anniversary at Brooklyn Bowl last week. With artists from all over the jam world taking the stage, the night was a true ode to the history of improvisation and live music with a setlist of tracks created by the bands that made this publication the psychedelic symphony of journalism it is today.
Relix, originally called Dead Relix, was started by two NYC natives, Les Kipple and Jerry Moore. The periodical started as a newsletter for those involved in the First Free Underground Grateful Dead Tape Exchange in the 1970s so that members in the community could connect with each other. Relix’s first issue was released in September 1974, and it has now evolved into the second-longest continuously published music magazine in the United States after Rolling Stone. Needless to say, there was a lot to celebrate as current co-editor of Relix, Mike Greenhaus, kicked off the night introducing the band, welcoming the Relix community, and inviting listeners at home to donate to The Los Angeles Disaster Relief Fund through Musicares.
We were somewhat unfamiliar with Taper’s Choice before the show, but knew that members of the supergroup are all a part of their own respective musical projects and include guitarist Dave Harrington (Darkside), drummer Chris Tomson (Vampire Weekend), bassist Alex Bleeker (Real Estate), and keyboardist Zach Tenorio (Arc Iris). The ensemble took the stage and kicked off the show with a series of original tracks. Using dynamic and expressive tones through wah-wah pedals, jazz interplay, and playful lyrics, Taper’s Choice brought their own improvisational odyssey, which was a refreshing oasis of jukebox hero-influenced jams.
After a frenzy of original hits, the band brought out an entire horn section of friends, including Stuart Bogie & Lynn Ligammari on saxophone, Jordan McLean on Trumpet, and Dave "Smoota" Smith on trombone. The octet had way too much fun playing “The Dave Test.” Harrington was asked, “Did we pass the Dave Test?” and had to judge the other musicians’ performance like an emperor of Rome during a gladiator contest. An interlude developed as Dave became a classical conductor of the band and soon after, Jake Brownstien from Eggy entered the stage and kicked off “Lick the Toad,” accompanied by a scorching guitar solo from Jake. More comrades joined the party with Eric Slick on vocals and Karina Rykman on bass as the troupe covered “Hook” by Blues Traveler. Alex and Eric absolutely crushed the rap-rock section in “Hook” and had the crowd screaming for more to end the set.
Other co-editor of Relix, Dean Budnick, came out to kick off the second set by delivering inspiring words to donate to those in need affected by the LA fires as well as to thank the incredible Relix staff who make the magazine possible. Right off the bat, we could tell the real Relix get down was about to begin as Taper’s Choice brought out the horn section again along with Scott Metzger on guitar and vocals, and Robert Walter on keys to play “Ain’t Wastin’ Time No More” by the Allman Brothers Band. Metzger had the crowd raging for his soulful rebel riffs as he continued to play both Tapers Originals and covers with JRAD bandmate, Todd Hamilton, who joined in on “Close Encounters” and “Ophelia” by The Band, both displaying incredible virtuoso talent and range.
It’s not everyday you get to play with a living member of the Grateful Dead. But for such a special celebration, the Brooklyn Bowl was blessed to have original Dead member Tom Constanten come out to play keys along with Mikaela Davis on harp and vocals. The duo’s performance had us feeling like we were soaring through the sky as they covered Grateful Dead songs “Mountains on the Moon” and “Dark Star.” Mikaela stole the show with her unbelievable tone and gentle glissando on the harp, making for almost a lullaby sounding experience which paired perfectly with Tom’s improvisational piano.
As if the night wasn’t already filled with enough stars, the set continued with Phish’s Mike Gordon sitting in for an array of Taper’s Choice originals and even Phish covers including “Susskind Hotel.” For a night so magical, what better what to end the set with a bit of fun as the supergroup played a classic, “Coconut” by Harry Nilsson and incorporated Mike on bass, Robert Walter on keys, Ryan Miller on vocals, Eric Slick on maracas, as well as the horn section.
And just when we thought it was over, Mike and Robert came back on stage with Taper’s Choice for a mind boggling cover of “Possum” by Phish, which busted into an insane dance party. To end the show, all the friends and casual acquaintances came back out to perform “Shining Star” by The Manhattans, a perfect way to commemorate all the stars that make this music scene so extraordinary. This was truly one of the best shows we’ve ever seen at Brooklyn Bowl, come check out the Bowl soon and rock into the new year!
Connect with Taper’s Choice on Instagram, Spotify, Twitter and their website.

artists•November 19, 2024
Cory Wong
An ensemble performance is like a tapestry woven from diverse threads. Each strand tells a unique story that embodies greater meaning to the overall piece, creating a stunning narrative of unity and creativity. This same concept was performed at Kings Theatre in Brooklyn where Cory Wong put on an unparalleled display of musical collaboration featuring multiple artists from diverse disciplines, creating a showcase of jazz-funk fusion and comedic relief. Born in Poughkeepsie, New York, raised in Minneapolis, Minnesota, Wong got his start in jazz clubs and eventually toured with different artists like Ben Rector, Vulfpeck, and the Fearless Flyers. Now, touring on his own with support from Mark Lettieri (originally from Snarky Puppy) and special guests Couch, there was no shortage of talent in the building as the Minneapolis Master wove melodies, harmonies, and rhythms to create a rich sonic fabric.
To kick things off, Boston-based band Couch brought a refreshing twist of pop, soul, and theatrical tunes with a full band, horn section, and singer (Tema Siegel). With backgrounds in jazz and musical theater, the performers were not only musically expressive, but also had an electrifyingly charismatic stage presence that captivated the audience. Their bubbly showmanship had us groovin' to upbeat songs like "Still Feeling You" and "Saturday," almost making us feel like we were watching scenes of a live theater show. During their song “Poems,” Couch turned the entire crowd into a Broadway musical, allowing us to harmonize with the music by breaking the crowd into three sections of a choir. The septet kept us on our toes with covers like “Sorry” by Justin Bieber and even a funky version “Conjunction Junction” by Schoolhouse Rock which brought us right back to middle school English class. By the end of the set, the entire crowd was on their feet and ready for Cory to bring the funk.
The curtains rose as an all out funk assault commenced with Cory Wong (guitar), Mark Lettieri (guitar), and the full band including keys, bass, drums, percussion, and five-person horn section bringing the absolute heat to start the show. The set was a culmination of different tracks from multiple bands that Cory is a member of, as well as originals and covers which all created his own incredible tapestry of music. The band started off with a Fearless Flyers classic, “Flyers Direct” – a perfect opener. The set continued with an original track from Cory, “Flamingo,” and Mark, “Tidal Tail,” respectively, both evoking emotions of uplifting story line jazz funk that made us feel like we were a part of a great American epic. Tema Siegel from Couch joined for the next few tracks, “Look at Me” and “Ain't It Fun” by Paramore.
The funk never stopped as Cory brought out singer Jacob Jefferies to join on “How Much Do You Love Me?” by Vulfmon, a more contemplative track that brought a soulful break to the set. Cory ended the set with his original “The Generation Grid,” an absolute groove rendezvous that had the entire crowd clapping along and included a raging boom bap drum solo. In most instances, you might imagine an artist would come back on stage for an encore after they end their set, however, Cory had other plans. The entire ensemble came back onstage for what was claimed to be a Q&A press conference for the audience to ask questions to the band. Questions like “I know that your guitar patterns feel sexually charged at times and I want to know if you’re aware of that or if there’s something you’re doing to make that noise?” had us cackling as Cory responded, “When I play my guitar I think of it as an auditory Rorschach test and I think whatever you are interpreting is maybe something you could release into your own life,” and Mark chimed in saying “Look man, were both married men and we’ve been on a bus away from our wives for a long time… next question.”
The Q&A continued as one fan asked: “Cory, is there any particular song from your previous bands or subsequent acts that you would want to arrange for this ensemble?” This parlayed perfectly into Cory asking the crowd if they would be ok with the band playing “Dean Town” and bringing out Vulfpeck member Joe Dart. The crowd went absolutely nuts as the band ended the show with yet another monster composition that had us grooving along to the beat. Check out Cory Wong as he continues his North American Tour this year and then heads out for his Euro tour in 2025!
Connect with Cory Wong on Instagram, Spotify, TikTok and his website.