Beneath the glimmering disco ball of Webster Hall’s iconic theater, Neal Francis delighted the audience with a night of soulful, high-energy rock ‘n’ roll and funk. Francis commanded the stage flanked by two pianos in a V-formation, like the primed jaws of an ivory beast. Each piano was adorned with an electric keyboard resting on top which he played with an infectious energy, alternating between piano and keyboard, while his band provided a rich, electrifying soundscape behind his voice.

The evening kicked off with the sounds of Improvement Movement, a fitting preamble that primed the crowd with a similar ‘ode to the ’70s-style smooth groove, reminiscent of Fleetwood Mac. Their blend of soft guitar and evocative lyrics set the tone, gearing the stoked audience for an epic show before Francis himself even stepped into the spotlight.

Opening his set with “Problems,” an ironic title in contrast to the easy vibes of the show, Neal Francis wasted no time captivating the crowd; seamlessly transitioning into “Already Gone,” as he danced stooped over both pianos, showing off his dominant stage presence. The synergy within the band was palpable, each member adding their own flair to the experience. The dual-drummer setup was particularly enthralling – one with a traditional drum kit, the other with an unconventional array that included two oversized bongos, a cymbal, a belt of bells, maracas, and various other percussion elements. The drummers played in tandem, not quite call-and-response but in rhythmic symmetry, weaving a complex, intoxicating backbeat.

The whole band played in sync, feeding off each other’s energy, locking eyes as if to silently agree: "Let’s rock." The music felt lived-in and soulful, each note delivered with passion and a deep love for the tunes. Neal Francis and his band didn’t just play their music; they created an atmosphere, a moment, a groove-laden experience that left everyone longing for just one more song.

The packed floor crowd danced in gentle pods as the deep red stage lights weaved through the room, and eager fans leaned against the balcony railings on the second floor, stretching for the best possible view of the jamming band.

Throughout the set, Neal Francis switched from singing, to piano, to keyboard, to all at once, channeling a sound that blended bluesy rock with honky-tonk piano, funk-laden baselines, and sharp guitar riffs that cut through the steady thump of the drums. The audience swayed, bobbed, and grooved to the music, drawn into the joyful and infectious energy floating up from the stage to the highest point of the overlooking balcony. With some encouragement from the crowd, not yet ready to be done with the show, Neal Francis ended the night with an encore of “BNYLV,” and “150 More Times.” Those in attendance won’t soon forget the night they saw Neal Francis groove out at Webster Hall.

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