Photos by Jim Mimna
The Scene: While there were some ominous clouds hanging over Red Rocks as we climbed the stairs and the sky opened up and lightning slashed across the sky stalling our entrance, it couldn’t put a damper on possibly the best overall bill at Red Rocks this summer. Even though we were momentarily barred entrance and in limbo on the stairs, everybody was in high spirits. Blue sky could be seen to the West and the excitement for what was to come was palpable. When we finally got in we were treated to a spectacular double rainbow off to the East directly over the stage. What does it all mean? It meant a golden night for Colorado music!
Opener: Vulfpeck. Vulfpeck is one of the most exciting young bands out there today. But you won’t get gargantuan guitar solos or lightning quick key runs—although Joe Dart is an absolute beast on the bass—Vulfpeck does it with pure groove and electric stage presence, having modeled their sound off session groups like Motown’s legendary Funk Brothers. The band opened up with the very Motown-esque “Christmas in L.A.” but not before they got the crowd hyped up with a volleyball spike type maneuver from the stage. They also immediately got the crowd involved, having each section of Red Rocks sing a different harmony part on the chorus, which they would do throughout their set. Some of the other highlights were “Fugue State” and “Beastly,” but one of the most impressive things about Vulfpeck is that they all switch off instruments. They are definitely a band to watch out for in the future.
In between change outs Denver’s own Mikey Thunder kept everyone grooving, spinning some funk and other dope beats. It was certainly a big night for Colorado musicians.
Opener: Medeski, Martin & Wood. Next up was the incomparable Medeski, Martin, & Wood. These guys have been one of my favorite bands for over 15 years and every time I see them live they seem to get better and it is never, ever boring. I was fortunate enough to see them at Red Rocks a few years back when they opened for JJ Grey and Mofro and I count my blessings that I was able to see them there again. Honestly I think they could headline the venue themselves and maybe one day they will. MMW can sometimes get a little weird, but they kept it pretty groovy. Opening with “Hey-Hee-Hi-Ho” and cycling through a set of funky favorites like “The Lover” and “Just Like I Pictured It.” There was even a “Nocturne” to give a brief respite from the perpetual grooves. MMW is a tough act to follow, but if anyone can do it, it’s the Motet.
The Motet: It was a joy to see our hometown heroes The Motet headline Red Rocks. I first saw The Motet in a little club in Austin called the Flamingo Cantina back in 2002 or 2003 when they were still largely an Afro-beat band. It has been so cool to watch them grow and evolve over the years, and to see their hard work payoff in headlining Red Rocks. And like any good band, they’re still evolving.
It was a different Motet then we’ve seen in the past. One big difference was the absence of former lead singer Jans Ingber’s infectious, dancing stage presence. But new lead singer Lyle Divinsky crushed, and although Jans is missed, lead singing duties are certainly in good hands with Mr. Divinsky. There were some other new faces too. Natalie Cressman of Trey Anastasio Band joined the horn section and it was so great to see Denver’s very own Tanya Shylock singing her heart out (as always) and having a blast. Another missing element where the covers; the band played a lot of material from their stellar new album Totem. It was a treat to see The Motet play mostly original material.
The band opened with the fitting and funky “Damn!” because damn it must of felt good to be playing up there and it sure did in the crowd. Then came another fitting one in “So High,” because Colorado, with Joey Porter getting nasty on the talk box. Next up was a third song from Totem, the Meters-esque “Know it Too Well.” The Motet started out as an Afro-beat band, then evolved into more of classic Funk band, but have now sort of embraced the groovy, riff laden, in-the-pocket jams of New Orleans Funk. This writer is digging the evolution. The only downside to the new sound was that sometimes it seemed like some energy was lost and that things were a bit sparse, but hey, like the old adage says, less is more.
Other highlights included an instrumental tease of David Bowie’s “Fame” during “Nemesis,” with former bandmate, and Big Gigantic founder, Dominic Lalli on sax. But by far the best moment was when John Medeski came out and absolutely ripped it up on “Cloak and Dagger.” There certainly wasn’t a motionless body all night and we can’t wait to see what’s next for The Motet after this watershed moment.
Energy: B+
Musicianship: A
Sound: B+
Stage Presence: B+
Set/Light Show: A
Overall: A
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