Fitting into a genre box is never a comfortable idea for a band, and one as defined as reggae only makes the walls that much higher; yet John Browns Body is capable of bringing reggae to a contemporary point without compromising the music’s traditional foundations. This nine-piece band, complete with full horn section providing the power side of roots-reggae, is an onslaught of island vibrations. As they move from groove to soul, it is continuously the horn section that keeps the band grounded and authentic.
Frontman Kevin Kinsella fires up the crowd with subtle battle cries typical of most reggae singers, but refrains from over dramatizing the conscious lyrics he relays. Although he is the lone guitarist for a majority of the set, JBB takes on a whole new sound, full of space and depth, when Nate Silas Richardson moves out from behind the keys and hooks up on lead guitar. The organ and clavinet are a soft balance, but his tones on guitar resonate the interlocked pain and joy that only reggae can provide. Of course, if you want to really get the crowd moving these days, you have to break out the dub, and if you’re going there, you’d better have a deep low end…they do. The unassuming MVP of the hour set was certainly Scott Palmer. Chest vibrating bass boomed off the walls and reverberated the quickly filling club. Hands were raised and heads were bobbing. A brief rap sit in by the III Kings got things even more heated up, and ready for the main course.
What would take most bands years to solidify, Soulive has done in just a few, a true testament to the professionalism they bring to a thriving music scene. And groove trio really doesn’t do the band justice. These are three real musicians who happen to groove, but you’ll be telling your kids you saw them when. Each member is a top performer on his own right, yet an essential ingredient necessary to capture the Soulive sound. As the lights went out at the intimate Roxy nightclub, a packed house cheered the guys on stage as they were announced over the PA and quickly moved into "Aladdin."
The new high-powered light show wasn’t the only thing blinding the crowd as they tore into "El Ron." With it’s similarities to MMW, and the heavy connection between the Evans brothers driving the tune, it would be easy to overlook Eric Krasno, except for the fact that he is quickly becoming the musical centerpiece of this band. Everyone is well aware of the talent Alan and Neal share, and keeping up with them must be no easy task, but Krasno is reaching new levels in his jazz lines, both traditional and progressive. Smooth, clean notes cry from his guitar, laying gently over the rough and bumping organ work of Evans.
Feeling the energy in the room, the crowd favorite "Hurry Up...And Wait" got the place in a frenzy. Bringing out old friend Ryan Zoidis of Lettuce to play tenor sax, they tore through Doin’ Somethin era Soulive; with heavy beats and deep soul carried by the creatively off-beat rhythms of Alan Evans and the hidden bassline of the keys. Showcasing his talents and poise, Krasno again shined bright on the hottest song of the night, Jon Scofield’s "Hottentot" from the neo-classic A Go Go record he did with MMW.
As with many clubs these days, it was an early night so that the clubbers could have the peak hours. Unfortunately this may have rushed the night, and what may have been an epic Boston Soulive reunion was cut short before 11pm.
Photos courtesy of Adam Marcinek.
