“Remember this, our favorite town”
A few weeks ago University of North Carolina center Sean May gathered in the final rebound of the NCAA men’s Basketball championship game, helping UNC win their first title since 1993, and bringing an end to the annual tradition know as March Madness. While it is surely the most popular March Madness, it is not the only annual madness that takes place in March.
When the last notes of “Elizabeth Reed” rang out from the stage on March 22 of this year, it brought to an end another annual March tradition, as the Allman Brothers Band closed out their annual spring run of shows at the famed Beacon Theatre in New York City. This annual run also called March Madness, but more affectionately known as Peakin’ at the Beacon, has been taking place every year at the Upper West Side theatre since 1996. The Allmans first began making multi-night runs at the theatre in 1989, with the first March run coming in 1992, but it was not until 1996 that the tradition of spending every March at the Beacon was established. This year their run was ten shows in twelve nights. Some may ask, why the Beacon Theatre? Well, for those who have ever been to the Beacon, the answer to why is obvious.
The Beacon was birthed in 1928, and as with many of its theatre brethren of the same era it began life as a vaudeville hall, before later morphing into a high-end “movie palace.” As with most vaudeville theatres of the time it was discovered that the Beacon was built with near perfect acoustics. This no doubt stemmed from the days before high-tech sound systems, when the audience relied on the power of the performer to be heard. Following its career as a vaudeville hall and later a movie house, it was renovated and turned into a concert venue in 1986. Up until then it was one of the top “movie palaces” in New York City, being both the largest surviving and one of the most well known, with many movies premiering there in the 1960’s and 70’s.
Despite the career changes the Beacon has gone through, it has still retained its original look and design. This is due in large part to the theatre being a nationally registered Art-Deco landmark, which means that the interior is protected from any alteration or destruction. Any work that is done has to maintain the integrity of the original design. This original design includes an open-air marble lobby trimmed in gold, which is entered into through the building’s original bronze doors. The lobby opens up to a set of stairs that lead to two large landings that open to either of two balconies. The landings provide plenty of room for fans to congregate in between sets. Both balconies provide a great look at the stage that is flanked by two large 30-foot tall statues of Greek goddesses. The sound is just as crisp and clear from the balcony as it is from the floor, but the floor is still the preferred spot to be during a show.
With all that in mind it is easy to understand why the Allman Brothers choose the Beacon to hold their annual spring run. The theatre seems to inspire the Allmans each March to new heights, as each run seems to witness the breakout of many new songs, as well as the rebirth of older tunes that had seemed long forgotten. This was documented on the 2000 release Peakin’ at the Beacon, which was released to commemorate the band’s 30th Anniversary. The album captures ten tunes from their 2000 stand. An uneven release, it came at the time of founding member Dickey Betts ugly exit from the band, and is saved by the 26-minute version of “High Falls” that closes out the disc.
Allmans Brother Band, brother in arms Warren Haynes has latched onto the idea of an annual multi-night stand at the Beacon as well. With his own band, Gov’t Mule, Haynes has rung the past three New Years in with a two-night stand at the theatre. The 2002 run was a guest laden fest, coming at the end of their “Friends of the Mule” tour following the death of bassist Allen Woody. The December 31, 2002 show was particularly special as bass legends George Porter and Tony Levin made appearances, as well as Audley Freed, Greg Rzab, and Andy Hess, before giving way to guitarist Vernon Reid who led the band through a blistering version of Miles Davis’ “Freddy the Freeloader” in the 2nd set.
The Allmans and Gov’t Mule are not the only bands that have been so inspired by the old theatre. During a show in 1996, Counting Crows lead singer Adam Duritz attempted a leap from the piano riser during “Angels of Silences” upon landing he tore his ACL. Being so inspired he finished the song and four others before getting treatment for his knee. Widespread Panic gave their fans a special treat as they opened the second night of their 2003 stay with an all-acoustic 1st set.
More recently Bob Dylan and Merle Haggard hosted a string of five shows, from April 25-30, 2005, that by all accounts was simply stellar. As one fan put it the shows were like a, “series of dreams.” Something about the place must breed stability and a comfortable feel for performers, as many bands who play the theatre seem to make it a multi-night run. Phish’s only visit was a three-night stand in April of 1994, which saw the Giant Country Horns join them for the final night. moe. has played a pair of two-night stands. First over a warm September weekend in 2002 that witnessed guitarist Joe Bonamassa join the band for a ripping version of “Happy Hour Hero” during the first night. The second came over Thanksgiving weekend in 2003. Some bands like to return at the same time or for the same reason, the aforementioned Allmans run, Gov’t Mule’s New Years Eve shows, and New Yorkers Medeski, Martin and Wood have set-up shop for three out of the last four Halloweens there. Comedians have found a comfort level there as well. George Carlin has taped all of his recent HBO specials at the Beacon. One of the most highly anticipated runs came in September of 2003. Doubled-up lines stretched for more than a block in both directions, and police had to shut down 74th street to cars, all in preparation for the Dalai Lama who spent a couple of days there preaching in Tibetan from ancient strips of text.
Even before the Beacon was converted into a full time concert venue, it would still host the occasional show. The Grateful Dead staged a two-night stay there June 14-15 in 1976, in what many Deadheads consider to be two of the strongest shows of the year. Grateful Dead guitarist Bob Weir stopped by the same year with Kingfish, during which they recorded their highly regarded live album Kingfish in Concert.
A lush comfortable setting and near perfect acoustics, make every show at the Beacon an experience. Add to that bands that stay for a couple of nights and it can feel just like home. Over multi-night runs it is as if a small community or city within a city forms at the Beacon. You see the same people each night, visit the same spots, make friends with those around you, it becomes a place you do not want to leave. As Widespread Panic sang during their encore of the Talking Heads “City of Dreams” during a three-night stand in 2001, “Remember this, our favorite town.”
Whether it is a face-melting solo from Derek Trucks during the Allman Brothers Band annual spring run, a guest filled evening at a Mule show, Bob Dylan, the master himself reworking his classic songs yet again, or a mind-blowing journey through moe.’s “Rebulula”, a run of shows at the famed New York City theatre will always leave you Peakin’ at the Beacon.
