Kung Fu Stuns the Crowd at Dunedin Brewery

They’re called Kung Fu because you can’t hit any harder than that. You just can’t.

Kung Fu played the Dunedin Brewery (Florida) Sunday, December 9th, the band’s only no-cover show of the year (great thanks to Michael Lyn Bryant for consistently bringing nationally touring acts to DunBrew, all with no cover charge — and great beer).

The Connecticut quintet’s first set was superb, but the second set was jaw-droppingly astonishing, like a freight train hitting you full force. They speed-shifted into fourth gear immediately in the first set with “Prime Time Rib” from the band’s 2016 album Joyride. Those who had not yet gone toe to toe with Kung Fu felt the force, especially Tim Palmieri’s blistering guitar.

The other very noticeable thing about this set was look of joy on the face of each of the gents; they were having an absolute ball. It didn’t hurt that this Sunday night gig was the last of their fall tour and that they would get to drive home the next day, but it was much more than that. They were having a blast.

After “Scorpion,” another powerhouse tune, things got beautifully intricate with “Paragon” (from Tsar Bomba). Palmieri was playing “softly,” quietly, then with some intricate interplay with bassist Chris DeAngelis, who was brilliant all night. Right near the end, Palmieri slipped in a quick “O Tannenbaum” quote.

Let’s stop right here to let me recite my mantra: in the moment, this was simply AS GOOD AS IT GETS.

Also, rock music depends on the rhythm section, and there is none better than the pairing of DeAngelis and the mighty Adrian Tramantano on drums, who by this point had shifted into fifth or sixth gear — at the very least.

“Lurker” was killer, with more wicked jamming from Palmieri and DeAngelis and a fine solo from Rob Somerville. “Daddy D” was the first place where Beau Sasser really stood out, this time on synths. Somerville had also pointed out that this was Sasser’s first time at Dunedin Brewery, saying, “By the end of the night, you’ll discover this is your favorite place.” And he meant it.

Many of the tunes had vocals, and all but Tramantano sang at some point, and the group’s harmony vocals are excellent. They shut down the first set with a huge “Chop Suey.” The very sight of this band, with Somerville blowing his brains out through his tenor saxophone, is a joy-filled experience. My notes were scribbled on the back of a Tasting Tray form, so they do not adequately indicate all the great solos Somerville played and when.

We thought that set was fabulous. We had no idea what was about to drop.

“Cookie Monster” came roaring at us at 200 MPH, and then it seemed there was an awesome segue — but still the same song. Then an even more incredible segue practically tore down the building, as “Chin Music” simply exploded in every direction. Jaw-dropping was NOT a figurative phrase; it was literal. And the band stepped aside for a great drum feature for Tramantano.

In the middle of “The Getdown,” they turned DeAngelis loose for a great solo (I still contend that what he does within the structure of their songs is more impressive, but people like solos). When the band jumped back in, Sasser’s organ was front and center.

Next, they let Sasser have a turn. He took us to church first with some great organ, and then it turned lounge-y. It was at this point that Sasser spoke the five words that sent me to my happiest of happy places: “‘Caravan’ with a drum solo.”

(On Frank Zappa’s 1967 masterpiece Absolutely Free, there is a song called “America Drinks and Goes Home.” Ray Collins is singing like a lounge singer as people are talking and laughing in the background, and glasses are clinking and breaking. Collins announces last call for alcohol: “Drink it up, folks,” then starts fielding requests. “Oh, ‘Bill Bailey’? We’ll get to that tomorrow night. ‘Caravan’ with a drum solo? Right. We’ll do that.” Actually he says “sola,” but he’s drunk. That’s the reference. Sasser was thrilled when I mentioned it after the show, but not as thrilled as I was!)

Sasser then directed the lounge act into “S’all Good,” Palmieri jubilantly singing the chorus. This was so sick. As it segued into “Oh Shit (I’m Fucked Up),” everything seemed to go KAPOW, Sasser abusing his clavinet, DeAngleis pumping out space bass, and guitar and drums in complete overdrive.

As it continued to build, the tension in the packed room was palpable, as if we were being lifted right off the floor. Palmieri began to turn the jam toward “Somebody’s Watching Me,” briefly, before it headed smack dab into “25 or 6 to 4,” Somerville with the lead on sax. Eventually, it became fully formed as “Samurai,” a simply stunning jam. Palmieri had another of those gorgeous “quiet” solos, and it’s always great to see a man who still uses and appreciates his whammy bar.

Finally, they were done. It was astonishing, stunning, magnificent. Heap on all the superlatives you want.

I am not always a big fan of encores. Honestly, Kung Fu had given us their all (and, somehow, even more). We had heard the best they had to offer. But the crowd was insistent on one more, and the boys were happy to oblige. They chose something short and familiar. At several stops on this tour, including the previous evening in Boca Raton, Kung Fu had played a full set of Steely Dan music. Because somebody requested it, they encored with “Black Cow,” and everybody was happy.

It’s going to take quite a while to get all those melted faces off the floor.

[ONE: Prime Time Rib, Scorpion, Paragon, Lurker, Daddy D, Chop Suey; TWO: Cookie Monster, Chin Music, The Getdown, S’all Good, Oh Shit, Samurai; E: Black Cow]

KUNG FU Toys for Tots and New Year’s Run

12/21  Toys for Tots | Toad’s Place | New Haven CT  w/ TAUK, Nigel Hall
12/22  Brighton Music Hall | Allston MA
12/28  Buffalo Iron Works | Buffalo NY
12/29  Martyrs’ | Chicago IL
12/30  Octave | Covington KY
12/31  Octave | Covington KY

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