The Wedding After-Party to End ALL Wedding After-Parties
Thanks to Mandi Nulph for all the great photographs!
Stupid.
Stupid. Ridiculous. Sick. Pick whatever word currently in vogue you like to describe what happened last night (Saturday, January 12th) at Dunedin Brewery in the aftermath of the wedding of Miss Robyn Alleman (Holey Miss Moley) to Chris Pack (Twisty Chris & the Puddin’ Packs). The wedding itself was magnificent, replete with a robot ring bearer and a 100-kazoo “Here Comes the Bride” chorus!
So first a word about Twisty Chris & the Puddin’ Packs. This was my first full immersion into the world of “twist/punk,” absolutely the best description ever. Full-frontal madness, I’d add. The bands alternated sets, with TC & tPP opening. They bounced back and forth between great originals such as “Lava Lava Twist” and “Stingray Shuffle” and manic covers of songs such as “Gimme Some Lovin’,” “Long Tall Sally,” and “Be My Baby” (pretty sure the new Ms. Pack sang that one).
I’m not even sure what songs from their setlist they actually played second set, but “Twist Party,” “If You Don’t Twist (You Ain’t …),” “Twisticutioner,” and “The Twist” should give you a pretty good idea. I’ve been accused of being an Energizer Bunny now and again, but I have NO idea how these guys keep up this pace for a full set. It was so much fun, and people definitely know how to do The Twist!
On to Holey Miss Moley, and, with all due respect, my musical preference. Their first set was brilliant, their second set legendary. Truly. In my parlance, AS GOOD AS IT GETS. Because DAMN!
I had decided not to take notes, since I wasn’t planning on writing a review. How did I know that this funk juggernaut was going to blow out the best night of their career? And I say that having seen them perform 40 times over the past seven years or so.
Three immediate takeaways. Best set ever. Best performance ever by bassist Kenny Harvey. Best vocal performance by all six singers (plus that ringer near the end).
There is a setlist, but they hopscotched all over it. Let’s talk about the vocals first. As the band developed over the years, Danny Clemmons was lead male vocalist. Guitarist Jacob Cox also sang. Then along came Miss Alleman (Ms. Pack) to whip the boys into shape, helping to prepare setlists and to get them dressing like a proper funk mob, and she sang, too. And the more she sang, the better she got and the more she opened up and just let it all go.
Then, in no particular order, three more ladies joined the band. Ellie McCaw was a fine addition, as was Loe Sanz. And Jen Peacock Ryan, who plays trumpet, also began singing. Her husband, multi-reed player Christian Ryan, also sings. That makes six singers. And they never sounded better than they did last night.
Perhaps it was Alleman rocking out the Orgōne tune “Don’t Stop” or “Just Dropped In (To See What Condition My Condition Is In).” Maybe it was the glorious “girl chorus” behind Clemmons on several songs. McCaw took lead on a couple as well. It’s come to the point where any of the ladies can sing any of the songs. And that was amply demonstrated when they funked into “Boogie Oogie Oogie,” and when the singing began many, myself included, thought, “Who’s singing?” It wasn’t Alleman or McCaw. They were pointing at Ms. Ryan, who owned it big-time.
This is a band deserving of national recognition. I know: I’m a homer, pulling for the locals. Don’t be fooled. When they blow up covers such as “Sucker for Your Love” and “Standing On the Top” (McCaw) and throw down superb originals such as “Shake It With Me,” they can stand on stage with anybody.
About Harvey. He has blossomed into a titanic player, but he was totally lit up the entire set. In particular, his Afrobeat funk is miles deep. He helped to destroy “Shake It with Me.” He was just all over every song in the setlist. He pushed this beyond “Standing On the Top.” And he matches up so well with the incredible percussion section. Jamal ‘MusicCity’ Wright was so on the one all night. Meanwhile, Tony Morales and his timbales and Latin percussion were amazing, paired with all of the toys Vernon Suber brought to the game.
The band invited Caleb Bone of The Reality up to sing a song, then return to add the “Oh yeahs!” on the “Devil Funk” finale. That made seven singers! This was — for me — already Holey Miss Moley’s best-ever set, but then you throw in The Dr., and, well, it was ridiculous. Roosevelt Collier, who had played DunBrew Friday night, had a busy day, playing earlier in the evening with Karl Denson’s Tiny Universe (video evidence) at The Orpheum before joining HMM for the last set. It was joyous indeed.
There was one more item of note about the Holey Miss Moley set. Keyboard player Mikey Guzman was unavailable for this show, so the band asked Matt Giancola, keyboard wizard for Future Vintage, to sit in. This superb jazz and synth work on top of the straight-up funk gave the set yet another dimension.
If there was a single moment that defined the set, for me that was the segue they made between songs in the second set. “Ain’t No Use” has always been a band staple, now sung by Clemmons with the ladies’ chorus. Cox tears this one up on guitar every time. As they emerged out of there last chorus, you could feel “Red Hot Mama” before it came rushing out. STUNNING!
The other moment would be the long “Shake It with Me” jam, which in my brain turns into the band’s other monster “Afroshaft” (whether it actually did or not is irrelevant).
There won’t ever be another wedding after-party like that one. Thank you, Dunedin Brewery. Thank you, Twisty Chris and the Puddin’ Packs. Thank you, Holey Miss Moley. And thank you, Mr. & Ms. Pack!
