The Houston trio played to a near-capacity crowd at Jacobs Pavilion Wednesday night. It was a rousing success, despite some technical issues that threatened to slow their roll.
threw a transnational party at Jacobs Pavilion Wednesday night. Pronounced “KRUNG-bin,” the band’s name translates from Thai “flying engine” or “aeroplane.” One thing’s sure: the group’s fans were all floating on their winds aloft.
Laura Lee “Leezy” Ochoa , Mark “Marko” Speer and Donald “DJ” Johnson, Jr. formed the band almost 15 years ago, each bringing unique musical draws and tastes to the table. The resulting music defies description, with vibes that would be at-home in 1974 as they are in 2024. Think bedroom and lounge music for beach houses on the moon and you’re halfway there. To put it another way entirely: they’re like the sonic equivalent of Superman ice cream, a ‘70s staple. Think about it: in one bite, you’re swirling in sweet psychedelic rock. Your next licks offer up tart, old-school funk, silky world music pathos, then jam-band sesh-like exotica. Each scoop is chilled, creamy, inviting, convivial – utterly unique but familiar – and perhaps most importantly, timeless., Ochoa, Speer and Johnson tapped into their inner Deney Terrio – with silver riser platforms, mirror balls and a haute couture that would have worked on “Dance Fever” or “Solid Gold.” On this tour, they upped the ante on visuals – with a “live staging reinvention” that felt like it belonged to the pages of a Guggenheim catalog, Architectural Digest orBest burger joints in Cleveland to celebrate International Burger Day 3 Reasons to See Mourning BLKstar with Kaboom Collective at Baldwin-Wallace University on Friday, May 31 In their two-set, 100-minute show, Ochoa, Speer and Johnson offered “An Evening with…” format – devoting part one to new album “A La Sala” in its entirety. A sleepy “Fifteen Fifty-Three” segued onto a morning mood-lifter “May Ninth,” which shuffled along with breathy vocal harmonies. Next up were “Ada Jean” and “Farolim de Felguerias,” which felt a page from the Ennio Morricone songbook. “Pon Pón,” a nod to a Mexican childhood game Ochoa played as a child, was chock full of Puerto Vallarta vibes. Unfortunately, it suffered some technical problems, thanks to Speer’s pedalboard and waylaid the party vibe a bit. Guitar issues re-emerged in the second set during “Shida” and fan favorite “María También.” Though the near-capacity crowd was more than forgiving, it did take the wind out of its collective sail. Ochoa’s slinky basslines intermingled with Speer’s alternately cleanly-intoned and feedback-laden guitar leads the entire night – utterly mesmerizing the crowd. Johnson’s understated grace on the drum kit served as the evening’s heartbeat. The laid-back feel of “A La Sala” gave way to funk, soul, “lo-fi” and surf sashay “hits” in the second set – focused heavily on their albums “Mordechai” and “The Universe Smiles Upon You.” And with them, even more of those nouveaux-retro feels. The affair did get a bit sleepy at times; between that and the guitar challenges, this performance didn’t feel as smooth as their 2021 show at the Agora. But the trio did give the people what they wanted at the end: “People Everywhere ” from 2015′s “Universe.” Seemingly, all technical hiccups were forgiven.opened the evening’s festivities with a gutsy move – a cover of Kimiko Kasai’s 1979 track “Butterfly.” The original version was a Japan-only release, featuring jazz great Herbie Hancock and his band of the time. His band was clearly having a fine time of things. Bob James’ “Nautilus” and the Yellow Magic Orchestra’s “Tong Poo” were also part of the 40-minute set, which leaned heavily on improv jazz-fusion and were decorated with flute and soprano sax. If you purchase a product or register for an account through a link on our site, we may receive compensation.and agree that your clicks, interactions, and personal information may be collected, recorded, and/or stored by us and social media and other third-party partners in accordance with our
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