The return of theCalifornia Honeydrops to Los Angeles, and to the Teragram, brought with itanother mesmerizing musical party from the Bay-Area group. Carrying a reputation for frenziedfestivities everywhere they go, the Honeydrops treated this December stop inthe City of Angels as they do every show: as a high octane, energizedperformance that is as diverse and skilled as it is lowdown fun. With a guest appearance from Nashville singer(and opener) Lindsay Lou, and a surprise visit from a member of the audience,the Honeydrops once again delivered two sets of mayhem and memories.
Working throughfresh new material as well as supporting both a new live record from 2019 and2018’s wonderful double-album, Call ItHome, the brilliantly bopping singer-instrumentalist Lech Wierzynski ledhis supremely talented ensemble over a near-three-hour romp. Dropping their reflective original “LiveLearn” early into the New Orleans swank-n-stroll the Honeydrops have adopted inrecent years, they were equally adept covering Marvin Gaye’s “How Sweet It Is(To Be Loved By You)” and Sam and Dave’s “I Thank You,” as part of a soul stewmedley, with the band extending things, stretching their muscles and limberingup the close-to-capacity house. Alengthy take on “Brokedown- parts 1 and 2” climbed to the peak of the firstset, with Wierzynski promising more fun to come in the second half.
Extolling thevirtues of dance moves of all shapes and eras, Wierzynski boogied about thestage, pushing the untiring limbs of drummer Ben Malament and the cyclonic saxof Johnny Bones to new heights of liberated joy. “Crazy Girl” was an early and potentsecond-set entry that inspired the packed-in crowd to move along with them,with one in particular catching the band’s attention. Pointed out and ushered onstage, an anonymouswoman, all smiles, unleashed a flurry of shakes and shimmies that blended newersteps with old favorites, much to the crowd and band’s delight, and not unlikethe music of the Honeydrops, themselves.
It was a truly improvisedmoment and a great one, and after a minute or so, the lone dancer thanked theband, hopped off the stage, and disappeared back into the mass. The party rolled on, finally capping a minutebefore closing time. But, not before theDrops welcomed back Lou for a pair of songs, and delicately included “BedsideWindow” from their latest studio set, and “Cry for Me” from 2008’s Soul Tub! and updated on Call It Home.
These images, theseflashes- a guest singer, a surprise dancing audience member, a now-decade-pluscatalog of original songs (not to mention a cache of covers)- all combine tomake for the unique experience that is a California Honeydrops show. Yet, even more impressive is how reliable theband has become at being both prolific and loose; being both disciplined andwild. It’s a difficult balancing actthat appeals to the serious music student’s ear, but also to the hips, legs,and feet of the human body and soul.
