Tag Archives: Grace Potter and the Nocturnals
Grace Potter and the Nocturnals – Webster Hall – June 12, 2010
Four days after the release of her self-titled album, Grace Potter (and her band, the Nocturnals) took to the candle-and-rose-adorned stage at Webster Hall with outrageous energy and a beautiful country- and blues-rock sound. From the first song to the end of the second encore, Potter sported a smile on her face that proved to be nothing short of contagious among the crowd.
While many remark about two of Potter’s most noticeable assets (her legs), what made Saturday’s show outstanding were two far more important factors: One was the lead-singer presence, which few master, at its most noticeable when she stomped around the stage with a Mick Jagger-like swagger. The other was her stunning musical talent, encompassing everything from an electric voice, wailing on a Gibson Flying V guitar and hammering away on a Hammond B3 organ.
Not only did the band put on a riveting and riotous hour-plus-long set (including a wonderful slowed-down cover of Blondie’s “Heart of Glass”), they had the crowd howling along to their rendition of Jefferson Airplane’s “White Rabbit.” After a few more songs they finished what most thought was the entire show with a beautiful soft-loud-soft version of “Nothing but the Water,” but to everyone’s surprise Potter and the Nocturnals came out once more for the elusive second encore. For their true finale, they treated the crowd to “Stop the Bus,” during which they all got lower and lower—both in volume and in relation to the stage—until rising up for one last explosive ending. —Sean O’Kane
Photos courtesy of Sean O’Kane | seanokanephoto.com
Grace Potter and the Nocturnals have a new album out today and they’re playing Webster Hall on Saturday. Want to go but don’t have tickets? Then try to Grow a Pair from The House List. It’s easy: Just fill out the form below, listing your name, e-mail address, which show you’re trying to win tickets to (Grace Potter, 6/12) and a brief message explaining your favorite kind or barbecue. (The Big Apple BBQ is this weekend. So chow down before you root on the U.S. against England.) Eddie Bruiser, a swinologist, will notify the winner by Friday. Good luck.
Grace Potter and the Nocturnals – Terminal 5 – November 20, 2009
She stood in the middle of the stage—in a very short sequined dress—singing the first song of the night, “Some Kind of Ride.” This was notable, because while Grace Potter has a terrific voice, she’s not usually one to stand behind the microphone without an instument and just look pretty, which is exactly what she was doing. While Potter has shed her girl-next-door T-shirt-and-jeans getup for a more glamorous look, that powerful, raspy, blues-drenched voice remains her calling card. But nevertheless, that voice is more at home when its owner is behind her Gibson Flying V guitar or Hammond B-3 organ, which, for the most part, is where she spent the rest of the show.
Grace Potter and the Nocturnals have a relatively new lineup. They’ve gone from a four-piece to a five-piece, replacing bassist Brian Dondero with Catherine Popper, also in a very short sequined dress, and adding second guitarist Benny Yurco, thereby gaining a fuller sound in the process. On Friday night at Terminal 5, co-headlining with Brett Dennen, the newest version of G. Pot and the Noc Nocs played some new stuff (“We have some new songs. Would you like to hear a couple?”) and tore through material from their first two albums, delighting the crowd with spirited takes on “Ah Mary” and “Big White Gate” while also playing quieter ones, like “Apologies.” Later on, the ladies in the audience eagerly sang the “Ooh la la” part of “If I Was from Paris.” Although they only played a 75-minute set, it was packed with head-nodding, hair-waving electricity as the band jammed with reckless abandon.
After a very brief encore break, they returned for a cover of Jefferson Airplane’s “White Rabbit,” with Potter doing kind justice to Grace Slick’s lyrics. The finale, “Nothing but the Water I,” began with Potter, at center stage, singing a cappella while the crowd clapped and stomped along. As she slid behind the organ, the rest of the band joined her in a brief ’70s-disco-Dead kind of intro to “Nothing but the Water II” before reaching a musical climax. Then they all dropped their instruments and gathered at center stage. Plenty in the audience jumped up and down, as Potter did, and clapped and cheered as they exited. —R. Zizmor
Photos courtesy of Greg Notch | photography.notch.org/music
Eddie Bruiser is a menace. As our RV neared Bonnaroo on Thursday afternoon, an already-sweaty Eddie incessantly urged me to ingest something I’d ordinarily otherwise never consider. (He claimed it was Aboriginal, but with its string of vowels and two sets of double g’s—one of them, strangely, silent—it was unpronounceable.) Sensing my reluctance, he said, “Come on, think of me as Pops Staples, and ‘I’ll Take You There.’” But despite my affinity for the Staple Singers’ soulful sounds, I was pretty sure blindly following Eddie’s lead would end disastrously, with me in a ditch or, worse, prison. And, yet, for some strange reason, like Alice before me, I decided to see what was down that rabbit hole. We didn’t sleep for days, but we sure did see a lot of music. —R. Zizmor
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