
Before The Disco Biscuits started their run at Terminal 5 in New York, the band had lost their drummer, Allen Aucoin. Suffering a severe asthma attack, a rotation of drummers was set for the Terminal 5 shows. While the other drummers were heralded in their own right, it was the announcement of original drummer Sam Altman on night 3, having left the band for medical school, that generated the most excitement. The giddy mood was felt immediately as you walked in to Terminal 5 on December 29, making for a great capstone to their New York run.
As the band hit the stage just after 9:35pm, the crowd at Terminal 5 began the chant of “Sammy!”, causing the band to stop for a second and recognize the outpouring of affection. I don’t claim to be an expert in jam bands, their fans, or the pantheon of who is the best, but I appreciate fans who are dedicated and passionate. This was case on 12/29, seeing groups of friends walk in together, catching up, people traveling to be here, there was no veiled attempts to dampen the spirit of the night.

The fans were passionate, as I was eavesdropping on conversations, the fans were knowledgeable about the songs, the styles, the manner of playing (being inverted or segue, etc), their own hopes for the setlist for the night, etc. Other fans compared the other two nights, commenting on what each drummer brought to jams of The Disco Biscuits. Sure, there were illicit activities going on every so often, but that’s a footnote and maybe for someone else to tackle. Right now, I want to talk about their music.
Stepping into “I-Man” it was great just to see the build up, the way the band worked together, how the mood was being built. There was a deliberate tempo, a pace to it. It was easy to fall into, to dance, and forget a band was on stage. The lyrics were nice anchors to center the action. It was exploratory and jazzy without lingering. It was progressively fluid, rarely did the music just hang laterally. “I-Man” swelled and was a great way to introduce the night. The guitar riffs by Jon “The Barber” Gutwillig were matched perfectly by the rising synths and electronic doings of Aron Magner. The rhythm section of Marc “Brownie” Brownstein and Sam Altman, held it down with intricate layering and nice fills. Call it “trance fusion” if you will, but The Disco Biscuits know how to play and truly shine in a live setting. It rocks hard and you can dance to it, and fans never stopped moving. Nearly 15 minutes into the set, the band played only one song, but there was so much going on it felt like three.

With barely any time to breathe, the band kicked into a fantastic and fun cover of “Run Like Hell” by Pink Floyd. It was bombastic and with the added lasers, a dizzying spectacle. It was a cover in spirit, as the band roamed freely and pushed boundaries. When the lyrics were sung, it was an emphatic statement that capped a rousing and tense build up, complete with spiraling guitar and synths. Bookending it with the completion of “I-Man” again, with set ender “Above the Waves”, tied the whole thematic set together.

Fear not, three songs and around an hour for a set, it was not over. The band had a brief set break, and whatever they did, it rejuvenated them. The opening of “Aceetobee” was lush and vibrant. Slowed-down to some degree, it didn’t take too long for the band to kick into high gear. “Down to the Bottom” continued the jam band vibe of Set 2. While the pace was slower than Set 1, the lasers were working over time. It was an interesting mirror into their influences. More electronic and rock in Set 1, a little more R&B, blues, and jazz in Set 2.
Needless to say, I’m a fan of the band after this show. While some of the fans may have just thought this show was “OK,” I was easily won over. Set 2 ended with a visit back to “Run Like Hell” and the encore of “Home Again” sent fans home happy. Here’s to 2011 and hopefully another Bisco show.
The Disco Biscuits Night 3 at Terminal 5 Setlist
Set 1 : I-Man > Run Like Hell > I-Man, Above The Waves
Set 2: Aceetobee, Down To The Bottom, M.E.M.P.H.I.S. > Confrontation (inverted) > Run Like Hell
Encore: Home Again





Full Flickr Set Here
Before all of the fun happened with The Disco Biscuits, The Crystal Method opened and warmed up Terminal 5. It was loud, raw, and intense. I loved the energy and the passion of Scott Kirkland and Ken Jordan. It was bass heavy and a perfect opener for The Disco Biscuits.

