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RT @StevenLiraDJS: SOTRW AT SAYERS TONIGHT. IT WILL BE JAMMIN SPECIAL. @TheSayersClub @JSCOPPAPresents @iamthearbiter @robCx @Nic_Hegger ...
RT @nickrosenmusic: Always good to see my musical mentor @bassicblack @TheSayersClub #livinglegend
Prince - The Sayers Club - October 25, 2012
For the second time this week, eccentric and elusive music legend Prince showed up to play a very late night set in Hollywood. Tucked away behind a Papaya King, The Sayers Club has a speakeasy vibe, and Prince and the New Power Generation hit the small stage at 12:30 am. See also: Prince: Snapshots of a Magical Night at the Inglewood Forum in LA The crowd included just over 200 people, including Robert Pattinson, and Kristen Stewart. He had his arm around her and at another point she was holding on to his arm. The room was abuzz with anticipation two hours before Prince appeared. Once he emerged it was immediately clear that the wait was worth it. To start the show, Prince's protege and latest NPG member -- singer/guitarist Andy Allo -- opened with her recent single "People Pleaser," executive produced by Prince. As Allo crooned, some of Prince's horn players played behind her, dancing in unison, while Prince played guitar at the back of the stage. He wore sunglasses, a zipped up black sweater, and black pants. When he moved to center stage the audience went ballistic. His huge band was comprised of 11 horn players, two keyboardists, two back up singers, two drummers (who alternated on songs), two guitarists, a bassist, and a back up dancer. Prince joked to the crowd: "The name of the band is TMP, too many people." Even though it was late, the crowd was enthusiastic with a wild and electric energy. Everyone was screaming, dancing, and holding their hands up in the air above their heads, swaying with the music. You never know what you'll get when Prince plays a small club. This time around, he performed some of his more popular songs including "Pop Life" and "U Got The Look." He also did his newest single "Rock & Roll Love Affair" and two covers, Sly and The Family Stone's "Everyday People" and Cold Blood's "Shop Talk." For "The Dance Electric," a song written by Prince but originally recorded by his former bassist Andre Cymone, Cymone joined Prince onstage. Prince seemed enthralled with watching his musicians jam. Dancing to their music with a smile and stepping aside for saxophone and drum solos, at one point he pointed to his extensive line up of brass players and said, "Real music, real musicians." He was in near-perfect form as usual, brilliant on guitar with masterful vocals and great charisma. His musicians are simultaneously tight and relaxed with each other. It's a cliche to say by now, but a Prince show leaves you wanting more. He didn't talk to the crowd much, other than to say "Thank you, Hollywood" a number of times. The show ended at 2 am, but the crowd seemed to be just getting started, chanting, "We want more! We want more!" Oh well. Ninety minutes with Prince in a tiny venue? We'll take it. Personal Bias: I saw Prince at The Troubadour and figured nothing could top that show. But I was wrong. The Crowd: Oh, Jeremy Piven was also there. Random Notebook Dump: Everyone had to check their cell phones at the venue's entrance, so nobody could text friends to brag about where they were Set list People Pleaser Rock & Roll Love Affair (with teases of When You Were Mine) D.M.S.R. Pop Life Musicology Let's Work U Got The Look Shhh Everyday People (Sly and the Family Stone cover) The Dance Electric Shop Talk (Cold Blood cover)
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Prince - The Sayers Club - October 25, 2012
For the second time this week, eccentric and elusive music legend Prince showed up to play a very late night set in Hollywood. Tucked away behind a Papaya King, The Sayers Club has a speakeasy vibe, and Prince and the New Power Generation hit the small stage at 12:30 am. See also: Prince: Snapshots of a Magical Night at the Inglewood Forum in LA The crowd included just over 200 people, including Robert Pattinson, and Kristen Stewart. He had his arm around her and at another point she was holding on to his arm. The room was abuzz with anticipation two hours before Prince appeared. Once he emerged it was immediately clear that the wait was worth it. To start the show, Prince's protege and latest NPG member -- singer/guitarist Andy Allo -- opened with her recent single "People Pleaser," executive produced by Prince. As Allo crooned, some of Prince's horn players played behind her, dancing in unison, while Prince played guitar at the back of the stage. He wore sunglasses, a zipped up black sweater, and black pants. When he moved to center stage the audience went ballistic. His huge band was comprised of 11 horn players, two keyboardists, two back up singers, two drummers (who alternated on songs), two guitarists, a bassist, and a back up dancer. Prince joked to the crowd: "The name of the band is TMP, too many people." Even though it was late, the crowd was enthusiastic with a wild and electric energy. Everyone was screaming, dancing, and holding their hands up in the air above their heads, swaying with the music. You never know what you'll get when Prince plays a small club. This time around, he performed some of his more popular songs including "Pop Life" and "U Got The Look." He also did his newest single "Rock & Roll Love Affair" and two covers, Sly and The Family Stone's "Everyday People" and Cold Blood's "Shop Talk." For "The Dance Electric," a song written by Prince but originally recorded by his former bassist Andre Cymone, Cymone joined Prince onstage. Prince seemed enthralled with watching his musicians jam. Dancing to their music with a smile and stepping aside for saxophone and drum solos, at one point he pointed to his extensive line up of brass players and said, "Real music, real musicians." He was in near-perfect form as usual, brilliant on guitar with masterful vocals and great charisma. His musicians are simultaneously tight and relaxed with each other. It's a cliche to say by now, but a Prince show leaves you wanting more. He didn't talk to the crowd much, other than to say "Thank you, Hollywood" a number of times. The show ended at 2 am, but the crowd seemed to be just getting started, chanting, "We want more! We want more!" Oh well. Ninety minutes with Prince in a tiny venue? We'll take it. Personal Bias: I saw Prince at The Troubadour and figured nothing could top that show. But I was wrong. The Crowd: Oh, Jeremy Piven was also there. Random Notebook Dump: Everyone had to check their cell phones at the venue's entrance, so nobody could text friends to brag about where they were Set list People Pleaser Rock & Roll Love Affair (with teases of When You Were Mine) D.M.S.R. Pop Life Musicology Let's Work U Got The Look Shhh Everyday People (Sly and the Family Stone cover) The Dance Electric Shop Talk (Cold Blood cover)
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RT @anthonyvaladez: Creating magic tonight on the turntables at @TheSayersClub in Hollywood w/ @derekgtaylor on the drum kit. Hope to se ...
Dancing With The Stars Cast Parties After Premiere
Who says the gang over at Dancing With the Stars needs to rest and get some sleep after hitting the ballroom floor? It was a DWTS party when pro-hoofer Mark Ballas and his band performed at The Sayers Club in Hollywood just after Monday night's season premiere. Cheryl Burke and Derek Hough were there as were Maksim Chmerkovskiy and his brother Val, Peta Muratroyd and Bachelor hunkster Sean Lowe and his fiancé Catherine Giudici.
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Dancing With The Stars Cast Parties After Premiere
Who says the gang over at Dancing With the Stars needs to rest and get some sleep after hitting the ballroom floor? It was a DWTS party when pro-hoofer Mark Ballas and his band performed at The Sayers Club in Hollywood just after Monday night's season premiere. Cheryl Burke and Derek Hough were there as were Maksim Chmerkovskiy and his brother Val, Peta Muratroyd and Bachelor hunkster Sean Lowe and his fiancé Catherine Giudici.
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RT @JSCOPPAPresents: Excited 2 C Story of The Running Wolf for the 1st time @TheSayersClub Tuesday Night!! @robCx @StevenLiraDJS @iamthe ...
Ashton Kutcher Supports Rumer Willis At Her First Solo Show
He may no longer be with Demi Moore, but Ashton Kutcher was front and center to support her daughter Rumer Willis, when she took to the stage for her first solo performance Tuesday night. Rumer, who has proved her singing chops with weekly performances the past few weeks at Jason Scoppa’s Thursday night Sessions show at the hip Sayers Club, finally scored her own show, and according to an eyewitness, she rocked it! People were absolutely blown away,” the source tells RadarOnline.com. “Nobody expected her to be that good. Everyone just assumed she was up there because she’s Demi Moore and Bruce Willis’ daughter, but she has real talent, that girl has some serious pipes on her!” Rumer performed totally solo, covering High Low Middle by My Brightest Diamond, I Cant Stand the Rain by Ann Peebles, Age by Lianne La Havas and Sitting on the Dock of the Bay by Sara Bareilles, and her biggest fan of the night? Soon to be ex-step-dad, Ashton! “Ashton came on his own and he was there from the beginning to the end,” the source says. “He provided a real cool, unassuming, supportive and stable presence for Rumer, who was obviously a little nervous. “Ashton and Rumer had a short talk before she went on stage and you could tell he was pepping her up and building her confidence and then when she started singing his whole face lit up. He was obviously really, really proud of her and was smiling throughout her performance. I even saw him singing along at one point. “As soon as Rumer finished she headed straight to Ashton. He gave her a huge hug and then they were huddled together talking for the rest of the night. Despite what’s happening with Demi, it’s obvious he and Rumer are still very close, it was really sweet to see.” r.
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Ashton Kutcher Supports Rumer Willis At Her First Solo Show
He may no longer be with Demi Moore, but Ashton Kutcher was front and center to support her daughter Rumer Willis, when she took to the stage for her first solo performance Tuesday night. Rumer, who has proved her singing chops with weekly performances the past few weeks at Jason Scoppa’s Thursday night Sessions show at the hip Sayers Club, finally scored her own show, and according to an eyewitness, she rocked it! People were absolutely blown away,” the source tells RadarOnline.com. “Nobody expected her to be that good. Everyone just assumed she was up there because she’s Demi Moore and Bruce Willis’ daughter, but she has real talent, that girl has some serious pipes on her!” Rumer performed totally solo, covering High Low Middle by My Brightest Diamond, I Cant Stand the Rain by Ann Peebles, Age by Lianne La Havas and Sitting on the Dock of the Bay by Sara Bareilles, and her biggest fan of the night? Soon to be ex-step-dad, Ashton! “Ashton came on his own and he was there from the beginning to the end,” the source says. “He provided a real cool, unassuming, supportive and stable presence for Rumer, who was obviously a little nervous. “Ashton and Rumer had a short talk before she went on stage and you could tell he was pepping her up and building her confidence and then when she started singing his whole face lit up. He was obviously really, really proud of her and was smiling throughout her performance. I even saw him singing along at one point. “As soon as Rumer finished she headed straight to Ashton. He gave her a huge hug and then they were huddled together talking for the rest of the night. Despite what’s happening with Demi, it’s obvious he and Rumer are still very close, it was really sweet to see.” r.
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RT @kcrwkramer: Saturday night with DJ @anthonyvaladez @TheSayersClub . Check him out till 2am
RT @crashkings: We are playing War Pigs Thursday at the @TheSayersClub- come make bad decisions with us~
Prince Tears Roof Off Sayers Club at Secret Hollywood Show
t all started when someone whispered to me, asking if I wanted to check out Prince's secret show. Despite my typical allergy towards Hollywood events, feeling a little sick, and being jet-lagged after coming back from the presidential debate in Boca Raton, I didn't even have to think before my mouth opened and screamed yes. I mean, it's Prince, or whatever he prefers to go by now since modern keyboards don't have a symbol for the symbol, so I didn't have an option, right? I would have regretted it the rest of my life. To set the stage, a month ago in Las Vegas, the biggest moment of the massive iHeartRadio music festival, that I was also the DJ for, was when Prince came out as a surprise guest. I watched as every artist backstage literally ran out to catch a glimpse, just to watch him play guitar for Mary J Blige for a few minutes. To now have the opportunity to see him for the second time in a month, but this time in an intimate setting all by himself, would be priceless and impossible to turn down no matter how I was feeling. By the time the night ended just past 2 a.m., I was magically cured from all of my ailments thanks to one of the greatest artists of our time. The mystique around Prince and the evening didn't just start with that initial whisper invite. He has remarkably kept a unique brand secrecy in this day and age where every typical star's movements are not only shadowed by paparazzi or other press but also broadcast on social media -- good luck finding Prince on Twitter. Before arriving, I asked his team what time Prince actually hit the stage, as I'm not a fan of standing around for any amount of time waiting for anything, and was told to arrive at 10:30 as all bets were off when he was to hit the stage- it was simply a matter of when he felt like it. (His manager would later tell me the band's schedule once I arrived, but echo that no one had any idea when Prince would join them, as it was all on his mood.) I was already all in, so I headed down to Hollywood hotspot/speakeasy the Sayers Club, where surprisingly the line and crowd outside weren't as crazy as I expected. The room had a capacity of about 150, limited to celebrities and the creme de la creme of the entertainment industry (not to mention the half of the room which would be taken up by Prince's band -- more on this in a second). I guess most people didn't even waste their time trying to name- or dollar-drop at the door, and with good reason as everyone trying to get in seemed to be turned away instantly alongside the legion of paparazzi flanking Wilcox Ave. Once I made my way inside the room, my iPhone was immediately confiscated (I did snap one picture before!) and checked into a huge box that surprisingly wasn't under better security due to the nature of potential content, contacts, and secrets on phones in the box. In the crowd were not only the biggest names in the entertainment business, but current number one paparazzi targets Robert Pattinson and Kristen Stewart, who definitely enjoyed each other's company for those wondering. The stage backdrop was simple and elegant with the lone production enhancement being a spot line with the Prince symbol displayed behind the stage in white; a far departure from today's shows where it is all about production elements to hide pre-taped tracks. Oh yeah, about half the room was filled with Prince's musicians, who cradled through the VIP section on the right. The atmosphere building up to the show was electric. Prince has mastered the art of branding, and as I passed the two hours before he actually felt the timing was right to perform, I was taken into incredible conversations I can't repeat amongst friends who had experiences performing or working with the icon that just seemed to make his legend build. The allure of Prince only seems to grow with time, making him bigger than life. No matter if they were true, made up, or just slightly exaggerated, these stories only made his persona and being in attendance that much more magical. As the band started to fill the stage just after midnight, and when I say fill, I mean fill, the intimate crowd instantly dropped its conversations and got as close as possible. Luckily I made it to the front of the stage, although even the worst seat in the house was no more than 30 feet from the stage. Earlier in the day I had the pleasure of meeting Prince's new protege, Andy Allo, who not only plays guitar and sings backup in the NPG band, but is an incredible artist in her own right. The tone was instantly set for the evening not only by her performance of "People Pleaser" to open the show as well as our first glimpse at the amazing band in action, but by looking at the back of the stage and realized the man hiding on guitar with the sunglasses behind the drummer was the legend himself, his small stature carrying the huge persona. When Prince made his way to the front of stage he introduced his band to the crowd simply as "TMP, for Too Many People," with laughter. In raw numbers, I counted well over 20 musicians including a huge horn section, several drummers and guitarists, and back-up singers all inside a venue so small the brass players were literally in the middle of the crowd. Amazingly, the sound quality was second to none with just the right amount of everything. The proof Prince is a true musical genius is beyond the music itself, but the way he meticulously prepares, even bringing in some of his own sound equipment to upgrade the already stellar room and elevating the experience for everyone. With a band so big and songs flowing well past the few minutes they were orginally recorded as and turning into full-blown 10-minute-long jam sessions, as a musician myself I was waiting and looking for even one note or beat to be off during the hour and a half long set, and failed to find one flaw. The feat of this alone is stunning and can't be understated as I have never seen a band as in tune as NPG was last night under the guidance of Prince. As for the show itself, the audience we treated to one of the greatest experiences that everyone will tell stories about for years and decades to come. There really isn't much to say about the music and performance other than, yes, he really is that good -- still. Never knowing what songs you'll hear at his shows, the audience was treated to an array ranging from classics such as "U Got The Look" and "Pop Life" to covers of Sly and the Family Stone before finishing the night on his second encore to Parliament's "Give Up The Funk," tearing the roof off of Hollywood. Oh yeah, and for kicks, Prince also not only reminded us why he is one of the greatest guitar players of all time with an amazing showcase, but also spent time on stage playing the bass and keys, showcasing his musical diversity while he also conducted not only the band but the audience, with his palm having the whole Hollywood crowd sing, clap, and dance along in unison. More remarkable than the show was the fact that an A-list and elitist Hollywood crowd, who I am so used to seeing stand in a corner or sit back at a VIP table and not move for ANYTHING, seem to throw inhibitions out the window and enjoy themselves. Every single person in the venue was dancing, singing, clapping, moving, and most importantly, having fun. Mixed alongside the secretive nature of the event, Sayers Club atmosphere, legendary myths that surround the artist, and amazing musical display, the night truly felt like something from a different era. Think Fela taking place in a Hollywood speakeasy. It felt so good that you almost were waiting on someone to come in and bust up the place for being illegal. As the night ended, it all dawned on me what made it so special. It wasn't the name, the mystique, the celebrity-filled audience, the venue, or even the songs themselves. It was as Prince yelled on stage while he took his mic around to each individual player for a solo showcase, "real music, and real instruments!" Sometimes simplicity even with all of the intricacy is the best formula, and Prince proved that there is nothing better in this world than great music.
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Prince Tears Roof Off Sayers Club at Secret Hollywood Show
t all started when someone whispered to me, asking if I wanted to check out Prince's secret show. Despite my typical allergy towards Hollywood events, feeling a little sick, and being jet-lagged after coming back from the presidential debate in Boca Raton, I didn't even have to think before my mouth opened and screamed yes. I mean, it's Prince, or whatever he prefers to go by now since modern keyboards don't have a symbol for the symbol, so I didn't have an option, right? I would have regretted it the rest of my life. To set the stage, a month ago in Las Vegas, the biggest moment of the massive iHeartRadio music festival, that I was also the DJ for, was when Prince came out as a surprise guest. I watched as every artist backstage literally ran out to catch a glimpse, just to watch him play guitar for Mary J Blige for a few minutes. To now have the opportunity to see him for the second time in a month, but this time in an intimate setting all by himself, would be priceless and impossible to turn down no matter how I was feeling. By the time the night ended just past 2 a.m., I was magically cured from all of my ailments thanks to one of the greatest artists of our time. The mystique around Prince and the evening didn't just start with that initial whisper invite. He has remarkably kept a unique brand secrecy in this day and age where every typical star's movements are not only shadowed by paparazzi or other press but also broadcast on social media -- good luck finding Prince on Twitter. Before arriving, I asked his team what time Prince actually hit the stage, as I'm not a fan of standing around for any amount of time waiting for anything, and was told to arrive at 10:30 as all bets were off when he was to hit the stage- it was simply a matter of when he felt like it. (His manager would later tell me the band's schedule once I arrived, but echo that no one had any idea when Prince would join them, as it was all on his mood.) I was already all in, so I headed down to Hollywood hotspot/speakeasy the Sayers Club, where surprisingly the line and crowd outside weren't as crazy as I expected. The room had a capacity of about 150, limited to celebrities and the creme de la creme of the entertainment industry (not to mention the half of the room which would be taken up by Prince's band -- more on this in a second). I guess most people didn't even waste their time trying to name- or dollar-drop at the door, and with good reason as everyone trying to get in seemed to be turned away instantly alongside the legion of paparazzi flanking Wilcox Ave. Once I made my way inside the room, my iPhone was immediately confiscated (I did snap one picture before!) and checked into a huge box that surprisingly wasn't under better security due to the nature of potential content, contacts, and secrets on phones in the box. In the crowd were not only the biggest names in the entertainment business, but current number one paparazzi targets Robert Pattinson and Kristen Stewart, who definitely enjoyed each other's company for those wondering. The stage backdrop was simple and elegant with the lone production enhancement being a spot line with the Prince symbol displayed behind the stage in white; a far departure from today's shows where it is all about production elements to hide pre-taped tracks. Oh yeah, about half the room was filled with Prince's musicians, who cradled through the VIP section on the right. The atmosphere building up to the show was electric. Prince has mastered the art of branding, and as I passed the two hours before he actually felt the timing was right to perform, I was taken into incredible conversations I can't repeat amongst friends who had experiences performing or working with the icon that just seemed to make his legend build. The allure of Prince only seems to grow with time, making him bigger than life. No matter if they were true, made up, or just slightly exaggerated, these stories only made his persona and being in attendance that much more magical. As the band started to fill the stage just after midnight, and when I say fill, I mean fill, the intimate crowd instantly dropped its conversations and got as close as possible. Luckily I made it to the front of the stage, although even the worst seat in the house was no more than 30 feet from the stage. Earlier in the day I had the pleasure of meeting Prince's new protege, Andy Allo, who not only plays guitar and sings backup in the NPG band, but is an incredible artist in her own right. The tone was instantly set for the evening not only by her performance of "People Pleaser" to open the show as well as our first glimpse at the amazing band in action, but by looking at the back of the stage and realized the man hiding on guitar with the sunglasses behind the drummer was the legend himself, his small stature carrying the huge persona. When Prince made his way to the front of stage he introduced his band to the crowd simply as "TMP, for Too Many People," with laughter. In raw numbers, I counted well over 20 musicians including a huge horn section, several drummers and guitarists, and back-up singers all inside a venue so small the brass players were literally in the middle of the crowd. Amazingly, the sound quality was second to none with just the right amount of everything. The proof Prince is a true musical genius is beyond the music itself, but the way he meticulously prepares, even bringing in some of his own sound equipment to upgrade the already stellar room and elevating the experience for everyone. With a band so big and songs flowing well past the few minutes they were orginally recorded as and turning into full-blown 10-minute-long jam sessions, as a musician myself I was waiting and looking for even one note or beat to be off during the hour and a half long set, and failed to find one flaw. The feat of this alone is stunning and can't be understated as I have never seen a band as in tune as NPG was last night under the guidance of Prince. As for the show itself, the audience we treated to one of the greatest experiences that everyone will tell stories about for years and decades to come. There really isn't much to say about the music and performance other than, yes, he really is that good -- still. Never knowing what songs you'll hear at his shows, the audience was treated to an array ranging from classics such as "U Got The Look" and "Pop Life" to covers of Sly and the Family Stone before finishing the night on his second encore to Parliament's "Give Up The Funk," tearing the roof off of Hollywood. Oh yeah, and for kicks, Prince also not only reminded us why he is one of the greatest guitar players of all time with an amazing showcase, but also spent time on stage playing the bass and keys, showcasing his musical diversity while he also conducted not only the band but the audience, with his palm having the whole Hollywood crowd sing, clap, and dance along in unison. More remarkable than the show was the fact that an A-list and elitist Hollywood crowd, who I am so used to seeing stand in a corner or sit back at a VIP table and not move for ANYTHING, seem to throw inhibitions out the window and enjoy themselves. Every single person in the venue was dancing, singing, clapping, moving, and most importantly, having fun. Mixed alongside the secretive nature of the event, Sayers Club atmosphere, legendary myths that surround the artist, and amazing musical display, the night truly felt like something from a different era. Think Fela taking place in a Hollywood speakeasy. It felt so good that you almost were waiting on someone to come in and bust up the place for being illegal. As the night ended, it all dawned on me what made it so special. It wasn't the name, the mystique, the celebrity-filled audience, the venue, or even the songs themselves. It was as Prince yelled on stage while he took his mic around to each individual player for a solo showcase, "real music, and real instruments!" Sometimes simplicity even with all of the intricacy is the best formula, and Prince proved that there is nothing better in this world than great music.
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RT @kharris2047: It's going down right now @TheSayersClub everybody in the house!!!!!!!!
Emmy Rossum: Sayers Club 'Sentimental Journey' Performance!
Emmy Rossum takes the stage to perform in front of the packed crowd at The Sayers Club on Thursday (April 25) in Los Angeles. The 26-year-old Shameless star belted out select songs from her albumSentimental Journey! “Such an amazing experience finally getting to sing songs from #SentimentalJourney with a full band! #EmmyLiveLA” Emmy tweeted that evening about her show. Be sure to grab your copy ofSentimental Journey on iTunes today if you haven’t already!
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Emmy Rossum: Sayers Club 'Sentimental Journey' Performance!
Emmy Rossum takes the stage to perform in front of the packed crowd at The Sayers Club on Thursday (April 25) in Los Angeles. The 26-year-old Shameless star belted out select songs from her albumSentimental Journey! “Such an amazing experience finally getting to sing songs from #SentimentalJourney with a full band! #EmmyLiveLA” Emmy tweeted that evening about her show. Be sure to grab your copy ofSentimental Journey on iTunes today if you haven’t already!
Continue Reading...Iron and Wine and Glen Hansard Unite for Intimate Club Gig
They brought no plan or set lists, but modern troubadours Sam Beam (a.k.a. Iron and Wine) and Glen Hansard (the Frames, Swell Season) filled a tiny club in Los Angeles last night with songs aching, gentle and raging for a private show hosted by public radio stalwart KCRW. The intimate two-hour set at the Sayers Club came together as a result of Beam being in town to promote Iron and Wine’s upcoming album, Ghost On Ghost, while Hansard was passing through on his way back to Dublin. They share management and a long musical friendship. "You spend time with some people and you just want to be a better writer, you want to commit more to your work," Hansard said from the stage. "I want to be a better musician when I’m around Sam." Beam began his opening set with a gentle "Caught in the Briars," which opens his new album as a full-band arrangement, but was stripped down and vulnerable at Sayers. Also from Ghost On Ghost were a breathless "Grace For Saints and Ramblers" and "Low Light Buddy of Mine," a dusty, quietly howling tune he described as "a song about old people having sex . . . Everyone has their thing." In a dark suit and bushy auburn beard, Beam cheerfully took requests from the 200 fans and radio staff crowded between the bar and leather couches. On the concrete wall behind him were large framed images of Queen Elizabeth and literary icon Samuel Beckett. One fan shouted for 2003’s "Jesus the Mexican Boy," which Beam began to play, but as he stumbled for a moment on his guitar, he joked, "That’s what happens," before easing into a raw, emotional reading. "There’s a misconception that we practice all the time," he said with a grin. When fans hushed others for talking during his set, Beam laughed. "I like it when people are on my side." In an interview with Rolling Stone before their performances, the two singer-songwriters both said they value being alone with a guitar and no particular plan. "Sometimes you’re doing it really selfishly, sometimes you’re doing it selflessly," Hansard said of the spontaneous song choices. "Hopefully a good gig is somewhere in the middle. It’s not entirely up to the audience and it’s not entirely up to you. When the singer is right and the audience is right, there is a magic that can exist between the two." Of the tender new Iron and Wine songs he performed last night, Beam said, "There’s some complex things going on, but the overall effect is simpler. The last record, there were some angry tunes, and I felt it was appropriate to do some jagged synthetic sounds, polyrhythms. The songs were just different this time. There were narrative elements that unfolded more gently for the most part." Before returning to Ireland, Hansard planned a stop in New York to record some new ideas, including "Her Mercy," written only days earlier. He began his Sayers Club set with the song. "It's an apology," he explained of the lyrics. "When you’re actually worthy of someone's forgiveness it might come, but only then. The words don’t matter – it’s about when you’re actually ready. I’m still playing around with the verses." Before Hansard stepped onto the small stage, Beam told the crowd, "My friend Glen sings a bit louder than me. You in the front row might want to get a shield. He also spits a little." Hansard carried an acoustic guitar with holes worn through the surface, wearing jeans and a black western shirt. His vocals were at points explosive, shouting, begging, notches louder than Beam’s restraint, his eyes often shut and biting on his words. During the lyrics of love and misery on "Love Don’t Keep Me Waiting," Hansard strummed a forceful riff and wailed, "Show yourself to me!" From his debut solo album, Rhythm and Repose, Hansard performed a wistful "Maybe Not Tonight" by request. He told a story of meeting mandolin player David Mansfield by chance in New York and the same day inviting him to the song’s recording session, not realizing that he’d toured as part of Bob Dylan’s Rolling Thunder Revue as a teenager. Hansard stepped away from the microphone to sing a raw, un-amplified "Say It To Me," then told a story of meeting Marilyn Manson and his entourage in a Los Angeles bar, later joining them at Manson's house. One woman was on a leash, he recalled. After a long, weird night he wouldn’t describe in detail, Hansard said, "I literally ran out of L.A. I’ve been trying to get OK with it." The two singer-songwriters came together near the end of the night to perform Ronnie Lane’s weary "Debris," the lead vocal taken by Beam, both strumming a gentle melody on guitars, followed by Willie Nelson’s "Blue Eyes Crying in the Rain." Their voices joined in angelic harmony, a couple of troubadours soaring into the night. - STEVE APPLEFORD
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Iron and Wine and Glen Hansard Unite for Intimate Club Gig
They brought no plan or set lists, but modern troubadours Sam Beam (a.k.a. Iron and Wine) and Glen Hansard (the Frames, Swell Season) filled a tiny club in Los Angeles last night with songs aching, gentle and raging for a private show hosted by public radio stalwart KCRW. The intimate two-hour set at the Sayers Club came together as a result of Beam being in town to promote Iron and Wine’s upcoming album, Ghost On Ghost, while Hansard was passing through on his way back to Dublin. They share management and a long musical friendship. "You spend time with some people and you just want to be a better writer, you want to commit more to your work," Hansard said from the stage. "I want to be a better musician when I’m around Sam." Beam began his opening set with a gentle "Caught in the Briars," which opens his new album as a full-band arrangement, but was stripped down and vulnerable at Sayers. Also from Ghost On Ghost were a breathless "Grace For Saints and Ramblers" and "Low Light Buddy of Mine," a dusty, quietly howling tune he described as "a song about old people having sex . . . Everyone has their thing." In a dark suit and bushy auburn beard, Beam cheerfully took requests from the 200 fans and radio staff crowded between the bar and leather couches. On the concrete wall behind him were large framed images of Queen Elizabeth and literary icon Samuel Beckett. One fan shouted for 2003’s "Jesus the Mexican Boy," which Beam began to play, but as he stumbled for a moment on his guitar, he joked, "That’s what happens," before easing into a raw, emotional reading. "There’s a misconception that we practice all the time," he said with a grin. When fans hushed others for talking during his set, Beam laughed. "I like it when people are on my side." In an interview with Rolling Stone before their performances, the two singer-songwriters both said they value being alone with a guitar and no particular plan. "Sometimes you’re doing it really selfishly, sometimes you’re doing it selflessly," Hansard said of the spontaneous song choices. "Hopefully a good gig is somewhere in the middle. It’s not entirely up to the audience and it’s not entirely up to you. When the singer is right and the audience is right, there is a magic that can exist between the two." Of the tender new Iron and Wine songs he performed last night, Beam said, "There’s some complex things going on, but the overall effect is simpler. The last record, there were some angry tunes, and I felt it was appropriate to do some jagged synthetic sounds, polyrhythms. The songs were just different this time. There were narrative elements that unfolded more gently for the most part." Before returning to Ireland, Hansard planned a stop in New York to record some new ideas, including "Her Mercy," written only days earlier. He began his Sayers Club set with the song. "It's an apology," he explained of the lyrics. "When you’re actually worthy of someone's forgiveness it might come, but only then. The words don’t matter – it’s about when you’re actually ready. I’m still playing around with the verses." Before Hansard stepped onto the small stage, Beam told the crowd, "My friend Glen sings a bit louder than me. You in the front row might want to get a shield. He also spits a little." Hansard carried an acoustic guitar with holes worn through the surface, wearing jeans and a black western shirt. His vocals were at points explosive, shouting, begging, notches louder than Beam’s restraint, his eyes often shut and biting on his words. During the lyrics of love and misery on "Love Don’t Keep Me Waiting," Hansard strummed a forceful riff and wailed, "Show yourself to me!" From his debut solo album, Rhythm and Repose, Hansard performed a wistful "Maybe Not Tonight" by request. He told a story of meeting mandolin player David Mansfield by chance in New York and the same day inviting him to the song’s recording session, not realizing that he’d toured as part of Bob Dylan’s Rolling Thunder Revue as a teenager. Hansard stepped away from the microphone to sing a raw, un-amplified "Say It To Me," then told a story of meeting Marilyn Manson and his entourage in a Los Angeles bar, later joining them at Manson's house. One woman was on a leash, he recalled. After a long, weird night he wouldn’t describe in detail, Hansard said, "I literally ran out of L.A. I’ve been trying to get OK with it." The two singer-songwriters came together near the end of the night to perform Ronnie Lane’s weary "Debris," the lead vocal taken by Beam, both strumming a gentle melody on guitars, followed by Willie Nelson’s "Blue Eyes Crying in the Rain." Their voices joined in angelic harmony, a couple of troubadours soaring into the night. - STEVE APPLEFORD
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RT @thedanweisman: Story of the Running Wolf at @TheSayersClub tonight http://t.co/Yo0Ab6HC @JSCOPPAPresents @SOTRW http://t.co/DmYHjhXB
Last Night... Celebrating GQ Cover Man Chris Paul
Last evening GQ and Hennessy threw a party to toast Chris Paul on his October Style Playbook cover. The athlete is in pretty impressive company in the issue, joining Denzel Washington and Javier Bardem in showing guys how to dress for any occasion this fall. In fact, Paul must have picked up a few pointers from the latest issue, showing up in a natty double-breasted number and polka dot tie. At the party Paul's company was equally stacked as fellow L.A. Clilpper, and former GQ subject himself, Blake Griffin made an appearance as well as a host of Clippers players, Terrell Owens, and actors like the New Girl's Lamorne Morris. The whole room at The Sayer's Club took in some live music courtesy of Miguel while throwing back cocktails for a chill evening that most definitely followed our playbook for a successful night out.
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Last Night... Celebrating GQ Cover Man Chris Paul
Last evening GQ and Hennessy threw a party to toast Chris Paul on his October Style Playbook cover. The athlete is in pretty impressive company in the issue, joining Denzel Washington and Javier Bardem in showing guys how to dress for any occasion this fall. In fact, Paul must have picked up a few pointers from the latest issue, showing up in a natty double-breasted number and polka dot tie. At the party Paul's company was equally stacked as fellow L.A. Clilpper, and former GQ subject himself, Blake Griffin made an appearance as well as a host of Clippers players, Terrell Owens, and actors like the New Girl's Lamorne Morris. The whole room at The Sayer's Club took in some live music courtesy of Miguel while throwing back cocktails for a chill evening that most definitely followed our playbook for a successful night out.
Continue Reading...At the Sayers Club's Sessions, expect the unexpected
Jason Scoppa, the night life director who created the exclusive Bardot Sessions at Bardot in Hollywood, has moved his signature live-music programming to his very own venue. It's called the Sayers Club, and it's backed by Los Angeles night life juggernaut Sam Nazarian's SBE hospitality group. Now called "the Sessions at the Sayers Club," Scoppa's show, which enlists top-notch musical talent (and the occasional celebrity musician) to perform much-loved cover songs, now has a home that was built exclusively with its unique concept in mind. Scoppa, who also once curated live shows at Hollywood's Green Door, says that the Sayers Club is the first time he was able to envision a club from the ground up. Nazarian, who recently took over David Judaken's Syndicate Hospitality to become the largest operator of nightclubs on the West Coast, was keen to add a club to his portfolio that trended toward the avant garde rather than the glitzy slickness of many of his other outlets, including Colony and Hyde. When he saw what Scoppa did at Bardot, Nazarian says he knew he wanted to give him free reign to get as inventive as he wanted for SBE. "He gave me wings," Scoppa says of Nazarian. "When I said that I wanted to build a stage that retracts into the ceiling, his guys got excited." The retractable stage, which serves as the focal point of the large room, is just one of many design aspects that the musicians involved with the Sayers Club say make the place incredibly conducive to creative expression. Heavy black theater curtains around the walls look dramatic but also dampen sound; there is a state-of-the-art digital Soundcraft soundboard and a full set of instruments donated by Gibson so that hard-working musicians don't need to lug their heavy gear in and out of the club, entered through a private door at the back of the bright yellow Papaya King hot dog stand on Wilcox Avenue. Scoppa, who looks a bit like Johnny Depp and is rarely seen not wearing a fedora over his longish brown hair with baggy jeans tucked into black Army-style boots, likes to call the Sayers Club "a virtuoso space," meaning it can be a number of things on any given night. To maintain mystery, Sayers is open only on Tuesdays, Thursdays and Saturdays. But on those nights, depending on when you are there, you might find a congenial lounge, a dance night with a name DJ, a rollicking rock show with guests like Jeremy Piven and Perry Farrell hopping on stage, or an improvisational show with live house music and scantily clad dancers gyrating on PA speakers. You need to be on the list to get into the club (although there are always a few spaces for the right kind of walk-in) and Scoppa is careful about who he lets in. An avid fan of music who can be obsessive about his shows — always sitting on one of the brown leather couches at the front of the stage and often signaling for the house band to switch songs — Scoppa populates the room with creative people who understand the experimental side of music and can let loose in a crowd. Letting loose is easy to do when confronted by regular Sessions performers like the singer L.P. (Laura Pergolizzi) and bass player and musical director Nick Rosen, whose mother was close friends with punk star Exene Cervenka. L.P. and Rosen, along with fellow players like singer Maiya Sykes, have become stars of the club, with the crowd often leaping to its feet when they appear onstage. L.P., a tiny reed of a woman with a curly mop of dark hair and a tough demeanor, is a particular favorite. When she belts out a song like "Babe I'm Gonna Leave You" by Led Zeppelin, it's as if her voice is conjured from another dimension. The ease of her delivery and the sheer emotional breadth of her best performances can coax an audience into a trance. The feeling of magic and goose bumps that a great live music experience can create is what Scoppa is aiming to achieve every time, and when he doesn't quite lift the crowd to that level his disappointment is palpable. "It's almost like deejaying with live music," L.P. says of the way Scoppa picks certain cover songs for certain performers. "I create my own vibe as soon as I start singing. Jason builds a room full of people who love music. But nobody's pushing it down anyone's throat, it's something you want to watch." And the Sayers Club is just the beginning of what Scoppa wants to do with music. He has plans to possibly stage the Sessions as a touring act, and he's constantly on the prowl for next-level talent, including a recent and rare jazz performance by producer and composer Tom Rothrock. Says Scoppa, "I think of the room as an empty canvas, and we can paint it however we want."
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At the Sayers Club's Sessions, expect the unexpected
Jason Scoppa, the night life director who created the exclusive Bardot Sessions at Bardot in Hollywood, has moved his signature live-music programming to his very own venue. It's called the Sayers Club, and it's backed by Los Angeles night life juggernaut Sam Nazarian's SBE hospitality group. Now called "the Sessions at the Sayers Club," Scoppa's show, which enlists top-notch musical talent (and the occasional celebrity musician) to perform much-loved cover songs, now has a home that was built exclusively with its unique concept in mind. Scoppa, who also once curated live shows at Hollywood's Green Door, says that the Sayers Club is the first time he was able to envision a club from the ground up. Nazarian, who recently took over David Judaken's Syndicate Hospitality to become the largest operator of nightclubs on the West Coast, was keen to add a club to his portfolio that trended toward the avant garde rather than the glitzy slickness of many of his other outlets, including Colony and Hyde. When he saw what Scoppa did at Bardot, Nazarian says he knew he wanted to give him free reign to get as inventive as he wanted for SBE. "He gave me wings," Scoppa says of Nazarian. "When I said that I wanted to build a stage that retracts into the ceiling, his guys got excited." The retractable stage, which serves as the focal point of the large room, is just one of many design aspects that the musicians involved with the Sayers Club say make the place incredibly conducive to creative expression. Heavy black theater curtains around the walls look dramatic but also dampen sound; there is a state-of-the-art digital Soundcraft soundboard and a full set of instruments donated by Gibson so that hard-working musicians don't need to lug their heavy gear in and out of the club, entered through a private door at the back of the bright yellow Papaya King hot dog stand on Wilcox Avenue. Scoppa, who looks a bit like Johnny Depp and is rarely seen not wearing a fedora over his longish brown hair with baggy jeans tucked into black Army-style boots, likes to call the Sayers Club "a virtuoso space," meaning it can be a number of things on any given night. To maintain mystery, Sayers is open only on Tuesdays, Thursdays and Saturdays. But on those nights, depending on when you are there, you might find a congenial lounge, a dance night with a name DJ, a rollicking rock show with guests like Jeremy Piven and Perry Farrell hopping on stage, or an improvisational show with live house music and scantily clad dancers gyrating on PA speakers. You need to be on the list to get into the club (although there are always a few spaces for the right kind of walk-in) and Scoppa is careful about who he lets in. An avid fan of music who can be obsessive about his shows — always sitting on one of the brown leather couches at the front of the stage and often signaling for the house band to switch songs — Scoppa populates the room with creative people who understand the experimental side of music and can let loose in a crowd. Letting loose is easy to do when confronted by regular Sessions performers like the singer L.P. (Laura Pergolizzi) and bass player and musical director Nick Rosen, whose mother was close friends with punk star Exene Cervenka. L.P. and Rosen, along with fellow players like singer Maiya Sykes, have become stars of the club, with the crowd often leaping to its feet when they appear onstage. L.P., a tiny reed of a woman with a curly mop of dark hair and a tough demeanor, is a particular favorite. When she belts out a song like "Babe I'm Gonna Leave You" by Led Zeppelin, it's as if her voice is conjured from another dimension. The ease of her delivery and the sheer emotional breadth of her best performances can coax an audience into a trance. The feeling of magic and goose bumps that a great live music experience can create is what Scoppa is aiming to achieve every time, and when he doesn't quite lift the crowd to that level his disappointment is palpable. "It's almost like deejaying with live music," L.P. says of the way Scoppa picks certain cover songs for certain performers. "I create my own vibe as soon as I start singing. Jason builds a room full of people who love music. But nobody's pushing it down anyone's throat, it's something you want to watch." And the Sayers Club is just the beginning of what Scoppa wants to do with music. He has plans to possibly stage the Sessions as a touring act, and he's constantly on the prowl for next-level talent, including a recent and rare jazz performance by producer and composer Tom Rothrock. Says Scoppa, "I think of the room as an empty canvas, and we can paint it however we want."
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RT @robCx: Tue~ steez. @TheSayersClub
RT @JSCOPPAPresents: Saturday night with DJ @anthonyvaladez @TheSayersClub *Ear drum humps n such* @jin_diesel @robCx @sbe_Nightlife
