July 28, 2004
I wonder what a professional set designer would do with Green Light. Would they ignore the aesthetic hindrance of the name and light the stage in everything but green as a sort of statement that they wouldn’t even understand? Or, would they bow to the name’s obstacle and cover the stage in green Christmas lights and neon paint?
Charlotte-based groove trio Green Light—without the aid of a set designer or deli tray—went with choice #2 Wednesday night at d.b.a. There was just no neon paint. It’s time to bring back the glow-in-the-dark paint, yes? No? I guess having neon green paint splattered against the walls would make d.b.a. look like a crappy haunted house. It would be cool, though. Green Light was guitarist Kevin Gill, bassist Dustin Hofsess, and drummer Adam Snow.
Let’s talk about the music. It was enjoyable. There were traces of rock and jazz, but mostly, the songs focused on the different ways the music could be used as a sex soundtrack. The band played a “slow groove,” a mood enhancing nod to Barry White and R. Kelly, before he started pissing on people(still allegations). They also played a harder “hard groove,” a nasty, head boppin’ sound that you’d play when things got…harder. Gulp! Finally, there was the “freak groove,” full of fast, wacked out, wah-wah guitar solos. You’d play this when…well, I’ll let you use your imagination.
Unfortunately, since Green Light’s music would be best utilized during sexual enjoyment, their concert wasn’t the best setting. Then again, I didn’t check the bathrooms. Pop in the CD and let the sexual healing begin. The music created a nice sleepy-time atmosphere last night. The songs were fairly long(seven minutes), but they changed directions and didn’t jam so long on a theme that I lost interest.
The crowd was scarce to start out, but Green Light drew in people from off the street. It was nice to see d.b.a. attract a touring band. Hopefully that will continue.
The band ended their first set with a note-for-note beautiful jazz flavored cover of The Beatles’ “Strawberry Fields Forever.” Gill’s high-pitched guitar tone was heavenly, and his solo mid-song helped the song. Messing with the structure of a Beatles is normally a no-no, but Gill pulled it off.
So, get on the Internet and find their CD.