Page McConnell & The Meter Men + Earphunk
Concert Review – LMD JazzFest Series
April 24, 2015 • New Orleans
By John Mikeska
The first weekend of “Fest” was marked by the first of two performances of The Meter Men with Page McConnell and Earphunk in support. Coming off their introductory set inside the festival gates, the homegrown quintet (Earphunk) came out in full force for their afternoon spot. Ultimately, inspiring accolades from the surprisingly full audience and a write-up in Rolling Stone magazine.
Earphunk has been riding a hockey-stick type growth chart, where after several years of paying their dues, they’re really capitalizing on the buzz created (most notably) from their exposure on XM radio. In due form, the New Orleans funksters took the stage at the Joy Theatre and kept the momentum rollin’. With particularly notable selections of “Sweet Nasty” and the ever-evolving, deepening, sinister nature of their interpretation of “Whipping Post” which gives guitarist Paul Provosty carte-blanche to unleash hell, supported by the backbone of the tight rhythmic partnership in drummer, Michael Matthews and bassist, Michael Comeaux as the swirling organ chords (courtesy of Christian Galle) contribute to the hellish mayhem.
Frontman/rhythm guitarist, Mark Hempe, finds his way into the mix with solid rhythmic offerings that take on lead-esque qualities and decidedly influence the direction of any given improvisational moment. Notable aspects of their performance, this particular evening, consisted of dual-guitar, lead sections featuring Paul and Mark (this aspect of their performance provides an exciting direction as the band develops), and a familiar but particular rowdy rendition of the drum n’ bass segment.
If anything else (besides their impressive showmanship) the band has really settled in to themselves and found a firm footing in their identity. Although, they never really lacked the sentiment, the effects of external validation can hardly be estimated. Lead guitarist, Paul Provosty, commented on the finer aspects of showmanship and artistic appreciation from the various perspectives of live-music enthusiasts. He brought up several strong points regarding the balance between artistic integrity while sustaining growth and extending the reach of the band; reminiscent of a cohesive team-effort, with a solid foundation and plans for the future.
Possibly the coolest part of this particular bill is the fact the New Orleans legends “The Meters” can still manage to put it all aside and get on stage to play some gigs. You can make all sorts of critical assertions and commentary about the band, its history and what purpose it serves now. But the fact is, that Earphunk wouldn’t be possible without “The Meters”. “Cissy Strut” was one of the staples in their early setlists. The fact that these bands are able to share a bill and perform on the same stage is truly an awesome thing. Before the show, you could certainly feel the secluded nature to the Meter Men’s operation. It almost feels like they’re doing their own thing until is time to come out under the lights; and then they all meet on stage.
The production team at the Joy Theatre was on point. The audio-visual presentation was a spectacle that did justice to the event. In an apparently respectful form, Page takes melodic queues during the verse/chorus part of the songs, but unleashes the beast come the improvised sections. Right at home in the clav-heavy organ laden jams of The Meters’ material; Page got up (so we could get down)*** and treated the audience to spectacular, jammed-out renditions of “Ain’t No Use”, (a particular favorite, especially those who enjoy seeing this number come up in WSP set-lists), and a vivacious “Hey Pocky Way”. For the latter selection George Porter Jr really dug into the bass line and played the familiar groovy, earth rhythms that he couldn’t help if he tried.. After a show the reached towards the 2AM mark, the crowd scattered to the plethora of late-night options available to them.
Just want to take a second to pour one out for George Porter Jr, and his continuing efforts to preach the gospel of New Orleans funk to the masses. The man is a saint, and we’re very thankful. Page adds a refreshing vitality to the mix, especially when the scratchy clav/organ jams remind a select few of us of wading in the velvet sea. Leo kept things on point by sliding into a few pocket groove. Overall, a stellar night of music from the funk kings of Nola and beyond.