New York-based band Moon Hooch played what is likely to be the most raucous, unique, impressive show at Denver’s Bluebird Theatre on Oct. 28. For a mere $15, the eclectic trio delivered a continuous two hours of unbelievably creative and fun music in the intimate venue, making an unforgettable concert experience for their fans.
Born from subway station busking and comprised of only two saxophonists and a drummer, Moon Hooch plays a mix of jazz, funk, rock, dance and experimental music. The members attended the prestigious New England Conservatory, which brings a level of expertise and delightfully intelligent weirdness to their infectious, funky music; think electronic dance music (EDM), but with acoustic instruments.
Accordingly, the concert felt much more akin to an EDM festival show than any jazz or rock endeavor. Opener and beatboxer extraordinaire, Honeycomb, set the party-music tone with an incredible set of beats made solely with his vocal cords, no laptop necessary. The decidedly alternative crowd (many in Halloween costumes, many intoxicated, all dancing) were clearly impressed.
When the headlining Hooch took the stage, things got even wilder. After a stark, ethereal opening of harmonized long notes (one of many moments of artistic beauty peppered throughout the night’s chaos), the trio immediately went into dance mode. The subdued rhythmic groove of “Something Else” from new album “Red Sky” coyly kicked things off, but it built in intensity until the collective dancing shifted from subtle to rave-like by the second song. This party precedent didn’t stop, as the band went straight from one song into another for almost the entirety of the show.
Seemingly immune to exhaustion as they thrashed around stage for 90+ minutes, saxophonists Mike Wilbur and Wenzl McGowan flexed their creativity, making unheard-of sax noises and constantly switching instruments. Highlights included McGowan’s use of a monstrous contrabass clarinet, the bizarre EWI (essentially a synthesizer played with the mouth) and his infamous traffic cone-stuffed bari sax. Wilbur also took to the synthesizer and occasionally the microphone; while his singing was enjoyable, his rapping was a bit less so. New hip-hop tinged track “State of Emergency” was probably the night’s only misstep, though it was redeemed by rappers from Honeycomb’s posse and drummer James Muschler’s skills on the Indian Tabla.
While the continuous urge to dance was tiring (a certain reporter may have been obligated to put his camera away and thrash during “Number 9”), the positivity exuding from the band was more powerful. Even at their most artistic, one never lost the sense that Moon Hooch was there to have fun. They were incredibly transparent and appreciative, even asking the audience to email them with sustainability projects they could participate in on their days off. As Honeycomb and his posse reappeared onstage for the closing improvised jam, one could almost feel as if they were among friends, rather than simply at a soulless rave.
For a fun, intelligent alternative to dance music, definitely listen to some Moon Hooch. For a life-changing musical experience, go seem them live.
