Dressed in their Sunday’s best, eager music fans from around the country descended upon Williamsburg over weekend, taking part in the triumphant return of the long-running single day music marathon known as Brooklyn Comes Alive. The improv heavy, festival-like concert has earned a reputation over the years for its unique collaborations and one-time-only performances that have made the event something of a “can’t miss” affair. Originally scheduled for March of 2020, Brooklyn Comes Alive was one of the first significant gatherings to be canceled due to Covid-19.
From New York City to Connecticut, Colorado to California, and some even as far as Columbia, passionate concert goers showed up at The Brooklyn Mirage ready to party. Some wearing glittered sequins and robes, other’s in tie dye and face paint, the weather and atmosphere on Sunday couldn’t have been better. Despite kicking off nearly an hour behind schedule, once things got going the music virtually never stopped.
After a brief welcome by SiriusXM host Ari Fink, charismatic rising star Karina Rykman and her trio kicked off the festivities with an energetic set highlighted by original numbers like “Elevator,” “Plants,” and” City Kids” which also featured an extended Radiohead tease of “The National Anthem.” The set also featured a guest appearance from fellow female rocker, Melt guitarist Marlo Shankweiler, who sat in for a crowd pleasing cover of Talking Head’s “Psycho Killer.”
Next up was the highly anticipated debut performance from the avant-garde jazz trio of John Medeski (Medeski Martin & Wood), Joe Russo (Joe Russo’s Almost Dead), and Dave Harrington (Darkside). Experimental from their very first note, these three masterclass musicians made zero attempt at “playing it safe.” With intense concentration in each of their eyes, the full set of improvisation contained everything from danceable funk grooves, textured polyrhythmic tribal breakdowns and even a darkly psychedelic droning segment that was almost reminiscent of the obscure Tool song “Merkaba.”
As the Sunday sun began to set, more fans could be seen exploring the venue’s sprawling multi-tiered catwalk, some heading all the way up top to take in a glimpse of the stunning Manhattan skyline. Meanwhile back down below, the stage was now set for another first-time performance, the Break Science live band lineup of Lettuce members Adam Deitch (drums) and Eric “Benny” Bloom (trumpet), alongside Pretty Lights members Borahm Lee (keyboards, production) and Chris Karns (turntable/samples) and bass player Hunter Roberts (Dominic Lalli’s Bluebird Quintet). More known for their clubby, dubstep inspired sets of the past, this Break Science lineup was distinctly more laid back yet somehow still felt undeniably fresh. With nightfall now upon us, this was also the audiences first true look at the facilities impressive light rig, one that also features full venue projection mapping and enough fog machines to convince even west coast visitors they’re back home
As is tradition with Brooklyn Comes Alive, collaboration is the name of the game, and on Sunday night no one did it better than Colorado favorites The Motet. Consisting of keyboardist Joey Porter, brothers Garrett Sayers (bass) and Drew Sayers (saxophonist), drummer Dave Watts, and guitarist Ryan Jalbert, The Motet wasted little time before welcoming some funky friends to the stage in the form of guitarist Jeremy Schon (Pigeons Playing Ping Pong) and trumpeter Eric “Benny” Bloom who sat in on “Fearless” and “Nemesis”. Later, Brooklyn based vocalist Shira Elias (Turkuaz) would also get in on the fun for high energy renditions of “And The Beat Goes On” and “Highly Compatible.” All three special guests would stick around for “Death or Devotion” and a set-closing “Get It Right”. Noted by his absence was former Motet vocalist Lyle Divinsky, who with his strong New York ties, had some fans hoping for a bit of a one-off reunion; it was not to be.
The speculation didn’t stop there however, as throughout the day, there had been plenty of talk amongst the Bisco faithful regarding the sudden cancellation of the bands two previous shows in Connecticut. Regardless of the specifics, no one was really quite sure what to expect from the two headlining sets from Philadelphia’s trailblazing improve titans The Disco Biscuits. Finally, after a full day of live music, it was time for the main event and for answers.
After opening their first set with “Helicopters” and then “Running into the Night,” the band invited Shira Elias of Turkuaz back out once again for a special treat, a cover of the classic Blondie song “Rapture”, which they had previously only done as an instrumental. A triumphant “42” closed out the opening set. After a brief intermission, the band would return with “Pilin’ It Higher” before perhaps the biggest “jam” of the night, segueing from “I-Man” through “M1”. Finally, after working through “Evolve”, the show would end the same way it began, completing a “Helicopters” sandwich and bringing 2021’s Brooklyn Comes Alive to a cathartic close.
