Live Concert Photography: Escort with Superhuman Happiness at Brooklyn Bowl 11/16/17
Now, if you’ve been frequenting this site throughout the course of its almost eight year history, you’ve likely come across a handful of posts featuring the New York-based dance music collective ESCORT. And as you may recall, the act founded by producers Eugene Cho and Dan Balls and featuring frontperson and bassist Adeline Michele as members of a core group of five that frequently expands to 17 for live shows has received attention locally and nationally for a sound that draws from late 1970s disc and electronic dance music — and for a live show that makes them a must-see live act, thanks in part to Adeline Michele’s stage presence. Although it’s been a while since I’ve written about them, the act headlined a three night run at the JOVM unofficial home office Brooklyn Bowl in mid November — with the first night featuring JOVM mainstays Superhuman Happiness as an opener. The JOVM mainstays set featured material off their first full-length album, as well as covers of classic dance tracks including Inner City‘s “Good Life,” Crystal Waters‘ “Gypsy Woman (She’s Homeless),” Aly Us’ “Follow Me,” and others. Check out photos from the show below.
With the release of their long-awaited full-length debut Hands, the Brooklyn-based dance pop/experimental pop act Superhuman Happiness led by co-founders Stuart Bogie (vocals, saxophones, synths) and Eric Biondo (vocals, trump, synths, percussion) emerged on the national scene for a sound that once drew from Talking Heads, Antibalas (which Bogie along with several members of their rotating cast of friends and collaborators have had stints in), 80s synth pop and New Wave and for an ebullient and mischievous live show that incorporates elements of jazz-like improvisation, surrealist comedy and performance art.
Interestingly, since the release of Hands, the act has gone through a major lineup reshuffling that included the recruitment of Andrea Diaz (lead vocals, keyboards, percussion) that has resulted in Escape Velocity, a decided change in sonic direction, in which the act incorporated an increasing use of synths and electronics while retaining many of the elements that first caught my attention, as well as that of the blogosphere — deep groove-filled material that’s whimsical, mischievous and joyous. Despite, the change of sonic direction, the band’s material thematically continued to focus on profound topics — in the case of Escape Velocity, a great deal of the material focused on the fidelity and accuracy of one’s memories against nostalgia.
The band’s set comprised of material off both their full-length albums, as well as newer material, which will eventually appear on a forthcoming full-length.