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ZZ Top with special guests the Ben Miller Band at the NYCB Theatre at Westbury

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ZZ Top with special guests the Ben Miller Band
NYCB Theatre at Westbury
Westbury, NY
March 15, 2015

Forty-plus years is a long time for anything. For a rock band it's an eternity. For ZZ Top, the Little Ol' Band From Texas, the past forty-some-odd years have been business as usual. The group had its genesis in Houston, TX in 1969. Originally comprised of Billy Gibbons (guitar and vocals), organist Lanier Greig and drummer Dan Mitchell, the band really came together when Dusty hill (bass/vocals) and drummer Frank Beard (who ironically is the only member of the band not sporting world-class facial hair that would make the Smith Bros. envious) replaced Greig and Mitchell in early 1970. The trio was soon signed to a record contract, and the rest, as they say, is history.

The band released is debut album, ZZ Top's First Album on London Records in 1971. Since that time, the band's blues, boogie-woogie, hard rock, barrelhouse, Southern rock, heavy metal, new wave, punk, and synth-rock mélange combined with its sly humor and been-there-done-that attitude and posture has won them a legion of die-hard fans across the globe. It has received numerous accolades including: multiple gold and platinum records, MTV Video Award nominations and wins, Grammy nominations, and induction into the Rock and Roll Hall Of Fame.

The evening of March 15, 2015 was a special one on Long Island as ZZ Top was set to perform before a sold-out audience at Westbury, NY's intimate NYCB Theatre and, as an added bonus, most of the snow from the "endless winter" had just about melted away. The night's festivities began early as the crowd milled about the Westbury arena's parking lot, checking to see if old friends had made it in for the performance. The lot was quite busy and resembled that of a festival grounds with tailgate barbeques, bootleg T-Shirt salesmen, some fans trading concert recordings and others in-search of tickets, while even more folks arrived early just to wander about and revel in all that is ZZ Top. Once inside, the venue was abuzz with excitement and energy as many members of the band's dedicated fan-base stopped to purchase shirts, posters, CDs and other memorabilia at the merchandise table prior to making way to their seats. The small intimate arena (no seat is further than 60 feet from the stage) occasionally offers concerts "in the round" with the revolving stage set in its center. Fans were besides themselves with glee when, as they left the lobby and entered the seating area, they were greeted by the sight of venue's round center stage set-up and ready to rotate.

It was just a few seconds past 8pm when Joplin, MO's the Ben Miller Band took the stage. The band's music was a wonderful fit and contrast to that of ZZ Top. It was southern and rocking, however, it was very much Americana with a very rural blues, bluegrass, folk and country feel. The rural textures were obvious, the band members played: cigar-box guitars, a one-string washtub bass (with an elaborate pickup system that gives the instrument's deep resonant sound), as well as banjo, electrified acoustic parlor guitar and washboard. It was the subtleties of the show (the other homemade instruments: a distorted, low fidelity, scratchy sound telephone receiver mic, electrified spoons, an old fire bell transformed into a drum, etc.) as well as the joyous performance, clever lyrics, showmanship and witty banter that brought the jaded audience into their corner. With strong songs like "Ghosts," "Life On Wheels" (which according to Miller is "about traveling around in a van with these guys.") and the cover of the standard "St. James Infirmary Blues," the Ben Miller Band is a force to be reckoned with. When the band's (Miller on lead vocals, guitar, banjo, a tambourine rigged as a foot-pedal and harmonica; drummer and multi-instrumentalist Doug Dicharry and Scott Leeper on one-string bass and percussion) stage presence combined with their energy and bright sound, it became obvious to everyone in attendance why ZZ Top hand-picked them to open on this tour. Before launching into their last song, Miller expressed his thanks to the audience while inviting them to "stop by, say 'hello' and join us at the merchandise stand in the lobby." It was, he said, a symbiotic chance to help each other by selling and buying T-shirts and CDs. "You get music and merch; we make some money," he said with a laugh.

After a brief intermission, ZZ Top (bassist Hill in his trademark cowboy hat; guitarist Gibbons was dressed in black with a white T-shirt, its logo obliterated by his flowing beard, along with his dapper bowler-type hat and dark sunglasses and drummer Beard, who was barely visible, unless viewed from behind as the stage spun, behind his larger-than-life customized drum set) hit the stage. Gibbons stepped up to the microphone and quipped, "We're back!" He swept his hand across the audience and added, "We'll get around to you all. Pun intended." With the audience laughing at and cheering his comment, the band launched into a high energy version of "Got Me Under Pressure."

While the stage slowly revolved, Gibbons and Hill, both brandishing faded weather-beaten and worn red instruments, stepped to the front and began to play and sway. They juked and danced to the music as their trademark beards flowed gently in the artificial breeze and billowing smoke. Gibbons deep, gravely, bluesy voice was strong and perfectly contrasted to the rowdy higher pitched rebel yell that only Hill could provide.

"Waiting For The Bus," "Jesus Just Left Chicago" and "Gimme All Your Lovin'" followed. Gibbons was clearly having a good time as he continued to interact with the audience. He told a story about taking a tour of the arena. He explained that the band had played there so many times, but on this day, he wanted to see what went on behind the scenes. He was shown the catering kitchen, the sound booth, the lighting board, the janitors closet and at each turn was told that he should be wary of one individual. He said this after mentioning each and every stop on his tour. He paused and then stated that the person that everyone warned him about was "the gentleman who drives this stage, so we promise that we'll be good." He then smiled and added, "We're having a good time...a little seasick...at the theatre in the round. Ah, yes, 'I'm Bad, I'm Nationwide.'" The band then ramped up and ripped through the song of the same name which originally appeared on Deguello (Warner Bros., 1979).

The hits-filled, rocking and bluesy set continued with " Pincushion," "I Gotsta Get Paid," "Flying High" (from the 2012 American Recordings CD, La Futura), a nice tribute to Jimi Hendrix ("Foxy Lady," prior to which Gibbons announced, "We're gonna go back; way back!"), and Hill's vocal turn on the Robert Petway tune "Catfish Blues" (made famous by Muddy Waters as "Rollin' Stone").

The most well-known part of the ZZ Top musical canon was saved for last. The band delivered a bang, bang, bang, boom barrage of fan favorites that included "Cheap Sunglasses," "Chartreuse" (from La Futura), "Sharp Dressed Man" and "Legs" (which, as the roadies brought the trademark fuzzy white guitar and bass from the famous video onto the stage, Gibbons introduced with, "I think you all know what's going on next!"

After the song ended, Beard came out from behind his kit. He stopped briefly to speak with Gibbons and Hill, quickly turned around, walked back to his drums, picked up his sticks, settled in and was ready for anything. The crowd was delighted when it deduced that the band had decided to go straight into the encores. A muscular version of "La Grange" complete with an extended jam and "Tush" served as the evening's encores/final performances.

Although, they have on occasion played longer, the evening's performance still had clout. The band was tight, the vocals were strong and they band members were clearly (as evidenced by the grins on their faces) having fun. The night's set was filled with hits and choice covers—almost everything that the sold-out audience came to hear. ZZ Top treated the all-ages audience to an amazing evening of music in one of the few remaining medium-sized, yet still intimate arenas. Though they are billed as the Little Ol' Band From Texas, a big act such as ZZ Top playing in a smaller venue is something that doesn't often happen and should be viewed as "special." On this night, the ambience, showmanship and performance was very special.

Photo Credit: Christine Connallon
[Additional article contributions by Christine Connallon].

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