Bruce Hornsby & The Noisemakers
Rescheduled from 6/28, No Bowling Lanes Available Tonight
61 Wythe Avenue
Brooklyn, NY 11249
Valid photo ID required at door for entry
Doors: 6:00 PM
Show: 8:00 PM
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Bruce Hornsby & the Noisemakers
which the native and longtime resident of Williamsburg, Virginia intermingles his diverse musical passions, recording not exactly a self-invented genre but a world of vibrant sound and text all Hornsby’s own. The twelve songs that comprise “’Flicted’ take their starting points from soundtrack scoring, the visuals-linked area of music composition with a distinguished history. Inexorably at home, Hornsby investigated again the “cues” he had written for the director Spike Lee, with whom Hornsby has worked since 1990. These abbreviated instrumental score passages had sparked song creation on his
two previous albums. “I was stuck in my house,” Hornsby says, “so I gathered up some cues I hadn’t used on ‘Absolute Zero’ and ‘Non-Secure Connection.” Additionally, he considered closely a riff he had asked a collaborator from ‘Absolute Zero’ – Blake Mills, a Los Angeles songwriter-producer and, as Hornsby describes him, “sprung-from-Zeus guitarist” – to record. “Blake gave me,” Hornsby says, “about a minute-and-a-half of this little thing.” For the final installment of his trilogy, Bruce Hornsby was off to the races. And yet, the 2020 routes of the “’Flicted” songs were less determined by European and American 20th -century modern classical composition than by the fleet ear-bud zings and danceable grooves of 21st-century high-speed rail: This is a Bruce Hornsby album informed by the lucid atonal challenges and serialist-
dissonant flows of its two predecessors but significantly more pop. Produced by Tony Berg, who adds his sense of 1960s Los Angeles studio rock to the mix, and Hornsby, the broad impression “’Flicted” builds is not divorced from the formally
advanced “electric pop” of, say, a heavily streamed Taylor Swift-Zayn Malik duet. This is bold. The contributions on these songs, moreover, made by Music, the Brooklyn chamber sextet co-founded by violinist Rob Moose, heightens the command of energy, substance, and rhythm this Hornsby music wields. Rhythm especially: “James Brown,” Hornsby says, citing the instrumental and professional rigor famously, mercilessly enforced in bands led by one of the surest geniuses of any
music anywhere, “would not firey Music.” This is modern sound not as voiced by Silicon Valley’s lushest tech but rather the blood and flesh and heart of top-flight in- studio playing immemorial.
Hornsby casts “’Flicted,” as he did the new album’s two predecessors, with the incisiveness Quincy Jones exercised on his own solo albums, always recorded with various singers, musicians, and other creative and technical collaborators. Throughout his long career – begun with his international hit “The Way It Is,” whose romantic Steinway ecstasies the late rapper Tupac Shakur sampled on his track “Changes,” anticipating the current era of The Song v. The Album in recorded pop – Hornsby’s engaging tenor has proceeded consistently. Without employing the idiosyncrasies of Bob Dylan or Neil Young, it travels its own singer-songwriter way, elevating ruminations on Appalachian cultures or addressing urban literary and scientific research with an everyday unruffled ease.