Written By: Natalie HamingsonOn September 15, legendary experimental hard-rockers Living Colour released their fifth album, “Chair in the Doorway.” The album’s title serves as a metaphor for self-created obstruction, and was partially recorded at Sono Studios in the Czech Republic. The studio, where bassist Doug Wimbish had previously been a client, may “as well have been the surface of the moon,” according to guitarist Vernon Reid. Though the experience was isolating, Reid says, “it was actually good for us to be in that context,” as it made for a more productive experience.
Now that the band have been able to get away from all the distractions and complete the record, they’ve set out on an American tour to promote their latest work. Nine days after the record dropped, the tour made a stop at Hollywood’s Key Club for a headlining show.
The show was opened by Just a Theory, whose performance I missed, and Sarah Wasserman, whose latest album, “Solid Ground,” features a guest performance by Reid. Wasserman’s powerfully angelic voice was accompanied by keyboards and an electric stand-up bass, played by her father Rob.
Around 10:30 PM, frontman Corey Glover appeared onstage in a gas mask and butcher’s apron, along with Reid, Wimbish, and drummer Will Calhoun, and kicked into “Middle Man,” off of “Vivid.” (I feel I should mention at this point that I have a personal history with this band, as I made a brief appearance in that song’s video at the age of 3 months old. Though I may have an obvious bias toward the band, nothing could change the fact that their performance was nothing short of stellar.)
The tight, nearly two-hour set was a mix of classics like “Glamour Boys,” and “Cult of Personality,” and new tracks from “Chair,” like “Burned Bridges” and “Bless Those.”
As psychedelic images were projected on a screen behind the band, all songs had hardcore fans grooving, jumping, and singing along. Glover commented at the end of one song, “and to answer your question, yes I am hot in this fucking outfit!”
Highlights included Wimbish jumping offstage to jam in the middle of the crowd, and a ten-minute drum solo by Calhoun. Midway through, the lights around Calhoun went out, so that all you could see were the swirling neon lights on his drumsticks, as the room was literally vibrating from the force of his performance.
After an encore performance of “Love Rears its Ugly Head,” the band announced that they would be signing stuff at the merchandise table in 15 minutes, before shaking hands with the entire front row, and exiting the stage. Apparently, these meet and greets are standard procedure after every show. Though you would think they’d want to relax after their long, energetic sets, the band is incredibly appreciative of the thankful reactions they get from most fans.
Reid says he hears comments like, “I started to play guitar because of you,” and “I changed my life because I heard this song.” He explains, “It’s kind of a trip to get that energy from people because I remember how I felt when I met Carlos Santana and [other] people that I was HUGELY into.”
