While relatively new on the music scene, Ghost Light has made a major impact. They were building a large fan base and a compelling reputation for improvisational creativity when the Covid-19 pandemic curtailed their live performances. Most recently, the band canceled their Winter 2022 tour. Fortunately, they were able to launch their Spring tour at the famous Troubadour in West Hollywood, California on March 25. It was the first live show for the band since their Peach Festival appearance on July 2, 2021. They put on a strong performance at the Troubadour and the exuberant audience made them feel welcome.
Lead guitarist and vocalist Tom Hamilton said, “It is very nice to be back doing this.” Keyboardist Holly Bowling agreed by saying, “We missed you all so very, very much.” It was amazing how cohesively the band performed after so much time. Not only was this their first live gig since July 2021, but it was also the first gig with bassist Taylor Shell who just joined the group a few weeks prior to the show. Shell is a veteran of the recently disbanded Turkuaz and is well known in the funk, soul, and improvisational music scene. He seamlessly stepped into the rhythm section, providing a funky, throbbing bassline that accompanied Scott Zwang’s excellent drumming.
The band is known for its songwriting, strong vocals and harmonies, creative instrumental forays, and innovative sound. The Troubadour performance solidified that reputation. The band seems intent on taking risks. Hamilton has done a formidable job reinterpreting Grateful Dead tunes as part of Joe Russo’s Almost Dead, but his role in that band is predefined. Similarly, Bowling built her rep reconfiguring Phish and Grateful Dead songs for piano and keyboards.
With Ghost Light, they get more inventive and experimental. Hamilton adds acoustic guitar and mandolin along with a wide array of sound effects for his strings. Bowling uses electric piano and a variety of organs with various effects as well. The band sounds reminiscent of, yet distinctly different from most current, modern rock improvisational groups. Their exceptional individual talents blended together to create a unique mashup that sets them apart from any other contemporary act.
Raina Mullen was the star of the show with mesmerizingly angelic vocals, especially during a very trippy version of “Diamond Eyes.” She sounded fantastic the entire performance and showed some previously unheard, impressive lead guitar chops during “What Does It Mean To Be,” “The Healing,” “Old Fashioned” and the slow-building, psychedelic romp “Synth Driver.”
After so much time off, it is not surprising that the band broke out new material during the show that they had not previously played for an audience. “The Healing” featured Hamilton on acoustic guitar while duetting with Mullen on vocals. It started off sounding like a ballad that should be in a movie western, but transitioned into a rapidly interlaced showcase for Hamilton, Mullen and Bowling who each played intricate solos while smoothly overlapping each other.
“Faces In The Moon” featured Hamilton on the mandolin while Mullen sang. Hamilton switched back to electric guitar for a complex and melodic solo. Shell used a forceful, heart-pounding bass line while Bowling played an intricate piano sequence that was more stylistically classical than rock.
“Don’t Say Goodnight Just Yet” was another new song that opened the second set. The recorded version of the song was released on streaming services one week prior to the show and features more of Mullen’s haunting vocals. The live version’s hypnotic bass and drum line were more rhythmic than the recorded version and the band expanded the song into an improvisational jam. Hamilton went a bit overboard with a very vibrant, effects-heavy solo when he played with the toggle switch on the top of the guitar body.
“Synth Driver” closed the second set and demonstrated why this band is so special. There were beautiful, four-part harmonies and a psychedelic, rapid-fire solo by Hamilton. Mullen played a creative, fingerpicking sequence that slowed things down, and eventually, Hamilton’s and Bowling’s organs joined in as the tempo gradually increased until culminating in a heavy, full-blown jam.
The one song encore was “Leave the Light On” and it showcased Hamilton’s vocals and guitar prowess with a lengthy, “Dead” sounding, solo sequence to close the excellent show. Their unique sound touched on their past influences but created a different and interesting sonic story. We are anxious to hear more new music from the band and are looking forward to seeing where they take their sound in the future.
Ghost Light continues their Spring Tour with dates in California, Oregon, Washington and Colorado.
Live photos courtesy of Andy J. Gordon ©2022
Setlist
March 25th, 2022
The Troubadour
LA, CA
Set 1:
Don’t Come Apart
Diamond Eyes >
What Does It Mean To Be >
Diamond Eyes
The Healing * >
Bullseye Blues
Set 2:
Don’t Say Goodnight Just Yet >
This Thing Ain’t Going Nowhere
Faces In The Moon * >
Old Fashioned >
What Does it Mean To Be
Synth Driver
E: Leave the Light On
* First time played (original)
