ALBERT HAMMOND JR at Teragram Ballroom Oct. 14; photo Andy Ortega

As Albert Hammond Jr. addressed the sold-out crowd at LA’s Teragram Ballroom on Wednesday, a big smile lit up his face. “Are you guys having a good time? Because I’m having a great fucking time. I think I might set a tent up right here.” Hammond has every right to savor the moment. Sobered-up and enjoying time away from a little band called The Strokes, his latest offering, Momentary Masters, has officially carved out a space for Hammond as a force in his own right, selling out shows across the US.

While Hammond gave a nod to his other band’s New York roots, taking the stage to Ace Frehley’s “New York Groove” his solo work harkens more to the mellow haze of LA. Breezy offerings off his first solo album “101” and “Holiday” were crowd favorites, with their easygoing riffs and melting vocals, while ¿Cómo Te Llama? track “GfC” provided the perfect soundtrack for the sultry SoCal night.

The majority of the setlist was devoted to Momentary Masters, featuring catchy album standouts “Losing Touch,” the Strokes-y “Razors Edge,” and the biting “Touché.” Crowd surfers abounded, with Hammond commenting, “I feel like the front row is a contact sport.” One particularly dopey fan got himself onstage during “Holiday” and tried to take a selfie with Hammond, wrapping his arm around him. Without missing a beat, Hammond grabbed the phone and chucked it into the audience to the approval of all. Another fun moment was Hammond signing an actual side-boob of one deviceful female fan during, you guessed it, “Side Boob.”

Even better was simply seeing Hammond cut loose. He’s jerky, he spazzes out, and he’s having a good-ass time. The triple-guitar interplay of Hammarsing Kharhmar, Mikey Hart, and Hammond was something to behold on songs like “St. Justice” and “Spooky Couch,” with Kharhmar and Hart often taking the lead while Hammond went wild. When Hammond would step up and rip out a solo, the crowd went berserk. There’s something about that signature sound, so familiar to Strokes and Hammond fans alike. Seeing and hearing Hammond is like catching up with an old friend, an old friend that’s doing better than ever.

Ending the set with “Side Boob” and the apropos signing, the crowd wanted more, bringing the band back for “Drunched In Crumbs,” “Blue Skies,” which provided a real “lighters-out” moment, and “Coming To Getcha,” with an extended outro that threatened to blow the roof off the venue.

The show was opened by Day Wave.

LIVING COLOUR played epic show at HOB Anaheim July 9

More than thirty years after originally forming in New York City, Living Colour showed that rock n’ roll is by no means a young man’s game, delivering an animated, powerful and musically tight show at the House of Blues in Anaheim on July 9.

Each member of the band, Corey Glover (vocals), Vernon Reid (electric guitar), Doug Wimbish (bass) and Will Calhoun (drums), showcased their musical virtuosity repeatedly throughout the 90 minute musical set.

Over an evenly mix of covers and original hits, Living Colour provided the audience with a canvas of different styles ranging from funk and hard rock to heavy metal and the blues. Much of the crowd, composed primarily of middle aged couples with the exception of a few parents and their kids, didn’t arrive until a few minutes before the show due to the absence of an opening act.

However, by the time the band walked out on stage and kicked the show off with a cover of Notorious B.I.G’s “Who Shot Ya?,” the concert hall was in full swing. Glover’s somewhat scornful delivery of the late rapper’s lyrics quickly got the near sell-out crowd bobbing their heads and moving side to side.

Following a cover of Robert Johnson’s blues classic “Preachin’ Blues”, the band began a medley of their own songs including “Middle Man”, “Desperate People” and “Funny Vibe.” Well known for their often political and socially conscious lyrics, Living Colour added a “Hands Up, Don’t Shoot!” section to “Funny Vibe” which got the crowd to follow suit and form a wave of erect arms.

Vernon Reid’s stunning, crisp guitar playing and Doug Wimbish’s funky bass rhythms were most evident during a performance of “Bi” at the midway point of the show. At one point, Wimbish maneuvered to the center of the stage, lifted up his bass and played a brief solo—with his teeth.

Drummer Will Calhoun didn’t let the spotlight escape him either, concluding a cover of James Brown’s “Get on Up” with a captivating nine minute drum solo. With his fellow band members off stage, lights dimmed and red glow in the dark drum sticks in hand, Calhoun let out a furious display of his drumming prowess.

When the crowd called for an encore, Living Colour responded with two songs—“Cult of Personality” and a cover of The Clash’s “Should I Stay or Should I Go.” Glover created a deafening roar from the crowd and a few nervous security guards when he jumped off stage and walked through the audience while singing the group’s trademark and Grammy-award winning 1988 hit.

Simultaneously giving high fives and belting out lyrics, Glover found his way to the second floor of the venue standing next to comedian George Lopez before returning back to the center of the stage for the conclusion of the song.

The show marked the final headlining concert for Living Colour before they joined Aerosmith’s Blue Army Tour the following day as the opening act.