So I have been spinning Low Cut Connie’s music from the very first month when I relaunched The Indy Review almost nine years ago, and have continued to be a fan, reviewing his 2023 album Art Dealers most recently. Yet seeing the piano rocker live had still eluded me.
Last Friday, I was finally able to notch another name off my concert bucket-list, as Adam Weiner and his insanely talented band rolled back through Los Angeles for a revival-worthy show at The Troubadour that more than lived up to the artist’s hype as a force on the stage.
Making the evening better was opener Kate Clover. This was my third time seeing the Los Angeles-based garage punk spitfire, and she had tremendously upped her live game since the first time I saw her (also at The Troubadour for a Howie Pyro Tribute Show a few years before). With her band wearing matching suits and ties, and Kate herself donning a sparkly, lighting bolt adorned outfit that shouted ‘young Debbie Harry‘, Clover and her band launched into her brand of catchy bubble grunge and pop-glazed, 70’s style protopunk songs like “The Apocalypse Dream” and “I Love You to Death.”
While she and the band sounded great as ever (though there were a few moments where some technical glitches kept her vocals from really coming through), what had changed was Kate’s presence on stage. The artist has become much more of a force, willing to do whatever it takes to get the audience warmed up and joining in the chaotic fun she brought to the stage (and this audience definitely needed it). After slaying tracks like “Channel Zero” (my favorite of hers) and “Daisy Cutter,” she plopped herself into the arms of a front-stage fan named John and had him carry her down to the middle of the room to get in the crowd. Asking people their names and what freeway they took to get to the show became a running joke, and later she would get audience members to start a brief conga line while the band played on.
Clover was clearly having fun, even when pushing to get the audience in on it too. And thankfully they eventually caught up to her. By the set’s end, Clover was getting audience members to personally crowd-surf her around the floor, and she was standing on the speakers to belt out “Follow My Heart” and the singalong “Crimewave”. Speaking to the people next to me after the set, they were gushing over Clover’s set, having never heard of her before and expressing shock as they had not expected it to be so good. The power of a great live performance to win fans. I also heard there was a scout from Universal at the show watching, so perhaps there will be MAJOR news for the artist in the future.
I’m sure all the Low Cut Connie fans in attendance that night would attest to this. The band took the stage with “Get Down”, and were already going at 100mph. While his songs are built around his percussive piano playing, LCC frontman is not one to be stuck behind the keys. He roamed the stage like a rock n’ roll evangelical preacher, bringing soul to the masses with a fighter’s spirit. He grabbed the audience’s attention and would not let go as he belted out “Little Freakers,” “Death and Destruction” and the tongue-in-cheek “All These Kids Are Way Too High.”
While artist like Elton John, Little Richard and Jerry Lee Lewis will certainly be the first musical comparisons that will come to mind when listening to Low Cut Connie, seeing the band live, you’ll also get clear notes of Bruce Springsteen, Bob Seger, T-Rex (the band threw in a bit of “Bang a Gong” during a song) and classic soul men like Sam & Dave. It’s pure, classic rock n’ roll at its core, with all the spirit and sexual energy the genre is known for.
Not to be confined to the stage, Weiner went into the audience for “I Know You Got Soul,” twirling audience members of all sexes, bringing hugs and tussling the hair of audience members caught looking at their phones. He whipped the audience into a fervor with “Whips and Chains” and had them singing along to “Rosalie.”
The band is currently out on tour supporting their latest album Livin’ in the U.S.A., and Weiner addressed the elephant in the country. But he wasn’t preaching from a bully pulpit – Weiner took a much more human and empathetic approach, acknowledging how it’s impossible not to talk about what’s happening and to feel like the world is crazy. And while he began his music career writing tracks that were not at all serious, with the way the world has changed, his writing has changed with it. He then launched into the anti-I.C.E. title track from the album, followed by the bluesy “Dirty Water.”
Weiner admitted to his own surprise that the band, who’s music is released on their own tiny label, had for the first time hit various Billboard charts with their new album and current single “Can’t Be Wrong,” which they then played and lifted the mood. Frankly I’m surprised it’s taken this long for it to happen, considering the band has famous fans like Springsteen and Obama in his corner.
I would be amiss in not showering some love on the rest of the band. Guitarist Rich Stanley brought delicious licks and on-stage camaraderie with Weiner. Bassist Nick Perri kept the groove going with style along with drummer Jarae Lewis who kept the rhythms lively. Guitarist and saxophonist Kelsey Cork was a surprise double-threat on both instruments. And then there was the second star of the show, Amanda “Rocky” Bullwinkel, the band’s lead backing (and at times co-lead) vocalist. Bullwinkel often went toe-to-toe with Weiner, bringing a physicality to her performance, and even balancing on the piano at one point while singing along with Weiner. Her vocals were powerful, and per one of her lines, like “Tina Turner in ’69.”
The show continued to roll out surprises. Weiner reminded the audience that about fifteen years early, Prince had played there on the Troubadour show (which I knew, as I was at one of those shows). He the transformed “Little Red Corvette” into a piano-led lounge ballad. Next came what Weiner declared was the “least rock n’ roll thing he could do” and covered “Tomorrow” from the musical Annie. In the context of looking towards a brighter tomorrow and wanting people to be there for each other and lift each other up, it felt appropriate.
The show closed with an epic run of the band’s biggest songs mixed in with newer ones; “Revolution Rock n’ Roll” and “Nobody Else Will Believe You,” “Let Me Speak to Bobby” and “Oh Suzanne.” By the time he got to “Rio” his button-up shirt was off, and he had torn his undershirt, leaving his chest exposed. He and Bullwinkel were drenched in sweat, and yet he was still launching high kicks as he performed. It was incredible showmanship, on top of already incredible music. While I loved watching this band at the Troubadour, they should be playing far bigger venues.
Hopefully articles like this one can help spread the gospel of Low Cut Connie. See where the artist is next touring here, and listen to Livin in the USA.
The Indy Review 