We met early at Dublin airport on the morning of the 14th and spent a full day travelling against the tide of the sun, arriving late in the evening to our hotel on Sunset Boulevard.
The next day (and the day after that!) we had breakfast at a great place called the Dialog Café. There was some gear to be bought in the afternoon and I went along to the giant Sam Ash music shop that the guys had been talking about. I didn’t have anything to get except a piano bench, so I happily played with the Prophet 12 synthesizer while the guys got the bits and pieces (and, the main item of business: a drum kit for Paul).
After a swim in the hotel pool, we made the pilgrimage up Runyon Canyon (impatiently eschewing the boring old path and making a beeline for the top) to see the Hollywood sign and take some epic band photos. I tagged along with James and Emma, then, to an amazing sushi place they’d been to before and we walked back past the Chinese Theatre, the panoply of stars on the Walk of Fame under our feet.
Sunday was show day and we loaded into The Roxy in the afternoon. I had been feeling a bit nervous about getting back into the swing of things again after our few weeks off, but once we started sound checking it all came back. The few tweaks I’d made to sounds worked well, too. It was amazing to play to such an enthusiastic, sold out crowd in such a historic venue 🙂
We got a few tales about the place from the production manager, most memorably the image of David Lee Roth running out into LA traffic, topless with red sequinned Lycra trousers, calling after his dog which had escaped!
The following morning, St Patrick’s Day, after waking up to an earthquake, we played a ‘Morning Becomes Eclectic’ session at KCRW.
Their studios are on the campus of Santa Monica College and the walls are adorned with portraits, large B&W prints and one entire wall of small Polaroids of everyone from Ian McEwan to Ellen Page to a three-years-ago James.
That night we played another show at The Roxy. James was having trouble beforehand with his voice and pushed through the show, the three of us supporting him with a heartfelt, albeit unmathematical, 110%. Again the crowd were brilliant (as were the supporting act, Aiden Knight and his band, who I’m looking forward to hearing more of along the road) — they responded really positively to the new material and were treated to James singing ‘Higher Love’ at the end, something he doesn’t normally do.
A problem with our bus meant that we were standing around in the parking lot for an hour after our pickup time. My clarinet was sitting on top of my suitcase and all of a sudden one of the venue staff pulled out of their parking space and knocked it over, crushing the case. A quick examination assured me it was okay, although a few keys had been bent and I knew it would have to be repaired properly. Shaken and annoyed, I went to bed as soon as we loaded the gear onto the bus. Next morning I found the name of a woodwind repairer in San Francisco, Daniel Deitch, and called him up when we got to the venue. He responded graciously to my plea for help (I learned later that he has a really big workload at the moment) and I brought the instrument to his workshop as the guys set up the stage. Daniel was brilliant, quickly working over the clarinet and ultimately leaving it in better condition than it’s ever been in. Every cloud has a silver lining and all that! I also joked with him about ‘the luck of the Irish’ as we contemplated the tonne of steel that my Yamaha case had withstood valiantly.
We chatted while he worked and listened to a brilliant Thelonius Monk album, ‘Live At Town Hall’.
When I arrived back a couple of hours later, the decision had just been made to cancel the Great American Music Hall show that night. James had an infection and a specialist had just prescribed penicillin and total rest. Hopefully the show can be rescheduled. On we go…