Taper’s Choice, along with a cohort of insanely talented musicians, collaborated for an all night celebration of Relix Magazine’s 50th year anniversary at Brooklyn Bowl last week. With artists from all over the jam world taking the stage, the night was a true ode to the history of improvisation and live music with a setlist of tracks created by the bands that made this publication the psychedelic symphony of journalism it is today.
Relix, originally called Dead Relix, was started by two NYC natives, Les Kipple and Jerry Moore. The periodical started as a newsletter for those involved in the First Free Underground Grateful Dead Tape Exchange in the 1970s so that members in the community could connect with each other. Relix’s first issue was released in September 1974, and it has now evolved into the second-longest continuously published music magazine in the United States after Rolling Stone. Needless to say, there was a lot to celebrate as current co-editor of Relix, Mike Greenhaus, kicked off the night introducing the band, welcoming the Relix community, and inviting listeners at home to donate to The Los Angeles Disaster Relief Fund through Musicares.
We were somewhat unfamiliar with Taper’s Choice before the show, but knew that members of the supergroup are all a part of their own respective musical projects and include guitarist Dave Harrington (Darkside), drummer Chris Tomson (Vampire Weekend), bassist Alex Bleeker (Real Estate), and keyboardist Zach Tenorio (Arc Iris). The ensemble took the stage and kicked off the show with a series of original tracks. Using dynamic and expressive tones through wah-wah pedals, jazz interplay, and playful lyrics, Taper’s Choice brought their own improvisational odyssey, which was a refreshing oasis of jukebox hero-influenced jams.
After a frenzy of original hits, the band brought out an entire horn section of friends, including Stuart Bogie & Lynn Ligammari on saxophone, Jordan McLean on Trumpet, and Dave "Smoota" Smith on trombone. The octet had way too much fun playing “The Dave Test.” Harrington was asked, “Did we pass the Dave Test?” and had to judge the other musicians’ performance like an emperor of Rome during a gladiator contest. An interlude developed as Dave became a classical conductor of the band and soon after, Jake Brownstien from Eggy entered the stage and kicked off “Lick the Toad,” accompanied by a scorching guitar solo from Jake. More comrades joined the party with Eric Slick on vocals and Karina Rykman on bass as the troupe covered “Hook” by Blues Traveler. Alex and Eric absolutely crushed the rap-rock section in “Hook” and had the crowd screaming for more to end the set.
Other co-editor of Relix, Dean Budnick, came out to kick off the second set by delivering inspiring words to donate to those in need affected by the LA fires as well as to thank the incredible Relix staff who make the magazine possible. Right off the bat, we could tell the real Relix get down was about to begin as Taper’s Choice brought out the horn section again along with Scott Metzger on guitar and vocals, and Robert Walter on keys to play “Ain’t Wastin’ Time No More” by the Allman Brothers Band. Metzger had the crowd raging for his soulful rebel riffs as he continued to play both Tapers Originals and covers with JRAD bandmate, Todd Hamilton, who joined in on “Close Encounters” and “Ophelia” by The Band, both displaying incredible virtuoso talent and range.
It’s not everyday you get to play with a living member of the Grateful Dead. But for such a special celebration, the Brooklyn Bowl was blessed to have original Dead member Tom Constanten come out to play keys along with Mikaela Davis on harp and vocals. The duo’s performance had us feeling like we were soaring through the sky as they covered Grateful Dead songs “Mountains on the Moon” and “Dark Star.” Mikaela stole the show with her unbelievable tone and gentle glissando on the harp, making for almost a lullaby sounding experience which paired perfectly with Tom’s improvisational piano.
As if the night wasn’t already filled with enough stars, the set continued with Phish’s Mike Gordon sitting in for an array of Taper’s Choice originals and even Phish covers including “Susskind Hotel.” For a night so magical, what better what to end the set with a bit of fun as the supergroup played a classic, “Coconut” by Harry Nilsson and incorporated Mike on bass, Robert Walter on keys, Ryan Miller on vocals, Eric Slick on maracas, as well as the horn section.
And just when we thought it was over, Mike and Robert came back on stage with Taper’s Choice for a mind boggling cover of “Possum” by Phish, which busted into an insane dance party. To end the show, all the friends and casual acquaintances came back out to perform “Shining Star” by The Manhattans, a perfect way to commemorate all the stars that make this music scene so extraordinary. This was truly one of the best shows we’ve ever seen at Brooklyn Bowl, come check out the Bowl soon and rock into the new year!
Connect with Taper’s Choice on Instagram, Spotify, Twitter and their website.
recent posts
artists•March 8, 2025
Raquel Rodriguez
Raquel Rodriguez at Mercury Lounge | 2.27.25
artists•March 6, 2025
Laurence Guy
Laurence Guy isn’t just about making music – he’s about making people feel something. The London-based DJ and producer has built his career on emotion-driven electronic sounds that capture nostalgia, euphoria, and everything in between. From obsessing over UK dance music in his early teens to spinning for packed clubs across the world, Laurence has always been driven by a relentless curiosity for new music and a deep appreciation for the communities that form around it.
Now as he embarks on his US tour, headlining in NYC for the first time, Laurence is focused on bringing that same intimate energy to a larger stage. Whether he’s playing a small 300-cap room or a massive venue like Brooklyn Steel, his goal remains the same: to connect with his audience and leave them with something they can carry long after the music stops.
We caught up with Laurence Guy ahead of his Elsewhere show to talk about his journey, his approach to DJing, and the feeling he hopes to leave behind on the dancefloor.
How did you first get started? Is there a specific experience or set that led you to electronic music?
It started when I was 12 or 13, probably just from hearing crossover records that were on the UK radio. Stuff that people still play now like Armand Van Helden or Daft Punk. I became quite obsessed and then started looking into it. Growing up, you didn't have YouTube or TikTok or anything, you had forums, like Reddit but just specific bits of music. I got really deep into those when I was a teenager and then Dubstep exploded. That was the UK thing. I was probably 14 or 15 when that happened. Back then, you could get into clubs when you’re 16, so I started going clubbing, and then just by being in the UK and doing all this, I just never stopped looking for new music. It had a hold of my life.
Where else have you performed in NYC?
Last time was Brooklyn Steel supporting Hayden James. The time before that was Knockdown Center, which was a support for Folamour. This is my first headline tour.
How do you approach your live sets? Do you have a specific experience or feeling that you're trying to give the crowd?
My tagline is music to make you feel feelings. That's always been my thing, whether that's like happiness or serotonin, melancholy or bittersweetness, or whatever. All the tracks I make and play have some meaning to me and then that in theory should translate to the dance floor as well. You should come away from the set generally feeling pretty happy. Maybe a hint of nostalgia. Just feeling something. You should come out feeling like when you watch a really good film and when you finish it, you feel like something is awakened. I'm feeling again. Like sort of floating through life and not really having those negative thoughts.
What’s your ideal venue? Is there a certain space that you feel like your music will thrive best?
Generally in smaller rooms, so maybe like 500 capacity or something like that. But I think one of the goals for me is to try and find a way to take the feeling that I get when I DJ and the feeling in the crowd in a small room and translate that to a big room. To say I can play for like 2,000 people, but still maintain that same feeling. That would be the goal. But yeah generally it's like 300 to 500 caps. If I could find a way to translate that into a bigger venue that would be ideal.
How does your live set differ from your studio sound?
The live experience is different because it's more upbeat, it's more danceable. A lot of the stuff I make is quite slow. It’s a bit more chilled. I've been DJing longer than I've been producing– it’s like 20 years now– so I've amassed a really good record collection, which I now have digitized to play.
Do you spin vinyl also?
Yeah, yeah, but for touring, it's kind of difficult, so I buy records, then I record them to USB. So when I'm playing live versus the studios it's much more– you might hear like UK garage or drum and bass. You're not gonna hear chill stuff. I'm playing at 2 AM, so it's not gonna be soft. But all through that same lens of emotion.
How has your sound evolved since you started?
Not that much. I mean, it's got technically better but essentially it's just something about the feeling when I'm making it. So the only thing that evolves is how I'm feeling when I make the tune. So if I look back at maybe, 2023, and listen to my music, it’s kind of sad because I was having a sad year. Then I listen to music from last year and it's all super upbeat. The essence is the same. The only thing that changes is how I’m feeling when I make it. I can look back over my discography and be like, I remember how I felt when I made that, because it sounds like that feeling. So that's the only thing that changes.
You had a new remix drop today from Otis Kane (Dance With You - Remix). Are there any upcoming projects you're particularly excited about?
I’m really excited about that remix out today. I made that with my brother. I’ve got loads of stuff. Loads of really good music that I’m fully behind that’s going to be coming out over the rest of this year and then an album next year.
Do you have any dream collaborations or projects?
I'd love to collaborate with the French producer, Pépé Bradock. Also DJ Koze. Those are the two main ones. I’d love to produce with Axel Boman. There's loads more, but off the top of my head that's it.
Anything you would say to an aspiring DJ or producer?
Just keep doing it. Don't try to make anything to fit what other people think you should do. Just make whatever you feel. Everything authentic is what translates and what works. So do whatever is authentic to you, and then any time you feel like giving up, just don't because it's only ever a few steps around the corner.
Connect with Laurence Guy on Instagram, Spotify, and his website.
artists•February 28, 2025
Phantogram
A frosty winter evening on February 6th brought both snow and the Indie heat of Phantogram to a sold out Brooklyn Paramount. Phantogram, an American music duo from Greenwich, New York, is known for their unique sound defined as "street beat, psych pop," combining electronic rock with elements of trip-hop to create catchy, immersive sonic landscapes. Their music draws on a wide array of influences, including the Beatles, David Bowie, and Prince, enhancing their already eclectic sound. Opening with one of their new songs, “Jealousy” set the mood for the rest of the show – moody, ethereal and catchy. Deep cuts and fan favorites echoed through the venue, each enhanced by the venue’s state-of-the-art acoustics post-renovation. Sarah Barthel, styled in leopard print leggings and stiletto ankle boots, added an extra layer of charisma to the night.
The duo, consisting of Sarah Barthel and Josh Carter, kept the vibes high with their signature sound and hypnotic stage lighting. Highlights of the night included “Mouthful of Diamonds” and “When I’m Small,” songs that have defined Phantogram’s sound and have become earworms in their own right. The live renditions of these tracks were not just heard but felt, as the band masterfully created immersive sonic landscapes that captivated the sold out room.
As the night progressed, the synergy between Phantogram and the audience grew, showcasing the band's ability to connect through their music. The performance was not just a showcase of their hits but a demonstration of their staypower. For those who missed the memorable night or wish to delve deeper into Phantogram’s music, their tracks are available for streaming on Spotify, where fans can enjoy their rich discography including their latest LP, Memory of a Day.
This perfect blend of auditory and visual spectacle highlighted why Phantogram concerts are more than just musical events—they’re a collective sensory experience.
For fans who want to keep the vibe going or for those who missed out on the live action, check out their full setlist and upcoming tour dates. Dive deeper into their musical journey by visiting Phantogram’s official website Phantogram’s official website and the Brooklyn Paramount’s event lineup Brooklyn Paramount’s official website to catch more electrifying performances in this beautifully revamped venue.🎤🎶✨
Connect with Phantogram on Instagram, Spotify,and their website.