Trans-Pecos was once an electronic venue. The kind of place you’d enter and immediately lose your friends in a suffocating overdose of fog machine and lasers. On occasion, a human pterodactyl might sweep into view, their frisbee-sized pupils a stark contrast to the grey clouds that surrounded you. It was amazing – also horrifying.
But when Crumb came to play on Thursday, the scene was entirely different. At first, a sparse crowd of hipsters stood around, nodding emotionally to the opener’s punk song and staring glassy-eyed at the female lead wearing an orange cap.
Honestly, it looked like it was gonna be a night of shitty music. Fortunately, it didn’t sound like it.
Crumb’s lead, Lila Ramani, looked entranced and weird, her head rotating around the beat and her eyes rolling around their sockets. She had a look of quiet confidence.
The rest of the band was tight. Much more technical than I’d expected. Jesse Brotter (bassist) bopped along with sharp notes, while Jonathan Gilad (drums) impressed with intricate and diverse rhythms.
Then there was the sideshow. Brian Aranow’s amalgam of keyboard and synth sounds were what made Crumb sound psychedelic: the spice in an already good dish. But what truly grabbed me was his Mary Poppins bag of instruments that he maintained mastery over. Very rarely will I pay homage to a tambourinist – but he knew how to shake it. Near the end, just when I felt I had a good grasp of Crumb’s sound, he turned around with sax in arms and belted a funky, trippy, and smooth solo. The audience was ecstatic – everyone’s a sucker for the sax.
Crumb’s show at Trans Pecos felt like a moment to remember. They probably have some developing to do still, but I wouldn’t be surprised if two years down the line there won’t be a chance to see them at the likes of Trans-Pecos.