THE DISCO BISCUITS: CLASS IS IN SESSION

2021. What a fucking year. Talk about a chemical rollercoaster of hopeful highs and harsh realities. I think it is safe to say that everybody learned a lot about themselves and society as a whole. When the darkness encroached on our lives, we searched for silver linings. See, I wholeheartedly believe that the human connection of live music and artistic expression in general is vital to the overall mental and spiritual well-being of our species. So when the Disco Biscuits and their crew worked to find a solution to ensure that their two-night NYE run at The Fillmore in Philadelphia would take place, I was beyond proud of them. If that statement bothers you in the current climate, you can kick a brick wall with chancletas on for all I care.

The Disco Biscuits embody what it means to adapt, overcome, and ultimately persevere. It’s no secret that they’ve had to work through periods of turmoil when the future of the band was uncertain (as shown by both parts of The History of The Disco Biscuits). With that being said, what original rock n’ roll band hasn’t experienced tension and a clash of personalities at one point or another? It’s pretty much a rite of passage. Look at the bands they were inspired by: The Grateful Dead, Pink Floyd, Phish etc.

When the Omicron variant began to spread like wildfire, a lot of bands began to cancel their planned New Year’s shows. It was disheartening to see after all the work they must’ve put in, but keeping fans safe is obviously of the utmost importance. I was silently rooting for the Disco Biscuits to push through and pull off the unthinkable. When they announced that they had partnered with a testing company to offer free COVID tests, it was a relief. A lot of fans were thoroughly excited about the news, other people threw shade on social media soapboxes. It is what it is. I once again realized that this band (or any band for that matter) will never be able to make everybody happy. The beautiful thing about the situation is that nobody was forced to attend and refunds were available to all – what a concept!

Some people waited on line to get tested for upwards of four hours. Sure, it sucked, but it was a small price to pay for the experience that followed. It also showed the band’s effort to keep fans safe. The first notes of the run rang out through The Fillmore and the energy that bounced around the room, from the stage to the chandeliers, was palpable. December 30th was a solid show across the board, but it featured one specific jam that will stick with me for a while.

I really try to stay away from hyperbole as I used to frivolously toss words around with reckless abandon after eating rolls and shoving plates of calvin klein into my face all weekend. Thankfully that is no longer the case. With that being said, the type II improvisation that came out of the inverted Svengali in the second set is one of the coolest sections of music that I’ve seen live in a decade plus of following this band around the country. This is why I see the Disco Biscuits – it aint always about an hour straight of untz. It’s about raw, uncut sonic kilograms of exploratory chemistry; true musical risks that are gutsy and elaborate. The notes that the front three don’t play are just as important as the notes that they do play. As a drummer, this jam is the Allen Aucoin show – a spotlight beamed down upon his rhythmic prowess the entire time. From drum n’ bass to blissful pocket grooves to swinging psychedelic jazz fusion, he was bending time, misplacing the 1, and utilizing subtle metric modulation. I may or may not have been screaming obscenities. I’m grateful that I was in the building to witness that live because it truly inspired me.

New Years Eve featured some excellent fan service in the form of The History of the Disco Biscuits pt. II. For younger fans like me that missed out on 12/31/02, but have watched the original video multiple times over the years, it was a special treat. Class was in session for newer fans. It was time to learn about their storied past: the departure of their original drummer professor Sam Altman in 2005, the live tryouts in Atlantic City, drummer Allen Aucoin officially joining the band, Barber breaking his wrist on a paper towel dispenser in 2010, touring with guitarists Tom Hamilton & Chris Michetti as The Mega Biscuits, the band separating as rumors about their split ruminated in the minds of the fanbase, linking up with drummers Bill Kreutzmann & Mickey Hart to pay tribute to The Grateful Dead (which seemed to spark a little something in the mind and soul of Barber) etc.

At last, 2019 came around and the band crushed a massive New Year’s run at The Fillmore in Philadelphia, beautifully executing Gutwillig’s Hot Air Balloon rock opera. Everything was looking up as they booked their biggest tour in ten years, “Setbreak is over!”, they said… then COVID hit. In the midst of the pandemic, Barber calls the band and informs them that he’s about to join them back in Philadelphia as a first time father – a good sign for the future of the Disco Biscuits.

They capped off the segment with a heartfelt thank you to their dedicated and rambunctious fanbase. The voiceover accurately depicted their fans as, “loyal and batshit crazy at the same time”. Through the manic depressive nature of the Disco Biscuits, their fans have always held them down while aggressively bitching about something or other. It’s been rightfully warranted at times. It’s a toxic relationship constructed upon layers of deep-rooted obsession and nostalgic romanticism; overtly dramatic yet tragically beautiful, intensely cartoonish at the surface yet deeply poetic as a whole.

For outsiders looking in, the Disco Biscuits and their fans come off as reckless and borderline psychotic – I prefer to use the words ‘adventurous’ and ‘passionate’. From an objective standpoint, the band is intelligent, creative, business savvy, and they’ve hustled to build something that is entirely their own. A lot can be learned from their history – through action, they’ve taught their fans how to fall and get back up instead of simply raising a white flag and giving up on what you love. Life is hard and the world is unforgiving. Sometimes you’re going to fail and miss your mark.

They are risk takers and it’s been an essential variable in their artistry for over twenty years. It’s easy for people that have never publicly created anything to throw rocks from the sidelines, it’s harder to put yourself in their shoes and understand the trials and tribulations that a band goes through. Is everything great all the time? Hell no. Have I left shows with a bad taste in my mouth? Hell yeah. Do I follow them as intensely as I once did? Nope. Will I always have love and respect for the memorable inspiration and lessons they’ve subconsciously taught me as a creative? Yes. And that’s what this past run made me realize, I will always root for this band. I am looking forward to what comes next. Long Live The Disco Biscuits.