Photo Credits Under Each Image
Last weekend on October 13th, Still Woozy was joined by Gus Dapperton and PawPaw Rod for the LA stop on his Loveseat tour. A powerhouse trio like no other, the three artists took advantage of their one night at the Greek, each playing their hits, showcasing their individual pizzazz, and managing to keep the audience engaged for almost four collective hours. I’ll admit, I entered the venue feeling the sluggish, final leg of my jam-packed weekend. But, of course, there was no better way to spend a Sunday evening than tuning into the work of three great artists, and I left feeling inspired by the sheer individuality of each one.
PawPaw Rod ambled on stage at a sharp 7:30, accompanied by his four-piece band with a smoking joint between his lips. Unmistakable in a red fringe vest, bootleg yellow jeans with silver stars, and a pair of cowboy boots, his fit was a perfect homage to his Oklahoma roots. He played his distinctly groovy classics, “Lemonhaze” and “Glass House,” pumping his hips back and forth and breaking into jive-style moves as his energy set the eclectically fun tone for the night. He then moved on to “Hit Em’ Where it Hurts,” the funky, retro tune that skyrocketed his name. By the end of the set, his boots were off and the crowd, slowly but surely filing into the sold-out venue, danced along with his every groove. Closing out, he left the cheering crowd with an “LA, you so beautiful,” making his way off the stage as he held his boots in one hand and a joint re-lit in the other.
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Following PawPaw Rod’d lively opening performance was Gus Dapperton, making his second appearance at the Greek. He captured the audience in a trance with the electric sounds of the synth and his impressive vocal range. He hopped from one foot to the other for a good portion of his hour-long set, matching the dancey energy of PawPaw Rod’s prior performance. His whole band seemed to be “drinking the juice” as they played to each other in rhythmic sync. While Gus was the centerpiece, it was his pianist who undoubtedly stole the show as she sashayed across the stage, swaying her blonde curls, twirling her hands, and swinging her hips to literally every beat. Their voices soared in harmony, lighting up the night with “Post Humous,” from his 2020 album Orca. Rocking a white baseball cap, light-wash jeans (that I’d bet were 501 levis), and a pair of early 2000s glasses, Dapperton’s style perfectly complemented the up-beat, pop numbers that kept the crowd on their feet.
By the time it hit 9:35, the sound and stage team had impressively reconfigured the entire stage, with three podiums set up across the back, a new keyboard up front and blue-faced flower set pieces. Each member of Still Woozy’s band skipped onto stage and made their way to their respective podiums – but as the night progressed, they certainly weren’t confined to their platforms. Still Woozy, the solo project of Sven Eric Gamsky, was excited to be home in California, mentioning that two of his band members were home in LA – and, with emphasis, not transplants. It was instantly clear that this would be a set of great vibes, I mean – how could it not be?
He managed to whip out one death drop after the other, getting the crowd wilder each time he fell backwards and popped right back up again. Eventually, he took a second to slow down and spoke to the crowd: “The fall colors are in full power and love is in the air. The love in the air is palpable” before meandering to the keyboard where he began to play a ballad.
The guitarist, Caleb, stepped off his platform to give a quick riff on the guitar, wrapping up “Baby,” before he gravitated to the synth – a truly “multi-faceted man” as Still Woozy called him. The crowd sang every word to Rocky. “So I just, I just dream / Dream, dream, dream, dream, dream,” Still Woozy called for “a little bit of spice” as the lights went yellow for “Lemon.” The crowd giggled as the iconic inflatable, endearingly termed “Big Boy,” blew up to the left of the stage. He then alternated verses with the audience for “That’s Life,” extending the final beat drop by playing it on loop.
“Kenny” was then introduced with a brief anecdote about the inspiration behind the song title – a man who was down a lot and gambling, when Gamsky met him. The song ended with the hope that he was doing well, and the vibes went slower for “Wherever you are.” One by one, people’s flashlights flickered on and they joined the sea of strangers in a sway. The energy amped back up as everyone got down to “Habit,”and after a quick break, the band returned for the last two songs. He dedicated “Rid of Me” to the mother of his child and then, they gave it everything they had left.
Running around the stage – it was clear no one was ready to go home, despite it being a school night. They made fools out of themselves, inviting everyone else to take part. In a dance circle, Harry swung his hips, Caleb did the worm, and Tiny ran around the stage pouring water on herself before flinging the empty bottle into the pit. The three of them broke into a synchronized dance before ringing down the curtain on “Goodie Bag.”
From grooving with PawPaw Rod to taking a dip into Gus Dapperton’s eclectic, dream-state, and later being immersed in the euphoric goofy world of Still Woozy, we were left filled to the brim with the warmth that can only come from a night of great music.
