“Dancing on the ceiling, tonight we’re going out.”
-Foxy Shazam, “Dreamer”
We broke from the hot early-summer dusk for a moment. Inside the hazy bar we ordered a beer and waited for the shade to cover the last open spots of the sidewalk patio. A publication usually used as a vagrant’s blanket printed an article that brought us to the small venue—that, and the desire for whimsical randomness to fill our lives of little responsibility. What we witnessed the evening of May 1, 2010 will never be forgotten.
It was early in the night. As we waited for our order, one that shouldn’t have taken as long as it did judging by the audience-capacity ratio, a rumbling stumble descended from the upper level. The staircase’s carpet was as thin and delicate as a stale wafer, and it was shocking the shadowy figure between two other silhouettes made it down walking on different portions of each foot.
The pair placed their inebriated third party on open sticky dark plastic. The man stretched his legs out and rested his back against the chip paneling, his top hat tilting over his eyes, but not far enough to cover his wide grin and accompanying chortle. One man, the one with the drooping frizzy curls, waited with his mate. The other approached us.
He was a squirrely fellow with a baseball tee, tight and faded black jeans, and uneven bangs. His straight black strands dropped just below the back of his neck, and he sported a long moustache with an unintentional gap underneath his apex. He acknowledged our presence with the softest timbre.
It was a brief cliché conversation, one in which minor details of the encounter were remembered while the dialogue was easily forgotten. Perhaps it was because of the thin man’s mousy voice.
We toasted our fresh beers to our new concert acquaintance and exited to the patio. The sun had traveled farther west and dropped behind the building, at least. A group of young men laughed and worked on their pints. They took up a majority of the space, so my friend and I joined in on their harmless antics and banter before we would all reenter the venue for what was hoped to be a good show. We had no idea.
The venue manager jutted his aging face outside, grasping onto the frame of the open sliding door. He summoned our new pals, “Guys, you were supposed to be on 10 minutes ago.”
The band, Bad Rabbits, consumed what was left of their drinks, and casually entered the building in direct route to the stage. There was barely a body for them to navigate around, so as polite and friendly as they were to us, we figured we should reciprocate the mood and check out their performance. We wouldn’t be let down.
My friend and I ascended the stairs that survived the gangling gait of a drunk moments before—and countless times before and after that. The three scalawags had disappeared from the booth we last saw them. Perhaps they were asked to leave. Perhaps they found a quieter locale to sober up.
We moseyed to the front of the loft and rested our forearms on the rail. There were just a few more bodies upstairs, but they allowed us the best view of the unknown act below. The boys from Bad Rabbits finished tuning their instruments and adjusting their amps and mics. The show began; we were immediately drawn into the catchy basslines, soulful vocals and funky rhythm. Their music was a blended cadence of rhythm and blues, rock, pop and punk. It was hard not to gently bob our heads and tap our heels against the stained deck above as we watched a small, increasingly-loyal crowd gather in front of the band. Our movements became more rhythmic with each passing song and beer. Bad Rabbits was a well-suited opener who could have headlined—if it wasn’t for the next act, of course.
Foxy Shazam was once compared to Queen, and also the likes of Meat Loaf and The Darkness, due to the theatrics of the band and operatic lyrics and vocal range of lead singer Eric Nally. Though there are similarities to an extent, the band wasn’t exactly like any predecessor, nor will they be replicated in the future. Foxy Shazam can be compared to no one other than Foxy Shazam.
The Cincinnati outfit formed in 2004, and self-released their first album, The Flamingo Trigger. Their sound was bellicose and maniacal in a way, different from what was to follow and their current style, but it still landed them a record deal.
Introducing Foxy Shazam was released in 2008 by Ferret Music. The album created a media buzz about their potential arrival into mainstream rock, and they were slated onto bills that included The Strokes, Portugal, The Man and Panic! At the Disco. Foxy Shazam was being talked about, but yet, they were still trapped in the shadow of past great acts and casually compared to bands on lineups they supported.
Foxy Shazam’s uniqueness reminds me—and this is not a comparison at all—to the band Zebrahead. When the Orange County group became mainstream, there was really nothing like them on the airwaves. And, having seen them twice live, their stage presence was also slightly different than bands in their genre—which was difficult enough to firmly label. They incorporated so many styles and traits that they made their own sound, which is fascinating.
Foxy Shazam did the same, whether through inspiration or progressive innovation. In 2010, as their name appeared in more music publications and they booked stage slots on festivals like Lollapalooza, the band changed labels and released their self-titled album. Foxy Shazam is, and always will be, one of the best albums I’ve ever heard. The tracks are structured brilliantly; each song has a distinctive tempo and timbre, as well as a defining lyric. Keyboardist Schuyler White’s composition is versatile. He shifts between traditional pop rock piano to sultry jazz at times, and all styles mesh with the standard rock distortion and Nally’s powerful, occasionally high-pitched vocals. In addition, Alex Nauth bringing brass into rock music without other ska elements completely supplementing the rest of the record is something difficult to accomplish—almost as difficult as fashioning a perfect horn solo in a drunken state.
Foxy Shazam took the stage. We still weren’t sure what to expect, especially when the squirrely fellow with the mouse voice stood behind the microphone. How could a man with such a soft tone be able to lead the vocal charge of a rock act? Then, to our left and his right, his intoxicated comrade stood with a horn dangling to his side, the spotlight reflecting off the well-used yellow coating. The last of the trio we earlier met lifted his axe on the opposite side of the stage, and joined by an additional three mates, the show began as the third member of our party arrived just in time.
It was powerful, glamorous, exhilarating. Nally belted his deep words without a crack in any tenor he chose, and Nauth played his instrument flawlessly as if his earlier intoxication was merely part of the act. The drum beat and bassline were pulsing, the guitar riffs crisp, and White tickled a captivating melody over the black and white keys in front of his waist. Soon after, he would play the notes upside down, with his feet, and then lift the keyboard off its stand while maintaining his fortissimo dynamic throughout.
The musical talent of the members of Foxy Shazam was incredible, and their stage presence matched their level of melodious aptitude. Nally would twirl the microphone wire, pedal and shift the stand with the balls of his feet, tell convincing fibs as filler between songs, and jump on the shoulders of his bandmates—each musician staying in precise form during any antic.
Toward the end of the performance a mishap almost hampered the whole show. Nauth, during a horn solo, tumbled over a large amp. Perhaps the drunkenness wasn’t part of the act. While on his back with his legs resting atop the tipped-over device, he continued to hit each note. After his section of the movement completed, he vigorously tried to lift the large amp, but instead stretched his torso across it and jokingly pretended it was his faux lover. At some point during the joyous debauchery, the frizzy-haired man who partook in the preshow festivities, Loren Turner, had his guitar damaged. A flipped amp, a broken guitar and a raucous back-and-forth between members on stage didn’t serve as a hindrance. In fact, the imperfections only strengthened the experience as if it was part of the show. As if this was Foxy Shazam, and we weren’t ready for it, but gladly adapted to and accepted their brilliance.
The key to a great album is balance and changeability. In other words, not every song should sound the same, but still contain a band’s distinctive sound. It needs a strong opening track to set the tone, “hits” staggered throughout, some power, some clandestine catchiness, something cool, and, of course, some emotional and meaningful ballads. Foxy Shazam accomplished that with The Church of Rock and Roll in 2012, just like they did with Foxy Shazam. The album, a compilation of music to blast with your windows down, did produce the first single I heard on the radio in my town, “I Like It.”
In 2014, the band released Gonzo. Their sound shifted a tad for this self-release. It became softer, more experimental and seemed to reach decades into the past for inspiration. Soon after, Foxy Shazam announced their breakup.
The band members each took on different projects, most notably Nally’s inclusion on Macklemore & Ryan Lewis’ hit “Downtown” in 2015. Though he brought his distinctive flare and range to a broader audience, the pop world may not have been completely prepared for his unique genius. In 2020, the like-minded musical minds of Foxy Shazam got back together and released their sixth album.
Burn was released on Dec. 11, 2020. There is a cosmic feel to the album in its entirety—similar to Gonzo. It’s hard to depict if the band is reaching into the past or giving the music world some sort of post-modern sound.
The opening title track presents not only the anticipation of power, but also a darker shift in Foxy’s sound. Yet, “Dreamer” changes tone and slows the tempo which is unexpected for the second track of an album. With that in mind, the song’s goal doesn’t seem to want to keep the musical momentum at first, but rather state a message as the character of the album—until about two minutes in when the pace increases and the volume strengthens, and continues on through “Doomed.”
“Dreamscape 2020” is the song that won’t be a hit, but will be a favorite. White’s piano is intoxicating, the dynamics of the track will make you tap your foot and bob your head in whatever direction you choose, the structure flows without fail (until the abrupt last ten seconds), and Nally’s lyrics and story are relatable and worthy of sharing.
“Never Ever” falls a little short if compared to “Forever Together” from The Church of Rock And Roll and “Evil Thoughts” off Foxy Shazam. “In My Mind” and “S.Y.A.A.F.” have infectious beats to keep the album rolling along. Unfortunately, “Into the Wild” is severely out of place, but could become a cult favorite among Foxy’s listeners, as is the case with “Never Ever” I suppose.
The album ends with two strong tracks. “Suffering” is a solid rock song, and “The Rose” was already popular before Burn’s release. Something was missing, however. The album just kind of ends, and though each song contained a good structure for the most part, the track listing didn’t possess a very solid flow.
I will forever be a Foxy Shazam supporter and listener—I even pre-ordered Burn (and it still hasn’t arrived). The album, however, is to own solely for the nostalgia of their collection. It’s an average grouping of tracks that may not be appreciated beyond the circle of Foxy supporters, and there’s nothing wrong with that. There are definitely a few songs that are catchy and deep enough to have on repeat, but as a whole, the album needed something more, but it’s tough to say what that is. It needed closure, in a way.
Lastly, though the thematic elements of the songs may focus on relationship issues, perhaps they’re not directed toward the standard. There’s a battle going on throughout Nally’s stories, and this ultimate conflict could serve as a bigger interpretation than just a simple courtship between two people. It could be the fight that is the journey of life and our respective struggles not only with love, but with industry and societal censorship.
Overall, the music and lyrics are good, and Foxy fans won’t be hugely disappointed. However, this is just a return and not necessarily a step forward for the band. I will always support Foxy Shazam no matter which way they move. I gladly bought the album, and I will certainly see them live once again.
The show had ended and the small crowd made their way to the bar or out the door—all smiles and immediate recollections. We stayed a bit longer. I bought an album and a shirt one size too small. We noticed Foxy Shazam packing up their instruments and equipment. The candid moment of docile labor exemplified the trials and dedication of a band on the road.
We approached, not to bring up our earlier encounter, but to show our appreciation and wish the band luck. As a pianist and amateur composer, I spoke to White. It was the second to last stop on their tour and he was ready to return home. He explained how he had broken fingers due to the intensity of his performance as if it was just a casual occurrence.
We laughed and chatted and expressed our gratitude for them coming to Albuquerque. Our friend then asked one of the band members, I can’t quite remember if it was Nally or Nauth, to sign the album he purchased. He asked them to write their favorite lyric on the CD jacket.
The band shuffled out the back door of the Launchpad, tired and toting their heavy gear. We reminded ourselves of how great the night had been, and agreed it couldn’t end quite yet. Our friend opened his CD as we meandered toward the bar counter. It read:
“Life is a bitch but she’s totally doable.”
She sure is. And Foxy Shazam, even after a breakup and subsequent reunion, continues to prove that to be true. You should, too.
Rock on, friends.