Over the course of four days, the huge music trade show drew more than 100,000 industry professionals and a couple thousand exhibitors from around the world.
Held annually at the Anaheim Convention Center and adjoining hotels, The NAMM Show was definitely improved by a recently completed expansion that added 200,000 square feet of booth space.
From new product demonstrations, displays, education sessions, training and discussions to artist appearances, signings and live performances, there is always plenty to do. It’s nearly impossible to get everything you want out of NAMM (the National Association of Music Merchandisers) in a single day though. Somehow, I still managed to experience an array of live music and activities Saturday during my dozen hours on site.
The morning started with the NAMM U Breakfast Session at the Hilton Hotel's Pacific Ballroom. Stanton Moore (pictured, below), drummer for New Orleans jazz-rock band Galactic, was the featured entertainment.
 |
| photo: Jesse Grant/Getty Images for NAMM |
While briskly making my way through the main convention center floor, I was stopped in my tracks by Dixie Jade at the Sennheiser microphones booth. The Nashville-based female country duo sported some gorgeous harmonies, especially during “Blame it on Me” and “I Can’t Turn You Off.”
As the lunchtime crowd waited in long food truck lines, Street Light Cadence played the Grand Plaza Stage. The Hawaii-bred, LA-based trio played pleasant alternative/folk/pop tunes on accordion, violin and cello. They closed with a feisty cover of the Charlie Daniels Band’s “The Devil Went Down to Georgia.”
Last year at NAMM, I missed Kenny Charles and the Open Road when a scheduled indoor performance was cancelled (a torrential rainstorm caused problems everywhere), so I was glad to finally see them on Saturday afternoon for the first time.
 |
| photo: George A. Paul |
The band kicked off with a rousing “Drunk Wedding Day” from solid 2016 album “Lightning in a Bottle. The Keith Urban-esque “Cussin’ & Fussin’” and heartland rock vibe of “I Get That” were early standouts. Charles provided background on the songs. He said the outlaw country tune “The Drifter” was inspired by repeated viewings of the 2009 Jeff Bridges music-themed drama “Crazy Heart.”
An appealing “Black Rose” brought to mind the best Goo Goo Dolls material, while the early ‘70s Laurel Canyon country rock scene influenced “Every Bullet.” Later, a party song about Saturday Night name checked Billy Ray Cyrus, Brooks & Dunn and Trace Adkins in the lyrics. Charles and company closed with a credible, spirited take on Rick Springfield’s “Jessie’s Girl.”
Back over at the convention center, the Taylor Guitars room hosted Nolan Neal. The bearded rock musician – who has toured or performed with Hinder, Tonic, Saliva and Shinedown – did a compelling 50-minute late afternoon set with several special guests.
Aaron Gibson, a fellow former contestant on NBC’s “The Voice,” joined for solid covers of Tom Petty and the Heartbreakers' “Into the Great Wide Open” and R.E.M.’s “Losing My Religion.” Dixie Jade contributed sweet harmonies on a tune and Neal finished with his popular song from the TV show: Elton John & Bernie Taupin’s “Tiny Dancer.”
Andy Grammer (pictured, top) headlined the Imagine Party, the big evening show on the Grand Plaza sponsored by the John Lennon Educational Tour Bus. “I play a lot of shows and this one is special,” he said, about a quarter way through the 85-minute set. “You are my people. Music is the love we all share.”
The LA-based pop/soul musician was exuberant throughout the concert. Backed by a four-piece band, Grammer played keyboards as they launched with his first two singles from 2011: the infectious platinum-seller “Keep Your Head Up” and insanely catchy “Fine by Me.”
After noting that “Always,” the first of 10 (!) tracks off engaging 2017 album “The Good Parts” was written for his infant daughter while in the womb, Grammer worked both sides of the stage and even played the song’s trumpet break.
There was some fun beat boxing and audience call and response action during the lively “85”; the older selection “The Pocket” had a 1970s Jackson 5 vibe, complete with keytar. Grammer did a snippet of Snow Patrol’s “Chasing Cars” and playfully demonstrated a vocoder (with a bit of The Beatles’ “All You Need is Love”).
Meanwhile, the musicians often did synchronized moves. The smooth R&B-meets EDM of 2016 gold single “Fresh Eyes” went down well with fans, as did the final stretch of hits like the frantic “Honey, I’m Good” (where many people danced up a storm), a breezy cover of Maroon 5’s “Sunday Morning” and another hit, the sprightly “Good to Be Alive (Hallelujah).”
Andy Grammer, Nolan Neal photos by Bob Steshetz
