Donavon Frankenreiter – Painting the Music

From professional surfer to musician, Donavon Frankenreiter has traversed the world for four decades, performing at multiple concert halls. His music is defined for its introspective lyrics, earnest delivery, and generally carefree vibes. He recently performed at the Belly Up Tavern for two consecutive nights, June 16th and 17th.

Solana Beach’s Belly Up Tavern was originally opened in 1974. At the time, it was only a few microphones and without a proper stage. But throughout the years, countless musicians of legendary status, including John Lee Hooker, Etta James, and BB King, would perform there. Those who have yet to go inside the venue can expect to see photographs of musicians and vintage artwork lining every wall. As well as a grand bar, seating areas, and Toothy Ruthie, the white-bellied shark statue on the ceiling.

Attendees were chatting among themselves, and migrating towards the center area, when opening act “Goodnight, Texas” entered the stage. Thunderous music, combined with colorful lights, and bass that reverberated the heart, got people dancing from the get-go. Their exemplary repertoire of pieces, which excelled in both banjo and harmonica solos, were further enhanced by the band members’ synchronization. They were openly gracious towards the audience, and for the opportunity to be on tour with Frankenreiter and his band.

Audience members were in for a pleasant surprise when, in-between acts, paintbrushes, an easel, cans of water, and paint, were prepared on stage. All the while, the crowd’s energy never ceased. Shortly after comedian Benji Weatherley entertained folks with his sharp-tongued humor, the second act, and her accomplished painter, entered.

Hailing in from Rhode Island, Christina Holmes entranced the audience with a harmonic set of songs. She heavily utilized a loop pedal device, which could record her voice instantaneously, and play it back. It was a sublime experience, watching her make backing tracks in real time, using only the likes of her voice, and sounds produced from tapping her instruments. She learned the intricacies of this device through fifteen years of touring. She was a one-woman band, equipped with a guitar and djembe. She produced an acoustic and heartfelt sound. All the while, Jimmy Ovadia, within a staggeringly small amount of time, painted a landscape on his canvas. Excluding a cover of “Stand By Me,” all of Holmes’ songs were written by her, including a tribute to her father titled, “Always.”

Multi-instrumentalist Matt Grundy appeared so immersed in his craft throughout the show. Be it when singing pitch-perfect harmonies in conjunction with Frankenreiter’s vocals, expertly playing the bass, or astonishing everyone with his harmonica solos and overall breath control. Drummer Jara Harris was a force to be reckoned with. One could see the power coursing through his arms as he slammed down on the drum-kit. It was a sight to behold, witnessing him veer off into grand solos that brought the house down.

Frankenreiter’s stance on stage was captivating. He would keep on his toes, and often move in accordance to the sporadic notes they made. He knew how to make his guitar sing, as each time he executed a sublime solo, the audience would go wild with excitement. On or off the stage, he was humble as he was exuberant and grateful. It could be felt in how he thanked everyone in-between songs, or how he embraced all artists who joined him on stage. Frankenreiter, Grundy, and Harris were a unit. All three men worked the crowd with ease, and their musicality was unfathomably impressive. They had excellent communication on stage, given their eye-contact and thumbs-ups. The three looked happy to be up there performing, and that happiness trickled down to viewers.

Those in the audience were receptive to every song of the lineup, cheering or clapping along whenever a piece was high-energy. Each song seamlessly transitioned into the next, just like waves brushing against the shoreline. Songs that exuded a breezy, almost carefree feeling, resulted in folks swaying along to the rhythm. Smiles were shared aplenty, phone cameras were out recording the performance, and so many others were dancing or head-bobbing. The show was abundant in magical moments where Frankenreiter, Grundy, and Harris, turned in towards themselves to gradually build up the melody. The lights would flash rapidly, and the crowd would get progressively louder, until the song came crashing back down, before rising back up again. All three musicians knew when to pause for dramatic effect, or hit notes with more intensity, or keep the audience guessing.

All opening acts were brought back to perform alongside Frankenreiter. Holmes was the first to reappear for this ultimate jam-session, and sang the song “Free.” Afterwards, “Goodnight, Texas” joined Frankenreiter in singing “West Coast Fool.” All the instruments were swapped around, further showcasing everyone’s talent. The combination of drums, banjo, guitar, and bass, resulted in a wonderfully sincere piece. Immediately after, guest musician Matt Costa was welcomed to the stage to sing “Sunshine.” Precision was heavily utilized for the piece.

The night concluded with an encore performance of “It Don’t Matter,” which had the entire tavern repeating lyrics in unison. Ovadia also completed and presented yet another painting, a portrait of Frankenreiter himself. Information on Frankenreiter’s upcoming shows, locations, and tickets, can all be found at Official Donavon Frankenreiter Website.