The Brooklyn Bowl, a cornerstone of the Williamsburg music scene since its inception in 2009, served as the backdrop for a rare and high-octane musical collaboration on October 8, 2026. The powerhouse organ trio LaMP—comprising drummer Russ Lawton, keyboardist Ray Paczkowski, and guitarist Scott Metzger—took the stage for a special performance featuring guest bassist Oteil Burbridge. The event, part of a targeted fundraising run, highlighted the intersection of improvisational rock, jazz-fusion, and charitable outreach.

A Legacy Venue and the Evolution of Williamsburg

As the house filled to capacity, Scott Metzger, a veteran of the local scene, reflected on the venue’s evolution. Having performed at the Brooklyn Bowl during its formative years alongside Joe Russo, Marco Benevento, and Dave Dreiwitz as part of the group Bustle in Your Hedgerow, Metzger noted the stark contrast between the neighborhood’s industrial past and its current state.

"I actually played one of the earliest shows in this room," Metzger noted during soundcheck. "That was more than 15 years ago, and there was nothing here. I remember coming out and thinking, ‘Nobody’s gonna come to this place,’ because the neighborhood was just dead. And now it’s completely transformed."

This transformation mirrors the trajectory of the Brooklyn Bowl itself, which has maintained its status as a premier live music destination while navigating the shifting tides of New York City’s entertainment landscape. The venue’s ability to draw consistent crowds for diverse acts—from jam bands to avant-garde jazz—remains a testament to its cultural endurance.

Musical Synergy: The Anatomy of a Collaboration

The collaboration between LaMP and Oteil Burbridge represents a significant junction in modern improvisational music. While Lawton and Paczkowski have built a formidable reputation as a rhythm section through their long-term association with the Trey Anastasio Band (TAB) and their avant-funk project Soule Monde, the addition of Burbridge—a veteran of the Allman Brothers Band and a founding member of Dead & Company—introduced a new layer of rhythmic complexity.

The performance kicked off with "Some Days," a staple from LaMP’s 2020 debut. The transition into the second track, the Metzger-penned "Pork ‘n Slaw," marked the entrance of Burbridge, who integrated himself into the trio’s soundscape with immediate fluidity. Despite this being the first time the unit had performed together, the interaction appeared seamless, characterized by a high degree of "active listening," a hallmark of elite jazz musicianship.

"Oteil is a top-shelf musician and a really serious listener and contributor, with a ton of musical ideas," Metzger observed. "And on top of that, he happens to be one of the best humans you could want to meet."

The setlist demonstrated the breadth of the ensemble’s collective history. From the New Orleans-inflected jump groove of the Wood Brothers’ "When I Was Young" to a soulful interpretation of Bob Marley’s "Natural Mystic," the band balanced technical prowess with accessibility. The first set concluded with a devotional reading of Jerry Garcia’s "Run for the Roses," signaling the band’s reverence for the improvisational canon.

Technical Depth and Improvisational Dynamics

The second set shifted toward a more experimental fusion aesthetic. The band opened with a challenging rendition of Ornette Coleman’s "Ramblin’," a choice that highlighted the ensemble’s comfort with avant-garde jazz structures. This segued into original material from LaMP’s 2024 album, One of Us, and the intricate deep cut "Q Division."

The technical demands of the set were evident in the interplay between Lawton’s snare work and Burbridge’s bass lines. Paczkowski’s use of the Hammond B3 and Clavinet provided a textural foundation that allowed Metzger to experiment with sonic layering, including a notable homage to Jimi Hendrix’s "Voodoo Child (Slight Return)."

Metzger emphasized the importance of mutual surprise in improvisational music. "I was shocked to find out that Russ and Oteil had never played together before this," he noted. "And it’s always cool when you can visibly see musicians surprising each other. I think that’s why we keep showing up night after night. I mean, it’s nice to surprise an audience, but it elevates it tenfold when musicians are making that happen with each other."

Philanthropy and the Impact of Live Performance

Beyond the technical merits of the performance, the tour serves a concrete philanthropic purpose. In partnership with Fiddlehead Brewing Company, the tour is dedicated to raising funds for the Make-A-Wish Foundation. This collaboration highlights a growing trend within the music industry to leverage high-profile tours for humanitarian causes.

Metzger’s commitment to the cause is deeply personal. Growing up in a household with parents who were social workers, he developed a foundational understanding of community service. However, he also views the role of the musician through a lens of empathy and emotional support for the audience.

"I also try to remind myself, especially when I’m starting to feel tired or a little banged up, that you never know what people are going through, and how much somebody might need this show," Metzger explained. "I’ve had people come up to me and say some of the most incredibly personal and vulnerable things about how much a show meant to them. That’s real, and I try to never take for granted that it’s a gift to be able to be there for someone who needs that."

Broader Implications for the Jam-Rock Ecosystem

The success of this collaboration points to a broader trend in the jam-rock ecosystem: the move toward fluid, project-based ensembles. By prioritizing transient, high-quality collaborations over rigid long-term band structures, artists are able to explore varied musical territories while maintaining a fresh approach to their craft.

The inclusion of musicians from vastly different backgrounds—from the Allman Brothers’ Southern rock roots to the avant-funk sensibilities of Soule Monde—creates a cross-pollination effect that enriches the genre. This "jet fuel," as Metzger describes it, serves as a catalyst for creative growth, pushing musicians out of their comfort zones and into new improvisational spaces.

Setlist Breakdown: Brooklyn Bowl, October 8, 2026

Set One:

• Some Days
• Pork ‘n Slaw
• Hit Return
• Out of Curiosity
• When I Was Young (The Wood Brothers)
• Natural Mystic (Bob Marley)
• Run for the Roses (Jerry Garcia)

Set Two:

• Ramblin’ (Ornette Coleman)
• Cosmo
• Backfire
• Q Division
• Ulterior Motives
• Standing on the Moon (Grateful Dead)
• Ophelia (The Band)

Encore:

• Mercury Blues (K. C. Douglas)

The event concluded with an encore performance of "Mercury Blues," leaving the audience with a high-energy finale that underscored the night’s theme of collaborative joy and community contribution. As the tour progresses, the combination of LaMP’s established rapport and Burbridge’s versatile musicianship suggests that this specific iteration of the group has the potential to influence the improvisational circuit well beyond the current tour dates.