T Bird and The Breaks were walking the lady killer beat pre-show Friday (November 6) night. Of the nine members of the band some were prancing the approximately 30 feet by 60 feet downstairs of Stubbs in anticipation, while others were getting loose with mixed drinks, MGD and billiards.

The somewhat uneasy mood instantly dissipated when the band opened with a thumping bass and drums that had my hair tingling and made my chest feel like it had two beats. Tim Crane aka T Bird, lead vocals, made an entrance with vocalists Stephanie Hunt and Sasha Ortiz.  They danced their way on stage to the already pumping rhythm of the horns; T Bird kicked out the last few beats and exclaimed “How Yall Feelin’ Stubbs?”

The rather lifeless crowd didn’t respond but was instantly energized by the three man brass section with the opening of “Stand Up.” T Bird jumped in and not a single person in Stubbs wasn’t mimicking his lyrics “feel the beat in your feet.”

T Birds throaty lyrics resonate from deep within him but his true quality is revealed through how in tune to every note and movement of the band he is. When lyrics like, “chunky funk comin’ outta the trunk,” aren’t spilling out of him he is punching and kicking out drum and horn beats or gyrating to the floor as lead guitarist John Allison picks out a solo.

Band favorites such as “Blackberry Brandy” reveal vocalists Hunt and Ortiz’s ability to tailor T Birds lyrics with a certain feminine air that is so subtle that it may go unrecognized but adds depth, feeling, and harmony to already impressive lyrics. When they aren’t sounding off T Birds lyrics Hunt and Ortiz add a certain aesthetic affect with synchronized throw back dance moves, which on Friday had them pleading for “H2O.”

The visually less stimulating but no less important brass section of the band consists of; Matt Price on Trombone, Stephen Beasley on Baritone Sax, and Houston Rawls on Tenor Sax. This trio is a montage of funk, soul, and power that sets the tone for songs like “Stand Up.” Without these characters T Bird and the Breaks would be penniless. Expect no less than ear riveting solos and hard brass notes that you can feel all the way into yesterday.

Setting the tone and mood with strong beats are Cody Furr on Bass Guitar and Sam Patlove on drums. They strum and pound out a beat you can’t help but move to. Next to Allison on guitar the mixture of pounding bass, drums, and guitar makes for good listening.

This hodgepodge of lyrical quality, brass, guitar, bass, and drums is a refreshing assortment of instruments, notes, and tune. A classical feel is evident in the performance of the group. From the throwback threads to T Birds somewhat awkward yet necessary body moves. T Bird and the Breaks are a revelation of soul that features funk.

Each individual stamps a personal trademark on their music. Furr, for example, dutifully sings the words to nearly every song without a mic, Hunt and Ortiz almost dancing a hole in the floor, and the stern passionate notes of the brass section. All tied together by T Birds lyrics and performance. T Bird has an eye for the crowd and is a true performer.

T Bird and the Breaks put on a good show Friday night. A crowd of approximately seventy spillovers from Galactic, maybe more maybe less, dwindled down to thirty or so by shows end. The slowly diminishing numbers didn’t faze T Bird and the Breaks. They came to put on a show and a show is what Stubbs got. To truly appreciate the pounding beat, heartfelt soul, and lyrical power of this group you must see them in person.

All 12 of the Saxon Pub tenants had eyes on Payne as he opened with a slow and easy start. Throughout the set Payne mixed a variety of slow subtle originals with upbeat covers. Adhering to call out requests from boisterous tenants, Payne showed a plethora of song knowledge.

As the cliché flies, “tis the season to be jolly,” Monday evening was dreary, wet, and cold and inspired little jolly seasonal cheer. But Waylon Payne gave a not so dreary happy hour show at Saxon Pub. A set that lasted just under an hour was full of call out requests, ring tone marketing, thanksgiving musings, covers, and a smiling drummer. The fact that Payne and company accomplished so much in under an hour leaves a marked impression on anyone that appreciates music.

Payne is endorsed as southern rock I would protest that he is slow southern rock, at least every other song. His voice has a comfortable ease and can only be defined as southern lyrics without the southern drawl. When he slows down and the band slows with him he had me leaning forward in my seat to hear every word. Not that he isn’t audible just that you don’t want to miss a single utterance.

Never have I been to a show that the rattle of the bar tenders shaker was a nuisance that disrupted the show, but it fit. His show fit the day, fit the Saxon Pub, and fit the needs of the crowd. It was gentle and easy, it was a treat.

There is a reason we listen to our elders. We listen to them because they know more than us. While on stage Payne and company reveal an ease and comfort that could only come from experience. There is an ease at listening to his music, because there is no effort in his performance. He counteracts his slow originals with upbeat covers like “Tulsa Time.” And like a band should his band picks up with him. He is an obvious blend of ease and energy.

A common strategy in prose is show don’t tell. The meaning behind this is show emotion; objects, senses, actions etc… don’t tell them. Some musicians tell you they are good while Payne shows us he is so.

In between songs Payne and guitarist Pete Mitchell mused over thanksgiving dinner, Payne also whipped out his cell phone to reveal a ring tone by Lee Ann Womack; it’s his original song, “Solitary Thinking.” “Only $1.49 and it can be yours,” he stated on several occasions. Tuesday night that song got Lee Ann Womack nominated for the Grammy for best female country vocal performance.

These unconventional callouts were right in place with Payne’s performance. It was done with such a subtle ease it wasn’t out of place. His ease on stage created a comfort at Saxon Pub and that comfort allowed him to get away with whatever he wanted.

Payne’s ease on stage is produced from his lyrical ability, the bands adaptability, and the comfortable mood he creates. Yet, there is more to it…the aesthetic affect watching the performance is worth noting. When Payne isn’t strumming his acoustic guitar he has his left hand stuffed in his pocket as he retches out lyrics. He sings into the mike from every imaginable angle and holds guitar in all kinds of contorted angles. His guitars face is carved with a Superman “S” symbol, names, and dates. There is history in his performance and it’s literally written all over the band.

From the gentle touch of the smiling Ron "Ringo" Erwin on drums, to the subtle back drop of the bass, with the twangs of Mitchell on electric guitar, all combined by Payne’s not so southern drawl and acoustic guitar. All these elements came together to produce an unexpected post turkey treat.