Moving Sidewalks Finally Book Houston Reunion Gig -- at $225/Head
A biker gang has done what Houston's top concert promoters have so far been unable to pull off.
Granted, the Deacons of Deadwood is no biker gang. They might kick our ass for using such a term. (We hope not.) But the Houston-based nonprofit, a motorcycle club that takes its name from its annual trip to the massive Black Hills rally in Sturgis, S.D., announced earlier today that the Moving Sidewalks will play its 12th annual charity ball on September 28 at Bayou Music Center.
After appearances in New York and Austin's Psych Fest earlier this year, the fundraiser will be the Sidewalks' first Houston performance since the group reunited behind 2012 box set The Complete Collection (Rock Beat Records). The group was forced on hiatus when organist Tom Moore and bassist Dan Mitchell were drafted into the military, leading guitarist Billy Gibbons to link up with Dusty Hill and Frank Beard and form ZZ Top shortly thereafter. The rest, as they say, is history.
General-admission tickets for the Deacons' ball start at $225, including dinner. If that sounds like a lot, it's roughly $5 for every year since the Sidewalks last played in the Houston area. Tables are also available for $1,500 or $5,000 (the VIP package). Rumors of other possible local Sidewalks reunion shows, including one at Miller Outdoor Theatre, have been swirling since the reunion, but nothing else has thus far come to fruition.
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The Deacons meet at 7:30 p.m. the first Thursday of every month at the Saltgrass Steakhouse near I-10 and Shepherd. (That means this Thursday, FYI.) "Please join us as a guest if you are interested in learning more," offers the group's Facebook page.
Expect a Jimi Hendrix song or two, most likely "Foxy Lady" and "Red House." Those were on the set list when the Sidewalks played at B.B. King's Blues Club and Grill back in March, as well as their own regional hit "99th Floor" and songs from the only album they released as a working band, Flash. The reunion brought the attention of The New York Times.
The band, wrote Times Senior Pop Critic Jon Pareles, "played some pretty nice gear for a band that never had a national hit."
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