The "Taipei Night" experience begins the moment you step onto the escalator. Rising through the floors of restaurants, you finally reach the 7th floor to see the newly established Billboard Live TAIPEI. Entering the venue, I saw an audience already immersed in the vibe, ordering drinks and appetizers—it felt like Taipei’s newest prime date spot. If you both love music, Billboard Live TAIPEI offers the intimacy of a high-end bar combined with a front-row appreciation for world-class artistry.
It was a delightful surprise to see Butcher Brown in Taiwan. My first encounter with them was through a video my friend Leia recorded at Paradiso in the Netherlands during the Super Sonic Jazz Festival. Their global influence was clear then, and as I walked in, the LED screens at the entrance were playing their iconic Tiny Desk set. It felt as if Taipei was finally synchronizing with the world, bridging top-tier artists with local audiences.
As the lights dimmed, the atmosphere instantly reminded me of a jazz spot in London's Brick Lane called "Ninety One Living Room."
Drummer Fonville appeared first, followed by his brothers-in-arms from Virginia. They quietly kicked off with "Black Lexus," a track uniquely absent from streaming platforms. With a restrained, low-slung tempo, Fonville—the human rhythm machine—gradually unveiled the night. Guitarist Burrs took an expansive solo in the first track, but what struck me most was his comping; there was a soft, lyrical quality to how he voiced his chords and his use of sliding notes.
The energy shifted with "Backline." Unlike the dub-reverb-heavy studio version, the live rendition felt faster and punchier. Fonville pushed the beat forward, creating a raw sense of urgency. Burrs, on his side of the stage, played with a sampler, occasionally triggering horn sounds that brought a playful smile to the entire room.
When the bongo beats kicked in, I noticed Fonville interacting with the shaker loops using his snare with surgical precision. Tennishu picked up the saxophone, and paired with Burrs’ rhythmic strumming, it created a sublime flow rarely heard in Taiwan outside of a niche jazz party. Then came the adrenaline shot: "Ibiza." As Tennishu led the charge, the six-beat drum crash sent the track into a high-speed chase. Thanks to the venue’s impeccable acoustics, even the loudest drum hits felt snugly fitted to the speakers without ever becoming overwhelming.
Tennishu on the sax was a highlight. His breathing moved in sync with the music, leading the emotional arc with long, melodic lines that guided the listener through complex passages rather than just stacking distant chords. Meanwhile, bassist Randazzo toggled to a synth-bass, producing a tone reminiscent of a tuba. Their synth design is fascinating—like a treehouse growing in an unexpected place yet feeling perfectly natural.
Following a synth-segue into an instrumental-only version of "Unwind," the room was captivated by the interplay between Tennishu’s trumpet and Burrs’ guitar riffs. The night quietly wound down with a tribute to Wayne Shorter’s "Infant Eyes," before concluding with the fan-favorite encore, "Tidal Wave." Given the mental and physical stamina their music demands, and the jet lag they were surely battling, this performance felt like a heroic challenge. I truly hope to see them return for a full-scale Asian tour in the future!
