The 502s’ New York City Happiness Resurgence: At Bowery Ballroom
Written for NYS Music
Photography by Emma Dowd
On the journey of their “Fresh Squeezed Happiness Tour,” The 502s and Oliver Hazard made a stop at Manhattan’s Bowery Ballroom for a double-header. Wednesday February 22nd was night one’s send off, and it was sweet and citrusy. With a sold out crowd and a New York City induced adrenaline, the two folk bands performed a summer-esque show to remember and cherish amidst the frigid February winds.
The trio Oliver Hazard opened the show for the 502s. They introduced themselves with a warning and a premeditated apology when they said their songs are rather sad, and they’re ironically opening for “the happiest tour on Earth.” One of the three vocalists, Mike Belazis, explained that none of the band members are named Oliver Hazard. The name has historical ties to their hometown Waterville, Ohio.
As their short but endearing set progressed, they played songs allotting for an immersive sing-along experience with the audience. They redeemed themselves and their melancholic reputation when they performed their joyful hit “Dandelion.” The crowd sang back to Belazis and the other two Hazards, Devin East and Griffin McCulloch, with lyrical ease. New York City was even lucky enough to hear their new single “Ballerina.” Their performance was the perfect warm up for the 502s convivial stage presence.
The audience attending the “Fresh Squeezed Happiness Tour” matched the tour name’s feel. Strangers turned into friends as fans underneath the notorious Bowery disco ball. Bodies filled the stairs leading up to the balcony and huddled around the bar. The 502s produce a very kind and inviting sound to develop a fondness to, and their fans emulate the same energy.
It wasn’t long before the 502s set rolled into the night. The stage was a display for a multitude of instruments that fortify the sound of experimental folk. The instruments that paint the scene for road trips with pals, breezy beach days, or long summer days that turn into long summer nights. The six-man band made their way onto the stage with the widest smiles spread across their faces. Lead vocalist, Ed Isola, came strapped with a banjo slung around his shoulders. Joe Capati, the saxophone and trumpet playing vocalist, followed with his sax. Sean Froehilch, the percussionist and drummer, made his way to his throne behind his customized 502s drum set. Their keys player, Matt Tonner, who doubles as an electric guitar player got comfortable behind the keyboard. Lastly the two guitar playing harmony vocalists, Jake Isola and Nick Malashenko, followed suit.
As soon as the first strum of the banjo rang through the rows of fans, the stage erupted into a flow of movement. The bandmates jumped around, did high-knees, skipped in circles, and danced all while impressively maintaining the breath to sing their fast paced songs. The audience reciprocated their energy, jumping in a playful folk-version of a mosh pit, locking arms to do a makeshift linedance, and extending their hands in way of a physical sort of praise. To witness such a physical surrender to sound was a beautiful thing. A few songs in, the 502s spoke to this innocent chaos when they commended New York City for being “easily the best crowd.”
After a few songs, Ed Isola reminisced on past shows in New York. Their first ever show in the city hosted a whopping twelve people. “Now we have two sold out nights at Bowery Ballroom,” Isola said with heavy gratitude in his affirmation to the crowd. They continued their sprightly show in a fluid harmony of a wide collection of instruments: a banjo, acoustic guitars, an electric guitar, a bass guitar, the tambourine, the saxophone, a trumpet, the keys, the drums, a harmonica, and even a kazoo. The intentional layering of particular sounds was admirably tasteful. Within the working collaboration of the songs, it felt as if two instruments would be duetting within the skeletal structure of the song. This allowed for intimate conversations between specific instruments. The mechanics of their sound were unmatched.
As the show progressed towards its end, the band decided to spice things up. Everyone but Joe Capati, the horn player, vacated the stage. The lights dimmed as he took the center-spot, and began to play his saxophone. Unfamiliar freestyles wowed the crowd as he blew away expectations. Familiar covers of Marley’s “Don’t Worry Be Happy,” and George Michael’s “Careless Whisper” were easily fan-favorites.The band joined Capati’s introduction to their own tune and resumed their show. The audience continued their reciprocation to the band as they seemed to exist as a sole entity, pulsing in unison.
What the band thought was going to be the 502s’s encore, turned into an electric drum solo from Froehilch. He whipped his drumsticks at rapid speed, which only fed into the addictive energy feeding the show. His band members joined him once again to finish a song before actually leaving for an encore.
When the six-man band returned to the stage, their audience of friends roared with excitement from the tangible passion of their performance all night and for what was to come. The 502s immediately kicked back into gear, bouncing and ricocheting off of each other’s physical bodies and each other’s instrumental sound. Their two song encore turned into a mic-sharing party where each of the members took turns coming to the front microphone to do their own personal riff with their own instruments. A wide spectrum of voices were presented, which elicited an aggressively pleased applause.
All six members finally concluded their show by gathering at centerstage and clasping their hands into a bow. Sweat-soaked from dancing, playing, and belting songs, the group looked like they could’ve kept going all night long. They said their goodbyes, and the ballroom bid farewell in a sweet ovation. The 502s left the room, the city, happier than they found it.
