Any man who can throw a bass guitar to the floor, pull it back like a yo-yo and then play notes that go faster than a hummingbird flaps its wings deserves a modicum of respect. But when that man levitates, it’s time to get on your knees.
Monday night, that man was Victor Wooten: bassist extraordinaire and, apparently, amateur magician. During an introduction to “Yinin’ & Yangin’,” Wooten, clad in a casual Spider-Man baseball jersey, sat on a stool and proceeded to put about three feet of air between him and the seat
— while still playing the bass. David Copperfield has nothing
on this guy.
The word “virtuoso” was invented for him. He could pick up a broom and make it sing. On one level, Wooten is a musician’s musician. He did things with the bass that, even though I was 15 feet away watching, I’m still asking, “how.” All I saw was his right hand in a mangled claw shape attacking the strings
and notes sprung forth like corn
popping to a tune.

But performance isn’t having technique; it’s using it. Wooten truly understands the power music has to touch people, and he takes full advantage of it. Something about the bass amplifies the connection. It has a physical sound that
literally penetrates people with warm tones or thumping punches.
The show started in bombastic style, taking a few cues from game show introductions. Accompanying Wooten on stage were his brothers Regi (guitar) and Joseph (keyboard), drummer Derico Watson and rapper/bassist MC Divinity. Each musician stepped up to the spotlight during the show as all others vacated the stage.
Though Victor’s name was on the marquee, Regi almost stole the show when, after an epic solo that skated the boundary between music and noise, the band rejoined and broke into a cover of “Purple Haze” followed by “Iron Man.” I’m pretty sure Regi was actually having a seizure and making it play the guitar.
It’s joyous to see a group of musicians having so much fun in the act of creation. Victor and Regi recklessly flipped, swung and tossed their instruments — at one point playing each other’s simultaneously. Watson gave the funniest merchandise pitch I have ever heard by working the word into his 10-minute solo as if it were another drum to hit. There was such a light-hearted air to the performance, it was like sitting in on
a practice session, except with light effects.
But for all of the flash and fun, the highlight of the show was Victor stepping on stage alone for the encore. He created a hypnotic melody and looped it before taking the opportunity to talk about Martin Luther King Jr. on his national holiday.
Victor spoke calmly, saying King’s dream hasn’t yet been achieved, and we all need to continue working for it.
Now, I’m not the crying type. But when Victor struck the first harmonic notes of “Amazing Grace,” tears welled up. After a touching speech, his impassioned and lively reworking of this gospel was at once a call to action and an assurance — like a mother saying, “Everything will be all right.”
Had the show ended there, there would have been no complaints. But for the grand finale, the band rejoined Wooten and got the whole audience singing along: “People. Show your love, good people.”
I walked away from the theater feeling as if my head had fallen asleep from over-stimulation. But
I was smiling like a baby for no good reason.