Rea Charge left the stage to get a drink, got into a conversation, and waved blithely at the small crowd once too often. So Ginger Grip got onstage, grabbed the mic and took over the set. The audience huzzahed, loudly thanked her, and turned on fair-weather entertainer Rea Charge when she attempted to remount the stage.
Ginger performed a cappella. Seven songs, two of them covers, one of them made up on the spot. Lyrical, wistful, rangy, pure, captivating. The response could not have been more encouraging, especially considering how unexpected the change of format had been.
Ginger performance method turned out to be important when a pissed Rea charged that Ms. Grip had “stolen” the limelight, as well as her “equipment.” Bullfinch band booker Q confirmed for me that the PA and mic—everything onstage save for Rea’s guitar, which Ging didn’t touch—belonged to the club.
The switch-up set the stage for a debate on territorial rights which remains a frequent topic of conversation at the Bullfinch, whenever a band dawdles too long mid-set.
The consensus is that Rea relinquished the stage not due to her leaving it but due to her dismissive attitude. Nobody’s eager to see the Bullfinch stage become the playing field for a King of the Hill tournament. But we do applaud the game concept of staying connected with one’s audience by playing music, and realizing that when the music stops your chair might not be there anymore.

100s of Charges, with QC Passed opening, at the Bullfinch… NIMH AAs at Hamilton’s, with Not Included… A potentially long Evening With Energizer Holdings at D’ollaires. The reunited band reportedly has several sets of new material they want to try out…