Friday, November 17th, 2017 - Zuriel Merek Shines at The Palace Theatre During Breathtaking Performance Celebrating the Release of ‘The Tao Less Traveled’

Zuriel Merek. The violinist became somewhat of renowned figure through being in some notable D-FW-based bands and sharing the stage with some talented vocalists from the area. His ability to improvise (when necessary) helped to make him a highly sought musician; often being a right-hand man, so to speak, in whatever project he was a part of. More recently Merek has gone the solo route, and can be found playing venues all across North Texas, though his show on this particular night was going to be a bit different. After several years spent working on original pieces and recording them, Merek was ready to release his debut album. No longer the right-hand man, he was ready to step out underneath the stage lights as the center of attention, in a way he never had thus far during his lengthy career as a performer. This was no doubt going to be a different show. One not truly suited for the clubs or bars of Deep Ellum or Fort Worth, the neoclassical vein of music that Merek explores requiring something more unique. A place that would make the show less of an event and more of an experience. The Palace Theatre provided just such a setting. Located in the heart of downtown Grapevine, the restored 1940’s era theatre would act as an elegant room that was behooving of the music that would fill its showroom this night. Boasting 400+ seats (including a balcony area), filling it would be a challenge for anyone, even for a monumental occasion such as releasing a record. There really wasn’t much time to speculate just what kind of turnout there would be, though, the opening act, Classically Jazzed, ultimately performing to a nearly full house.

With the exception of the first few rows, there didn’t seem to be an empty seat in the house, proving just what a dedicated following Merek has amassed over the years. The age range was significant, demonstrating what a wide appeal his music has, everyone wanting to come out and share in this milestone moment of his. It began as Merek emerged from the wings and strolled over to the center of stage right, something that seemed to go unnoticed by some of the guests who were still utilizing the intermission, chatting with friends and unaware that anything was about to happen. The chatter was muted by the musician’s violin, as he proceeded to loop much of what he was doing. He would later explain the process for anyone who was unfamiliar. It was a sort of way to bridge the old into the new. This marked Merek’s first time to perform with a band accompanying him, though they were yet to be seen. Everyone was instantly enraptured by the delicate and heavenly sounds as he worked on creating the various parts of “Levity”, the lead track from The Tao Less Traveled. It served as a spectacular opening number that set the tone for the evening, radiating a sense of hope and optimism; and after a couple of minutes, it reached its peak as Merek’s five-piece backing band assumed their spots. “Thank you,” was the violinists’ response to the fanfare that erupted, as he began chatting with the audience, noting how, in a way, he had been preparing for this moment for his whole life. “…Here I am, thirty-three, playing in a Palace!” he exclaimed after acknowledging that he never imagined himself being where he was, playing music for a living. You could see the amazement in his eyes. Excitement coursing through his voice as he uttered those words, a bit shocked and overwhelmed by joy, thanks to the number of people that had turned out. At times, there was a bit of a storyteller’s element to the performance, as Merek discussed the tales behind some of the songs; the spectators listening intently to what he had to say. That included an honest story of teenage angst, Merek describing the latter part of his youth and into early adulthood, as he struggled and challenged some of the beliefs he had grown up with. “…I think that’s something most of us struggle with…” he added, referring to how many people probably do as he had done: battle in silence with where their faith lies, or even lose it altogether. That conversation revolved around Father Jim, whom Merek said had helped him through those times. “Absolution” was dedicated to him. The stirring piece ebbed and flowed magnificently; the musicians finessing the crowd as it went along. At its most intense moments it was absolutely stunning, the band helping transform it into a beast of a song. When Merek used an effects pedal to transform his violin from more of a traditional and classical-esque instrument into something supercharged that rivaled anything that would spew out of a guitar, then Medrick Greely proceed to hammer out the beats. His moves were somewhat standard, though the devastating force that he packed into every beat throughout the show was incredible. It provided a solid backbone to the songs and made them feel livelier; while the keys, manned by John Melton, sounded impeccable on that number and accented the violin splendidly. That flawless performance earned Merek and his group more deafening cheers and applause as they got to what wound up being another explosive number. “Mi Piaci” was where the man of the hour really seemed to get into the zone, settling in to a comfortable confidence as he worked his magic once the track reached its climatic point. Thus ended the first portion of the performance, a formal introduction of everyone on stage with him serving as the dismissal for his band for the time being, as he took on the solo role that he’s more accustomed to. “…No, this isn’t a giant iPod I have down here,” laughed Merek as he explained the looping process, wanting to make certain those unfamiliar with it didn’t think he was relying on tracks or something so basic. It was then, over the course of the next four songs, where things got truly interesting. Interesting because of the process that live looping entails. It’s one thing for a musician or a band to play something and hold peoples’ attention when they’re doing it straight through, though what Merek does is so much more detailed. Not only does he have to keep people entertained by the music, he has to do it while setting up the music. Every song required him to lay a foundation before he ever even got to a point where the covers would be recognizable to the onlookers; the intricate process finding him not just using the bow, but also plucking the strings of his violin. Everyone was unwavering, keeping their eyes glued to the stage, mesmerized by what he was doing. He commanded the audiences’ attention, no one even being able to think of turning away. The string of covers provided a little bit of everything; Merek’s rendition of Leonard Cohen’s “Hallelujah” seeming to be the most demanding of the bunch, at least based on the deep exhale he made upon finishing it. It was gorgeous; and once it was done, he elaborated on what an appropriate metaphor looping instruments seemed to be for living life, the gist of it being that no matter how you envision something and how much you plan and prepare for it, it’s bound to transpire somewhat differently, so the best you can do on the fly is just improvise. If there was any improvising this night, Merek played it off masterfully… which would further speak to his chops as an improve musician. The show appeared to be flawless, though. Even when things became slightly more complicated by introducing other performers into the mix. Olivia Cole sung the only song of the set that featured vocals, the duo exuding that wonderous spirit that defines “Pure Imagination”. During the following “spicy Latin song” (it was “Despacito”), Merek was joined by a couple of dancers performing their own Latin-infused dance number, which the music complimented quite well. The visual stimulation made the song all the better, the dancers themselves putting a lot of enthusiasm into their routine. One of the most tender moments of the performance came as Merek set up his final solo number, one he stressed that he always plays. It would be the theme to The Last of the Mohicans, which he informed everyone was the first R rated film he saw. One he saw with his father. Merek then took a moment to stress how much his dad meant to him and how he appreciated that he had never tried to make him fit his mold, stating how grateful he was for that and his encouragement in pursuing music. He dedicated that number to his father. To say it was an enthralling piece feels as if it would be an understatement. The compelling song took everyone on a journey, one that was even different from the rest of the show as a whole. He arguably made it sound even better than the original score, his violin having no trouble capturing the wide range of emotions the song features. The audience loved it so much that everyone in the room wound up on their feet. He had more than earned that standing ovation; the collective clapping drowning out his voice as he tried to use the microphone. “I didn’t know you wanted to go home that bad,” he quipped once the noise had subsided. He wasn’t done just yet, the band rejoining him for the final two songs of this 83-minute long set. “Ardor” was self-described as being one of his favorite pieces from The Tao Less Traveled, and it would serve as the conclusion for the evening. A fascinating blend of experimental elements with rock influences spliced in with Merek’s neoclassical style, it is perhaps the most ambitious and creative track on The Tao Less Traveled. Live, with the band, it was stupendous. Greely and bassist Darryl Bennett held it all together, while the acoustic guitar nicely punctuated the sweeter moments. Alec Wallace was holding that post down; while fellow guitarist Chris Martin emboldened the most intense portions. Those additional instruments ensured “Ardor” was as rich and textured as possible, allowing it to reach its full potential. The song was as dynamic as they come and felt like the ultimate closer, as it reached a triumphant finish, one that once again earned Merek and company a standing ovation. What a transcendental experience. It had been breathtaking, leaving the audience in sheer awe. This wasn’t just a night to celebrate in the labor of love that is Merek’s debut solo record, at least not for the fans and listeners. More than anything, this provided a thorough look at Merrick as a musician in a way that probably no show previously had. His artistry was on full display and it was something to behold. The original cuts wouldn’t have been what they were if not for the talents of Melton, Greely, Bennett, Wallace and Martin, though, the music itself still all sprung from the mind of Merek. Brilliant compositions that can redefine the perceptions that some people have regarding the violin. The traditional sound of that classical instrument is the heart of all of his pieces, though there’s a modern flare that makes them edgy and even raw. When he had the stage to himself, the spectators were able to appreciate his skills in a new way. The effort that goes into the process of creating a live loop is immense, calculative thought being imperative to pulling it off. And Merek made it all look effortless. The performance (the term “show” would be inadequate in describing this) was, indeed, laid out perfectly. The band helped in making a statement and quickly immersed everyone into the soundscapes, while the solo segment allowed for some familiarity. Even the covers had some surprises, though; Merek’s interpretations of them being recognizable yet executed in a manner that is completely unique. After energizing the crowd and then filling them with wonder, they amped it back up for a powerful end, thus bringing it full circle. When it was all said and done, Zuriel Merek had proven that you don’t always need words in order to convey emotions. His songs accomplished that just fine with only the music, enveloping the listener and keeping them spellbound. By doing so, he had solidified his place as one of D-FW’s most stunning musicians. A premier talent. It’s all in the way that Merek presents it, making what he does sound new, or at the very least, refreshing. Hopefully these full band shows will become a little more frequent. Say, a handful of times a year or so. But regardless of the format -- a backing band or solo -- you won’t leave a show of his disappointed. He has plenty of gigs lined up through the end of 2017, including one at Savor Gastropub in Dallas on November 25th. December 2nd will find him at Dodie's Place in Allen; and the 9th he’ll be performing at Hulen Mall in Fort Worth. The Common Table in Dallas will host Merek on the 28th. For a full listing and further details on the events, check out his CALENDAR. And if you attend one, be sure to pick up a copy of The Tao Less Traveled. Set List: *full band* 1)  “Levity” 2)  “Foundling” 3)  “Absolution” 4)  “Mi Piaci” *solo* 5)  “Hallelujah” (Leonard Cohen cover) 6)  “Pure Imagination” (from Willy Wonka & the Chocolate Factory) 7)  “Despacito” (Luis Fonsi cover) 8)  “The Last of the Mohicans Theme” *full band* 9)  “I Will Be There” 10)  “Ardor”