One would assume that accomplishing the rare feat of finding success in both the DIY and venue scene in Philly would be incentive to carry on as a band. But, on October 29th, the groove rock collective known as Seoul Delhi played its last show. Having only grown acquainted with the band for a few months before their wake at The Beaver Dam, I can’t speak to their evolution over the years, but I was still able to recognize that Seoul Delhi was something special. They were a band for musicians that the significant others of those musicians could enjoy, too. As much as Seoul Delhi’s brand of intelligent jazz fusion could have been compared to groove based acts like The Aristocrats or Snarky Puppy, Seoul Delhi incorporated perfect harmonies and precise vocals that gave them a larger appeal.
For their last show, Seoul Delhi packed the concrete basement known as The Beaver Dam with costumed music connoisseurs. Like their audience, Seoul Delhi put on a costume as they ripped through a Black Sabbath cover to open the show. The previous week, Seoul Delhi had performed as Black Sabbath at Milkboy for a Halloween show, and reprising their role as Sabbath felt like Seoul Delhi bringing a little bit of their venue experience to The Beaver Dam. Covering a metal band might have been an odd choice for fusion act like Seoul Delhi, but they seamlessly morphed into their idols’ musical genre.
Despite the night being about the band’s end, stand out performances of “Globally Dysfunctional” and “Circles” gave me hope for the future. Clearly, every member of Seoul Delhi could be at the front of their own project, but that’s what made them so great as a group. It isn’t hard to imagine a future where members of the Philadelphia music scene refer to Seoul Delhi as a reverse supergroup, much in the same vein as The Yardbirds.