On November 22, we get to disappear behind an unmarked door for two hours and play in one of our favorite kinds of rooms: low light, close tables, and just enough space between songs for real conversations.
It’s the kind of night where we can actually see people’s faces, catch the side comments and laughter between tunes, and feel the room lean in when a song lands a certain way.
What’s Happening on November 22
- When: Saturday, November 22, 6:30–8:30 PM
- Where: A Private Speakeasy Event at a secret location
- Who: Bell & Field with guest saxophonist Paul Weddle
- What to Expect: Two sets of live acoustic music—piano, guitar, vocals, and sax—played in a room that’s built for lingering conversation, slow drinks, and people who like to actually hear the band. We’ll move from familiar classics to newer favorites, keeping the volume in that sweet spot where you can talk and still follow every note if you want to.
- Website: Contact us directly for information and bookings.
This time we’re not going in as just a duo—saxophonist Paul Weddle is joining us, which means our usual piano-and-guitar setup gets a smoky, melodic third voice threading in and out of the set.
The Room Behind the Unmarked Door
Because it’s a private speakeasy, we can’t post the address—but that’s half the fun. You step off an ordinary street, push through a door that doesn’t look like much, and suddenly you’re in a dim bar where the glasses catch the light and the rest of the world gets a little quieter.
In this space, the music doesn’t have to fight with TVs or shouting. Conversations drop to a murmur, chairs scrape the floor now and then, and you can actually hear the way a note hangs in the air.
The room has that “if these walls could talk” feeling: worn bar tops, low lighting, and just enough distance between tables that you can lean in close and get pulled into a story or a song without feeling rushed to move on to the next thing.
Who We Are When We’re Off the Main Stage
We’re Bell & Field, an acoustic duo that lives somewhere between the warmth of old standards and the pull of songs you might’ve heard on the radio last week.
With piano, guitar, and two voices, we like taking familiar tunes and turning them just a little—changing the feel, stripping them back, or stretching out a moment—so they feel more like a conversation than background noise.
We’ve spent a lot of nights in rooms like this, learning how to read what people actually want. If the crowd is talking, laughing, and catching up, we’ll loosen up the setlist and leave extra space between songs. If the room suddenly goes still, we don’t rush past it—we stay there and let the quiet work with us.
How the Night Will Unfold
From 6:30 to 8:30 PM, we’ll build the evening in layers. We’ll start with a few instrumentals so people can settle in with their first drink, find their seat, and get used to the sound of the room. Then we’ll move into vocal tunes—some that might nudge a few under-the-breath sing-alongs and some newer songs for the guests who like to catch every lyric.
With Paul on sax, the set will have more room to stretch. If we feel the room perk up during a solo, we might let it run a little longer. When things get quieter, the horn will sit just on top of the piano and guitar, barely above a whisper, so people at the tables can still talk without feeling like they’re interrupting anything.
And yes, there will be the occasional clink of a glass, a chair that squeaks at the wrong time, or a door that doesn’t quite close softly—but we honestly love that. It’s proof the music is happening right there with real people, not in a studio where everything is polished and edited.
For the Ones “In the Know”
If you’re on the list for this Private Speakeasy Event, bring your curiosity, your usual drink order (or something you’ve been meaning to try), and maybe the name of a song you’re quietly hoping we’ll play.
We can’t promise we’ll hit every request, but we do our best to weave in what people are actually craving in the moment—whether that’s a standard you grew up with or a song you heard on the way over.
If you’re reading this and thinking, “I’d love something like this for my own gathering,” that’s exactly the kind of night we like to build. Reach out to us directly to talk about putting together a similar acoustic set—piano, guitar, vocals, and (if you’d like) sax—for your event.
What would you be sipping while we play—something classic, or something a bit mysterious? Tell us your pick below.
Here’s to a November evening of music, low light, and the kind of conversations that only seem to happen once the door closes behind you.
Copper & Oak really fits what I love about playing live. It’s got that worn-in, wood-and-brick kind of look, shelves lined with more bourbons and craft beers than I could ever hope to try, and a staff that actually seems to enjoy the music instead of just tolerating it.
When I kicked into “Piano Man,” I had one of those classic musician moments: I reached for the harmonica that…was sitting at home on a different table entirely. I had forgotten it. But honestly, it didn’t throw things off. People were singing along, clapping, and the piano carried the song just fine on its own.
This past Saturday we hauled the piano, guitar, and sax down to Central Blvd in Kewanee, IL, for a Hog Days Pre-Parade Celebration at a private home right on the route. It was one of those late-summer afternoons where the sun is warm but not punishing, and you can hear the buzz of the parade crowd starting to build in the distance.
One of the best surprises of the day was when local musician Marshall Jones jumped in with us. He came up to sing “It’s Probably Me” by Sting, and it instantly felt like we’d rehearsed it, even though we absolutely hadn’t. That’s the fun part of these neighborhood-style shows—someone you know from around town steps up and suddenly you’ve got a new version of the band for a song.
