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We don’t play a lot of museums, so getting asked to be part of the Kewanee Historical Society’s 50th birthday party already felt a little different in the best way. Instead of a stage or a corner of a bar, we were set up on the mezzanine, looking down over the main floor while people came in, grabbed food, and found old friends.

Playing from the mezzanine “kitchen”

The spot they put us in usually holds a recreated early-1900s kitchen, so our piano, guitar, and PA ended up right where the stove and table usually live. From up there, we could see the whole room—people being greeted at the door, laughing at the first display that caught their eye, lining up for food. It felt like we were half band, half extra set of eyes on the party.

Tom’s been to the museum a bunch with his family, but this was my (Greg’s) first real wander through. There’s a lot to take in—old storefront signs, photos, tools, and a bunch of 70s-era stuff that made us both say, “Wait, we had that exact thing!”

The orange couch and the Hawaiian painting

The star of our setup area, though, was this bright orange vintage sofa under a painting of a Hawaiian woman who is… let’s just say, not overdressed. The painting used to hang at the old Waunee Farms restaurant, and once we saw it, we knew there was no way we were getting through the night without a photo or two.

Tom immediately went into Seinfeld mode and started telling the story about the episode where Elaine accidentally sends out Christmas cards with a nip slip. He’s halfway down the stairs re-enacting it when we both realize everyone on the main floor has gone quiet and is listening, so he kind of trails off mid-sentence. We told them we were talking about a Seinfeld episode but didn’t have the courage to speak of it aloud, and we all had a laugh.

The funny part: a few minutes after we come back up with more gear, we hear people downstairs talking about Seinfeld. So in a way, Seinfeld ended up being the unofficial third member of Bell & Field for the night. Greg even tried his best George Costanza pose on that orange couch under the painting. Not sure he nailed it, but the intention was there.

Music for a museum birthday

From a music standpoint, this was one of those “background, but not really background” shows. People were eating, talking, and checking out exhibits, but we could feel a lot of ears tuned in. Every time we finished a song, we’d catch clapping from different pockets of the room.

Tom’s voice was a little tight for the first 20–30 minutes, but it loosened up as we went and from there it was smooth sailing.

We leaned into the storytelling side of our set list—songs that feel like they belong in a room full of photos and old documents. Our take on “Borderline” keeps evolving every time we play it, and this one felt especially dialed in. The big standout for both of us, though, was “Slip Slidin’ Away.” As soon as we hit the last chord, we looked at each other and said the same thing: “That’s the best we’ve ever played that one.” It’s a good feeling when you both know it without having to say anything first.

Giveaways, history nerds, and a tip jar downstairs

Throughout the night, Mike—who was juggling host, MC, and museum ambassador duties—would hop on the mic between a couple of songs to announce raffle winners. So the flow kind of became: two or three tunes from us, a cheer from the crowd, then someone heading up to grab a prize. It kept things loose and made it feel very much like a community birthday party, not just a concert dropped into a museum.

The board members and volunteers—Mike, Marci, LeeAnn, Marianne, and others—could not have been more welcoming. The food table stayed busy, people lingered at the displays, and we got to talk to a few folks who clearly love Kewanee history as much as Tom does. (He’s actually certified to teach social studies, so this kind of gig is right in his wheelhouse.)

At one point Mike also reminded everyone that there was a tip jar downstairs for the “live acoustic duo performance” happening above their heads, which was very kind of him. From our balcony perch, we could see people wander over, drop something in, and then tilt their heads up to see where the music was coming from.

Why this one stuck with us

We say this a lot, but it’s true: no two Bell & Field gigs are the same. This one really played to what we do best—mixing familiar covers and a few deeper cuts that reward people who are really listening. Being up on that mezzanine, surrounded by old kitchenware, an orange couch, and that infamous painting, made it feel like we were part of the exhibit for a night.

For Tom, it was also a reminder to get back to the museum more often just as a visitor. The place is packed with the kind of hands-on details that help you understand what it was like to live in Kewanee decades ago, and it was cool to be the soundtrack for people reconnecting with those stories.

Huge thanks again to everyone at the Kewanee Historical Society for having us, feeding us, and trusting us not to knock anything over with a guitar case or piano shell. If you’re looking for Kewanee Historical Society entertainment ideas or just want live music in Kewanee that can fit around conversations and celebrations like this, we’d love to chat about it.

Curious what Bell & Field could bring to your event, party, or gathering? You can reach us through this page.

Some shows feel like gigs, and some feel like you just plugged in the PA at a family reunion. Tom’s parents’ 52nd anniversary at Cerno’s definitely landed in that second category.

Three Anniversaries, One Room at Cerno’s

This was our third time doing this anniversary party at Cerno’s in downtown Kewanee, and it’s officially a tradition now. Tom’s parents were celebrating 52 years, but they weren’t the only ones being toasted. Tom’s cousin Mark and his wife Maria were at 28 years, Tom’s sister Katie and her husband Dan were at 25, and Tom and Malissa hit 25 too. The dates don’t all line up on the calendar, but that’s where everyone stands, and it felt right to lump it all into one big “we’re still here” celebration.

Between Tom’s parents, Tom and Malissa’s six kids, Aunt Nancy and Uncle Howard, nephews Caleb and Andrew, and Annie’s boyfriend Garrett, the back room at Cerno’s felt like a living room with a Belgian back bar and 30 taps. There were sing-alongs, requests, and the kind of side conversations you only get when half the room shares a last name.

Why This One Hits Different

Tom here: I’ve been lucky to grow up with parents who have quietly modeled what love and support look like. Playing their 50th anniversary at Cerno’s a couple years back was a big deal for me. At the end of that night my mom half-joked, “We should just do this next year because you never know.” That line stuck. We really don’t know when life is going to shift, so coming back for 51 and now 52 has felt like saying, “We’re still together, let’s keep celebrating while we can.”

Greg here: I want to back up to something small but important. When I go to Tom and Malissa’s house to practice, their place is always moving. Kids in and out, friends dropping by, sometimes not even ringing the doorbell—just walking in with cookies or something for the table. There’s a strong sense of trust and inclusion that you can feel. I’m pretty sure a lot of that comes from Jim and Cheri. Over the years, they’ve pulled me into that circle, and honestly, the music almost feels like the side story to the relationships at this point.

First Dances, Old Songs, and New Additions

Of course, we had to play “The Wedding Song (There Is Love)” by Paul Noel Stookey. That was Jim and Cheri’s wedding song, and seeing them step out and dance to it again—52 years later—pretty much stopped the room. It’s one of those songs that’s simple on paper but heavy with history when you know what it means to the people in front of you.

We also used this night to finally roll out some songs that had been sitting on the practice list for too long. We opened with “Because” by The Dave Clark Five, then finally took “Run for the Roses” (Dan Fogelberg) out for its first real spin. We debuted “Walk of Life” (Dire Straits), “No Matter What” (Bad Company), and “Sundown” (Gordon Lightfoot). “Sundown” was especially fun.”

We also dusted off some tunes we hadn’t touched in a while: “Round Here” for Tom’s sister, who is a big Counting Crows fan, plus “Margaritaville,” “Take the Long Way Home,” “Don’t Worry, Be Happy,” “Southern Nights” (Glen Campbell), and “Hungry Heart.”.

James on Keys and Panthers on the Screen

One of the best parts of this live acoustic duo performance was getting Tom’s son James to play some songs. He jumped on piano for “Sweet Home Chicago” and “Hey Jude,” playing and singing with Tom. James has always been strong with sheet music, but this time he wasn’t reading at all—just playing from memory and feel. Watching him lean into improvising more each year has been its own quiet subplot in these Cerno’s shows.

Then Simeon, another of Tom’s sons, decided to raise the bar on the tribute side of the night. He dug up game footage from Jim’s college football days with the UNI Panthers and got it playing for everyone. Suddenly the anniversary party turned into a Saturday night watch party, with the whole room locked in on the screen, cheering like the game was live. When the reel ended, we launched straight into “You Don’t Mess Around with Jim” by Jim Croce. Given how tough Jim looked in those clips, nobody in the room was planning to mess with him, but the guy we know is the one who’ll tear up with gratitude when he talks about family.

Cerno’s Crew, Cerno’s Burgers, and a Detour from Taco Bell

We’ve got to give a special shoutout to Ciara at Cerno’s. She’s taken care of this party three years in a row now—food, drinks, the whole thing—and somewhere along the way we also found out she can really sing. As we were packing up, we heard her belting a tune and just looked at each other like, “Okay, that’s not fair.” We asked if she’d ever want to come by a practice and work up a song or two with us. She said she’d think about it. We’re hoping that “maybe” turns into a “yes.”

Greg’s post-show tradition is usually a quick Taco Bell stop on the short drive home from Kewanee. This time, he pulled up and realized the place was closed for renovations. So it turned into a Burger King run instead. The spicy chicken sandwich did the job, but eating it in the car left sauce all over his jeans. Not exactly glamorous [Kewanee entertainment] life, but that’s the real version.

Looking Ahead (Because You Never Know)

Somewhere in the middle of the night, that line from Tom’s mom—“we should just do this next year because you never know”—came back around in our heads. As long as Jim and Cheri keep wanting to gather everyone at Cerno’s, we’ll keep bringing the guitars, keys, and whatever new songs we’ve been kicking around in Tom’s living room.

If you’re putting together a family celebration or private party and want a live acoustic duo performance that can handle everything from “Hey Jude” sing-alongs to quiet first dances, you can reach us through this page. We’d be glad to be part of your story too.

We’ve played Market Alley Wines a few times now, but this May 23rd show in Monmouth felt different the second we turned the corner onto the square. The city’s facelift on Market Alley, plus everything Abner’s and Market Alley Wines have done with the space, really shows. Curtains over the tables, people already settled in, glasses clinking—it actually made us say, “Whoa, this is the same alley?”

Dodging Rain and Trusting the Forecast

On the drive in, a light rain started hitting the windshield and we both had that, “uh oh…” feeling. By the time we got to Market Alley Wines, it was still a little iffy. Sarah, who always takes such good care of us, immediately offered a tent or the option to move inside. We checked the radar, looked at the sky, and decided to gamble on the outdoor setup. “We’ll trust it,” Tom said, probably more confidently than he felt.

The gamble paid off. The clouds hung around just enough to keep it in the mid-70s, and the rain stayed away. Every table was full before we started and stayed that way pretty much the whole show. For a live acoustic duo performance, that’s exactly what you want to see when you hit the first chord.

Requests, Near-Misses, and Desert Delirium

Even before we played a note, a guy came up and said if we could play “Take On Me,” he’d happily sing it. We honestly would have loved to hear that, but we had to admit we don’t know how to play it – at least not in a way that wouldn’t completely fall apart in front of a full alley.

Later in the night, someone asked for “A Horse With No Name” by America. Tom always thinks he knows that one. It’s just a handful of chords, but somehow they never land quite where they’re supposed to. By the time we got to the end, he said he felt like he’d actually been riding through the desert and was a little delirious. Fortunately, we followed it up with “Ventura Highway,” which is one of his absolute favorites and much more in our wheelhouse.

There was also a Pink Floyd request for “Wish You Were Here” in there somewhere. We’re still trying to remember who requested it, but whoever asked clearly had good taste.

New Songs, Sore Fingers, and Sticking to the Favorites

Leading up to this show, we’d been woodshedding a few new tunes we thought we might debut. Tom spent so long on one new chord shape that his pinky was actually sore going into the gig. I’d been hammering an organ part with my left hand way up the keyboard in an awkward position, and my wrist was feeling it too. We both rolled into Monmouth a little pre-injured, musician-style.

In the end, we decided not to roll out the new songs just yet. Honestly, they probably needed a bit more time in the oven. Instead, we leaned into our go-tos—the songs we know we can deliver even when fingers and wrists are complaining. We’ll probably break those new ones out at Tom’s parents’ anniversary show, where we can afford a wrong note or two in front of a very forgiving crowd.

Keith, His Mom, and “Piano Man”

The part of the night that stuck with us the most happened near the end of the show. We closed with “Piano Man,” and there was a man named Keith there with his mom. She’s a pianist who studied classical music but hasn’t been able to play as much lately, still dealing with some lingering COVID effects.

She was really moved by the song, and while we were talking afterward, Keith pulled out his phone, got on Amazon, and bought her the sheet music for “Piano Man” right there. He handed it to her (digitally, anyway) and said, “You can play this!”

We ended up talking about piano music, classical pieces, and even floated the idea of her joining us sometime on Eric Carmen’s “All By Myself,” which quotes Rachmaninoff’s Piano Concerto No. 2. She mentioned she struggles with piano because her hands are so small. I laughed and said, “Mine are small too,” and she didn’t really buy it until we literally held our hands up to compare. Turns out, our hands were the exact same size. I can’t remember the last time I measured hand size with someone, but it was pretty funny—and somehow a perfect way to end that conversation.

Keytars, TV Themes, and Taco Bell

As we were packing up, I picked up my 88-key keyboard to carry it out, and two young women walked by. Like a complete dad-joke machine, I pretended it was a keytar and started “shredding” on it as I walked. They were not impressed in the slightest, which honestly made it even better. I’ll be honest, at this point I’ve fully embraced being the old guy with zero shame.

Tom’s wife, Malissa (with an “a”), came along for this one, which made it feel more like a proper little road trip. On the way to Monmouth, we stopped in Galesburg so Tom could pick up his guitar from the music store after getting it repaired, then poked around at all the gear like we always do. By the time the show started, Malissa—who said she doesn’t drink wine that often—already had a glass in hand, which is exactly how to do a night at Market Alley Wines.

After the last chord rang out and the gear was loaded, we hit Taco Bell, as is tradition, and then spent the drive home listening to TV theme songs: “The A-Team,” “MacGyver,” “The Facts of Life,” and even “Manimal.” Don’t ask why we remember “Manimal.” We just do.

About Bell & Field:

We’re a piano-and-guitar acoustic duo that loves nights like this—where live music in Monmouth isn’t just background noise, but a reason for people to fill an alley, sing along, and maybe get inspired to dust off their own instruments again. Huge thanks to Sarah and everyone at Market Alley Wines, and to the city of Monmouth and Abner’s for turning that alley into a place where a crowd actually wants to hang out.

If you’re planning something and want this kind of live acoustic duo performance at your place or event, you can get in touch with us here: https://www.bellandfieldmusic.com/book-acoustic-duo/.

It was one of those blustery Saturday drives up to Port Byron where the wind keeps nudging the car and the Mississippi suddenly appears and makes everything feel familiar again. For Tom, it really is familiar – he spent his first eleven years just outside of town – so every time we roll past the river and into Main Street, the nostalgia dial jumps a few notches.

He pointed out where Dairy Dell used to be and told the story (again, in the best way) about playing Pac-Man and Centipede between bites of burgers and ice cream, and grabbing groceries at Winter’s and then Stone’s. Between that and the fact that we’ve played Tuggers a handful of times now, it’s starting to feel less like a gig and more like returning to a slightly rowdier version of home.

Burgers, a Blustery Start, and Getting Our Heads in the Game

Load-in at Tuggers is pretty straightforward: park, haul the piano and guitar in, weave around the regulars at the bar, try not to whack anyone with a keyboard stand. Once the gear was in, the first order of business was food. Tom had already eaten, and I (Greg) had the “Drive-Thru” burger. Don’t be fooled by the name.  It is a legit burger, and it was also served very quickly.  I’ll be honest: I needed it. I felt weirdly off at first, like my body was there but my brain was stuck somewhere south of I-80.

Right before we kicked off, a guy walked in and came right up near the piano. I said, “How you doing?” and he just stared at me with this intense, almost mean look. I don’t think he meant it that way; it was just very present. Meanwhile I was anything but. It threw me for a second, but it also snapped me out of whatever fog I was in. I remember thinking, “Okay, get your shit together and play.” So we did.

Trying New Things: Madonna by the Mississippi

We’d been rehearsing a few tunes more heavily leading up to this one, and those ended up being the highlights for us. The big experiment of the night was debuting “Borderline.” It’s a Reggie Lucas–penned hit for Madonna that has always stuck with Tom, but not exactly the kind of song people expect from a piano–guitar acoustic duo performance in a river bar.

At rehearsal, Greg suggested we slow it way down and lean into the melancholy, almost like a late-night ballad instead of an ‘80s pop track. He had a musician friend (Geoff George) who had done something similar with the song once, and it stuck with him.  Once we tried it that way, we were in. Playing it live for the first time at Tuggers felt like letting people in on a secret. The room actually got a little quieter, and we could feel folks listening instead of just talking over us. That’s always a good sign.

Requests, Red Wine, and Familiar Faces

The rest of the night, the crowd kept us on our toes with requests. We got a run of Simon & Garfunkel – enough that it turned into a mini-set inside the set – plus some Jimmy Buffett. There was one Buffett song Greg didn’t know, but Tom did, so we just went for it. Not flawless, but that’s half the fun.

Derek behind the bar took good care of everyone, including us. Every so often, a couple of Cabernets would just appear when we weren’t looking. If you’ve seen us before, you know red wine is basically our third band member, so that was appreciated.

One of the best parts of the night was seeing who walked through the door. Tom’s friend and colleague Carly Klavon showed up with a few friends, which was a great surprise. We got to catch up with them after the show, and Carly even put in a request for a specific song for our next Tuggers date on May 30. Consider the homework assigned.

We also spotted long-time friends Mike and Marla Skelton in the crowd. There’s something grounding about looking up mid-song and seeing people you’ve known for years nodding along, phones out filming, or just smiling into their drinks.

Tuggers, Hospitality, and What’s Next

The staff at Tuggers once again made it feel easy to be there – from the kitchen turning out those burgers to the folks making sure we had what we needed between sets. By the end of the night, the wind outside had settled down, the river was calm, and inside it felt like we’d just spent three hours hanging out with old and new friends rather than grinding through a gig.

Somewhere between “Borderline,” the Simon & Garfunkel run, the surprise Cabernet deliveries, and the random intense eye contact guy, the night loosened up into something that reminded us why we keep doing this. We even walked out of there with a new date on the calendar for a July 3 celebration!

We’ll be back at Tuggers on May 30, and we’ve got that out-of-our-norm song brewing that may or may not lead to one of Tom’s colleagues getting a little wild.

If you’re looking for live music in Port Byron or you’ve got a place of your own that could use a piano–guitar soundtrack (with maybe a surprise Madonna ballad thrown in), we’d love to talk. You can reach us about your event here: https://www.bellandfieldmusic.com/book-acoustic-duo/.

We’re excited to play at Fernando’s Place in Kewanee on Sunday, April 26, 2026, from 5 to 8 PM. This spot in the heart of Kewanee offers a taste of authentic Mexican cuisine that locals really appreciate. Whether you’re in the mood for tacos, burritos, or anything else, it’s a comforting place to relax and enjoy.

We love playing in settings like this, where the atmosphere is welcoming and has a deep appreciation for family gatherings. There’s something special about sharing our music in a diner that’s known for its friendly service and hearty meals. We hope to see some familiar faces! Join us! Join Fernando!

If You Are Planning To Come Out

• Date and Time: April 26, 2026, from 5 – 8 PM
• Venue: Fernando’s Place, 226 N Tremont St, Kewanee, IL 61443
• Who is Playing: Bell & Field
• What to Expect: A relaxed acoustic set in a cozy dining atmosphere
• For more about the venue, visit: Fernando’s Place

About Bell & Field

We are an acoustic duo that enjoys sharing smooth harmonies and classic songs from the 60s to 90s. Our goal is to create a laid-back vibe that makes everyone feel at home while they listen.

About The Venue

Fernando’s Place is located in the heart of Kewanee, and it has become quite a favorite among locals. Known for its authentic Mexican dishes and welcoming atmosphere, the diner features a cozy, retro-style interior that feels friendly and familiar. There’s a wide range of menu items.

It’s a great spot for families and those looking for a casual meal, and we’ve always found the staff to be attentive and warm. Kewanee itself is known for its strong sense of community, and spots like Fernando’s play a big part in that.

We hope you can join us at Fernando’s Place for some good music, delicious food, and perhaps a couple of tasty beverages. Thank you for your support, and we look forward to seeing you there!

We finally made it to The Phoenix Restaurant & Martini Bar in Davenport, and our first time there turned into one of those nights where the plan just kept expanding in the best way.

A Quiet Building, a Loud “Surprise!”

When we walked into the Bix Beiderbecke building, it was quieter than we expected for a Saturday. The Phoenix had actually shut down regular service that day because a water pipe had burst in the cold. So instead of a busy dinner crowd, it was just staff, the birthday crew, and us setting up in this big, impressive room that felt even larger without the usual restaurant noise.

Once people started arriving, the place filled in nicely. It was a surprise party, so we did that funny musician thing where you’re “on” but also kind of hiding in plain sight. We played lightly while folks mingled, then stopped and waited for the guest of honor to walk in. Doors opened, everyone yelled “Surprise!”, and after the hugs and happy tears, we kicked back in with “Touch of Grey.” It was a fitting way to officially start the night.

Dragging the Line, Walking the Sax

The setlist bounced around the decades like usual, but a few songs really stuck with us. “Draggin’ the Line” locked in right away – the harmonies landed exactly where we wanted them, and you could see people’s heads start bobbing at the tables. It’s always fun when a tune that’s still “new” in our rotation suddenly feels like it’s been with us forever.

We also used the night to lean into some of the newer material we’ve been working on: “Take the Long Way Home” and “Low Rider” both got some extra love. There’s something about a private party that makes it easier to test-drive songs; you can feel the room in a more direct way. I found myself thinking, “Okay, these are sticking. They’re staying in the toolbox.”

“Spooky” was another high point. That song has a built-in mood, and we decided to push it a little further. During the solo, Paul took his sax off the stage and walked out into the crowd for an extended section. People literally turned their chairs around to follow him. It’s one thing to hear a sax solo from across the room; it’s another to have it happen three feet from your table while you’re holding a martini.

Happy Birthday, Extended Version

Later in the night, we did the required tune for the evening – “Happy Birthday” – but with the full sax treatment. Having that horn on top of such a simple melody turns it from a quick obligation into an actual song. You could see phones come out, everybody filming and singing along.

The crowd was easygoing and up for anything. Between sets, there was plenty of dancing to the house music, which is always fun for us to watch from the gear corner. A few requests came in that kept things interesting and nudged us slightly off the mental script in a good way.

When Three Hours Turn into Four

The original plan was a three-hour live acoustic duo performance. At the end of our scheduled time, the party was still rolling, and we were asked if we’d be up for another hour. We said yes, of course, and dove back in.

I’ll be honest, by the time we wrapped that extra hour, we realized we probably had enough songs in the tank to go six hours straight with no break – but we’d be wiped out puddles on the floor. Four hours was plenty, and it felt good to know the catalog is that deep when we need it.

Friends, Family, and a Late-Night Taco Bell Run

Paul brought his wife Dottie, which we always love. They’re a great pair, and it’s nice having familiar faces in the room, especially at a private event where we don’t know most of the guests. She was just getting over a cold or flu, so they headed out right after we finished while Tom and I started the usual teardown.

The owners and staff at The Phoenix were kind to us all night, especially considering they were dealing with a water issue on top of hosting a big surprise party. They mentioned being interested in having us back for a dinner show once everything’s back to normal, and we’d be glad to return. It’s a strong room for live music in Davenport – bigger than it looks in photos, with plenty of space for people to listen, talk, and still feel close to the band.

Once the last case was loaded and we’d said our goodbyes, we did what we often do after a long one: pointed the car toward Taco Bell. Not glamorous, but very effective.

Thinking About Your Own Party?

If you’re putting together a birthday, anniversary, or any kind of gathering and want a live acoustic duo to keep things moving without overpowering the room, we’d be happy to talk. You can reach us here: https://www.bellandfieldmusic.com/book-acoustic-duo/.

We’re looking forward to a special night at The Phoenix Restaurant & Martini Bar in Davenport on January 24. While it’s a private birthday party, it’s always nice to spend time in such a warm and inviting atmosphere where you can enjoy good food and drinks with friends. The Phoenix has a great reputation for their extensive wine list and their variety of gourmet dishes.

We love playing in places like this that offer a welcoming environment. The mix of contemporary flair and old-fashioned elegance makes it a perfect spot for a celebration. Plus, we hear they have delicious homemade cheesecakes that we’re excited to see!

The Basics

• When: January 24, 2026, 5:00 – 8:00 PM
• Where: The Phoenix Restaurant & Martini Bar, 111 W 2nd St, Davenport, IA 52801
• Who: Bell & Field
• What to Expect: Acoustic set in a cozy atmosphere with drinks and food available.
• For more info, visit: The Phoenix Website

About Bell & Field

We’re a duo that enjoys bringing smooth harmonies to life with a laid-back mix of songs from the 60s to the 90s. Our acoustic style draws on the essence of classic tunes, aiming to create a relaxed vibe for our audience. Your requests are always welcome!

The Room & The Neighborhood

The Phoenix Restaurant & Martini Bar is situated in the heart of downtown Davenport, inside the historic Bix Biederbecke building. This venue beautifully combines modern design with its charming old architecture. Guests can enjoy a mighty martini selection and a robust wine list, making it a popular spot for fine dining as well as special events.

Having previously been home to shops and restaurants over the years, this place now has a cozy courtyard area that adds to its appeal.

We hope guests will have a great time celebrating and enjoying the tunes with us. Remember, if you’d like to have Bell & Field for your own private event, feel free to reach out—we’d love to hear from you.

New Year’s Eve shows always feel a little different. Everyone walks in carrying a whole year on their shoulders and hoping the next one starts on a good note. Pour Bros in Moline has become that place for us. This was our third NYE there, and this time they went all-in on a 1970s disco theme and let us bring in our friend, saxophonist Paul Weddle. That combination pretty much guaranteed things were going to get interesting.

Bell bottoms, sax solos, and one missing voice

From the moment people started walking in, it was clear folks understood the assignment: bell bottoms, sequins, giant collars, the whole deal. There were a lot of smiling faces before we even played a note.

Behind the scenes, it was a little less glamorous. Greg was just coming off a cold and basically had no voice. So the plan became: Greg holds down the keys and anchors the songs, while Tom and Paul handle most of the vocals and harmonies.

Once Paul really dug into the sax on the first tune, the whole night snapped into place. There’s this jolt that runs through us the first time he leans into a solo—suddenly it’s not just a duo anymore, it’s this little 70s band squeezed into a corner of Pour Bros.

Trying out “Low Rider” and a new favorite Supertramp tune

We’d been itching to roll out a couple of new songs for this show, and the disco theme gave us the excuse.

“Low Rider” by WAR was the first debut. On paper, it’s a pretty stripped-down tune, but once we started rehearsing it, we realized how much fun we could have with it—groove locked in, percussion feel on guitar and keys, and those three-part harmonies near the end. Even with Greg’s limited voice, he jumped in on those harmonies, and it turned into this cool little arrangement that fit the 70s night perfectly. Paul absolutely wailed on the sax breaks, including that iconic line between verses. You could see people’s heads pop up like, “Ohhh, this one.”

The other new one was “Take the Long Way Home” by Supertramp. Greg and Tom had played it together before, but this time Tom had taken on all the harmonica parts. The intro alone is one of those moments where you can feel the room recognize the song within three notes. Then we hit the solo section and let Tom and Paul trade licks—harmonica answering sax, back and forth. From our side of the stage, it felt like we’d stumbled into a different band for a minute. Greg was comping away on piano while those two went at it. We all walked off saying some version of, “Yeah… that one’s a keeper.”

Power cables, backup plans, and keeping the room dancing

Of course, it wouldn’t be a New Year’s Eve show without at least one minor crisis. Before we even started, Greg realized he couldn’t find the power cable for his Bose mixer. He tried to improvise with a substitute, and it worked—right up until it didn’t. About halfway through the night, during a break, the mixer just shut off and refused to come back.

Thankfully, there was a backup mixer in the gear pile. With a little cable juggling and some quick re-routing, e had everything patched in again before the break was over. Nobody in the crowd seemed to notice. From our side, it was a small miracle and a reminder of why we always bring more gear than we think we need.

Pour Bros hospitality and a wobbly “YMCA”

One of the reasons we love doing New Year’s Eve at Pour Bros is how well they take care of everyone. They handed us drink cards so we could enjoy  some of the craft beers and wine throughout the night, reserved a table for Tom and Paul’s wives, and put each of us up at Element, the hotel attached to the venue. Knowing you can just roll your gear a few feet and crash upstairs after midnight takes a lot of pressure off the night.

After we counted down to 2026 with the crowd, we packed up, grabbed some food, and hung around to talk with folks. There’s something nice about getting to celebrate with everyone instead of immediately loading into a van and driving off into the cold.

Somewhere in that after-show haze, we decided it was a good idea to take a bunch of ridiculous photos. At one point Greg climbed onto Tom’s shoulders, which is not something we necessarily recommend as a regular band ritual. Then “YMCA” came on, and between the three of us we attempted to spell it out. The result: Greg’s wobbly “Y,” Paul’s lowercase “m,” and Tom’s backwards “C.” We are absolutely not the Village People, but we are Bell & Field with Paul Weddle, and that’s more than enough for us.

Waking up in 2026

New Year’s Day started with the excellent breakfast at Element and a little postmortem on the night—what worked, what surprised us, which songs we want to keep in the rotation. Even with Greg and Paul both fighting off colds and the mid-show mixer drama, it had been a great time. The 70s theme, the saxophone, the new tunes, the crowd in full costume—it all added up to a pretty great way to step into 2026.

If you were there, thanks for ringing in the year with us and for being part of that loud, slightly off-kilter “YMCA” at the end.

About Bell & Field

We’re a piano–guitar live acoustic duo that loves digging into songs from the 60s through the 90s, rearranging them just enough to keep things interesting while still letting people sing along. Nights like this one at Pour Bros are exactly why we do what we do—real people, real rooms, and a few surprises along the way.

If you’re putting together a New Year’s party, a taproom night, or anything that could use a live acoustic duo performance with harmonies, sax cameos, and a few deep-cut 70s tunes, you can reach us through this page. We’d love to see what we can bring to your place.

When Cyndi Lauper took the stage at the Hollywood Bowl for “A GRAMMY Salute to Cyndi Lauper: Live From the Hollywood Bowl,” it was more than a concert. It felt like a homecoming that was decades in the making. Over two nights of performances, filmed for broadcast on October 5, 2025, the special marked both the close of her “Girls Just Wanna Have Fun” farewell tour and the prelude to her Rock & Roll Hall of Fame induction later that year. It was a vibrant, emotional look back at one of pop music’s most fearless artists.

Setting the Stage: Timing, Scale, and Symbolism

Pulling off a tribute concert while the honoree is still performing is no small feat. Yet CBS, The Recording Academy, and Lauper’s team delivered something rare: a live television event that felt genuinely alive. The timing was perfect. Lauper wrapped her farewell tour with those Hollywood Bowl shows, then turned the finale into a filmed celebration of her career. Variety called it “a pleasing presentation of her farewell tour finale,” and the phrase fits perfectly.

There was symbolism everywhere. Lauper stood on one of America’s most storied stages, surrounded by artists she inspired and peers who helped shape her generation. For longtime fans, it felt like watching a circle close, while new audiences got to see why she still matters. Forty years after her debut, Lauper’s impact hasn’t dimmed one bit.

Standout Moments: Guests, Surprises, and the Emotional Peak

The show was built on collaboration and reverence. The guest list was staggering: Cher, Joni Mitchell, John Legend, SZA, Angélique Kidjo, Mickey Guyton, Trombone Shorty, and Jake Wesley Rogers. Each brought something personal, transforming the night into a living conversation between artists and eras.

When Joni Mitchell joined Lauper for “Carey,” the crowd fell silent. Lauper introduced her as “my hero,” and it showed. Billboard reported Lauper was visibly emotional, and it was clear this was not just a duet but a generational exchange between two icons.

And then came Cher. Their duet on “Girls Just Want to Have Fun” was pure theater. Both wore white coats with red polka dots, echoing Lauper’s early MTV style. They laughed, traded lines, and at one point Cher grinned and said, “No, you’re the queen.” The moment was lighthearted, funny, and full of mutual respect. It was two legends sharing the same oxygen and having fun with it.

“Time After Time” with John Legend

But the emotional centerpiece was Lauper’s duet with John Legend on “Time After Time.” It was stripped-down, heartfelt, and haunting in its simplicity. No heavy effects, no overproduction—just two voices, a piano, and the kind of quiet that lets the song breathe. Lauper’s tone was tender, Legend’s phrasing elegant, and the result was an interpretation that felt timeless.

It was also a reminder of how good songwriting never ages. “Time After Time” has lived many lives, but this performance felt personal, almost like Lauper was passing the torch to another generation. For musicians, it’s the kind of song you wish you had written: simple, melodic, emotionally bulletproof.

The Music as a Story

The setlist played like a career retrospective told through sound. She opened with “She Bop,” kept the energy high with “The Goonies ‘R’ Good Enough,” and then pulled the mood inward with “Sally’s Pigeons” and “I Drove All Night.” By the midpoint, “Time After Time” had the crowd swaying, phones aloft, and the finale—”True Colors” into “Girls Just Want to Have Fun”—brought everyone to their feet.

Across two nights, the arrangements changed slightly, but the feeling never wavered. It wasn’t nostalgia. It was gratitude. Lauper performed like someone who knew what her music had meant to people and wanted to give a proper goodbye.

Why This Tribute Was So Right

She redefined pop music. Lauper’s debut in the early 80s was a cultural shockwave. The sound, the look, the humor, and that unmistakable voice—all of it combined to create something new. She wasn’t built for trends; she made them. And that originality is exactly what this tribute honored.

She never stopped evolving. From “Kinky Boots” on Broadway (where she won a Tony Award for Best Original Score) to decades of touring, Lauper’s career proves that reinvention doesn’t have to mean compromise. The Hollywood Bowl special gave space for that range, letting her artistry shine beyond the pop hits.

Her advocacy is part of her art. Lauper’s True Colors United continues to fight LGBTQ+ youth homelessness, and her compassion runs through everything she does. Hearing “True Colors” performed with that in mind hits differently—it reminds you that pop music, at its best, can still change lives.

Why Bell & Field Love Playing “Time After Time”

At Bell & Field, we play “Time After Time” at almost every show. It’s one of those songs that stops people mid-conversation when they hear it from a male perspective. The chord structure is simple, the lyrics are universal, and it has an emotional truth that never gets old. Whether it’s played at a wedding, a small club, or a festival stage, it feels like everyone in the room knows what it’s about: loyalty, tenderness, and time itself. Watching Lauper and Legend revisit it only deepened that connection. It reminded us why we love playing it and why audiences keep asking for it.

The Lasting Impression

Many tribute shows rely on nostalgia, but this one did more. It showed how Lauper’s music still resonates, how her attitude still inspires, and how her songs continue to hold emotional weight. It wasn’t a memorial. It was a living document of her impact.

By the end of the night, with the Bowl bathed in rainbow lights and thousands singing “True Colors,” it was impossible not to feel the power of what she built. The message was clear: Cyndi Lauper isn’t just part of music history. She’s part of music’s DNA.

What a delightful morning we had at the “Spring in Bloom” event at the Galva Arts Council! The sun was shining bright, doors wide open, and the warmth of a beautiful Mother’s Day weekend flowed in freely. We were welcomed warmly by the volunteers who took such great care of us—making for a truly memorable and relaxed performance.

A Musical Morning to Remember

Our set was shaped by the intimate, laid-back atmosphere and the acoustically perfect room. The Galva Arts Council has one of those rare spaces where voices and instruments blend effortlessly, creating a uniquely rich sound. We tailored our performance accordingly, leaning into some of our favorite ballads:

• ‘Something’ by The Beatles
• ‘Wildfire’ by Michael Murphy
• ‘Slip Sliding Away’ by Paul Simon

We also ventured into new territory by request, playing Bryan Adams’ “Cuts Like a Knife.” Though a bit ragged around the edges, it came together beautifully for the relaxed crowd. One standout moment was our closing performance of “Blue” by The Jayhawks—a song that continues to deepen and resonate each time we play it.

Highlights & Special Moments

• Seeing friendly faces like Nancy Anderson and Mike Martin, who graciously snapped some photos for us (always great to connect with another PHP developer!).
• Enjoying thoughtful conversations with Linda, the president of the Galva Arts Council board, reflecting on the progress and vibrant community around this special venue.
• The lively backdrop of jewelry-making behind the building and a tasty lunch served during our set, adding to the festive yet cozy feel.

Post-Show Celebration

After the show, we kept our tradition alive and headed over to CCT for a quick lunch and, yes, even a glass of beer (no worries—we still enjoyed our usual Cabernet during the show!). It was great chatting with Jason about our upcoming gig in their exciting new Voodoo Room. As we dined, we couldn’t resist popping Roger Miller’s “King of the Road” onto the jukebox for Chad, turning lunch into a spontaneous sing-along!

Looking Ahead

A big thank you to everyone who joined us, making this morning concert feel like a warm gathering of friends. We’re looking forward to returning to Galva soon and exploring more opportunities to share our music with such wonderful audiences.

Interested in bringing our acoustic melodies and warm atmosphere to your next event? Book us for your next event—we’d love to perform for you!

The video for ‘My Golden Years’ by The Lemon Twigs grabs your attention from the first frame, bursting with retro flair and youthful energy. This track, is another of Bell & Field Music’s featured video picks that  exemplifies everything we love about great music and videos – it’s visually captivating, musically rich, and brimming with heart. The Lemon Twigs, a New York brother duo known for their genre-blending vintage sound, have crafted an infectious dose of nostalgia wrapped in modern vitality. The band channels classic rock vibes  with genuine passion.  With its uplifting melody and positive message, the track perfectly suits the hopeful spirit of spring, making it an ideal April pick.

Meet The Lemon Twigs: brothers Brian and Michael D’Addario, the masterminds behind the music. Still in their twenties, these multi-instrumental siblings have been earning acclaim for reviving the sounds of rock’s golden eras. Their previous album Everything Harmony (2023) dazzled critics and fans alike with lush harmonies and timeless songwriting, and now “My Golden Years” marks the beginning of a new chapter. It’s the first single they released after that album​ and the opening track of their 2024 LP A Dream Is All We Know​. The Lemon Twigs have never been shy about drawing from the past – and that’s exactly why we love them. This band’s deep appreciation for music history shines through in every note, yet their work never feels like mere pastiche. They take the warm, familiar elements of decades past and transform them into something uniquely their own and excitingly present.

Retro Visuals and Playful Storytelling

The music video for “My Golden Years” is a delightful trip back in time. Directed by Ambar Navarro, it comes across like a lost reel from the late ’60s – wonderfully comedic and unmistakably retro​. In the video, Brian and Michael (joined by their touring bandmates) portray a young rock band facing the highs and lows of chasing their dream. We see them scraping together spare change, getting evicted from a dingy apartment, lugging their instruments through town – yet doing it all with a tongue-in-cheek optimism. Every scene is imbued with a playful, almost slapstick humor reminiscent of classic band films and TV shows. (It’s no accident – the video openly nods to two of The Lemon Twigs’ biggest influences, The Beatles and The Monkees, masters of lighthearted musical comedy​.)

As the narrative unfolds, the visuals cleverly mirror the song’s themes of nostalgia and perseverance. The director explains that the “My Golden Years” video is about “looking back at the good old days, and the highs and lows of trying to make it as a band,” depicting struggles like being broke and getting kicked out, yet keeping a sense of humor throughout​. Indeed, even as the characters face rejection and hardship, they never lose their exuberance. In one moment, the brothers might be busking on a street corner; in the next, they’re thrown out of a club for playing their hearts out. But the climax is pure liberation: The Lemon Twigs find their peace and freedom performing together in an open field, strumming and singing joyously under the wide sky. It’s a cathartic, symbolic image – the band literally out in a field, no walls or limits, doing what they love. By the end of the video, you can’t help but feel uplifted.

The visual style amplifies the nostalgia at the song’s core. Shot with a vintage aesthetic (one can easily imagine it filmed on grainy 16mm stock), the video uses colorful period costumes and cheeky sight gags that could have come straight out of a 1967 episode of The Monkees. Quick cuts, exaggerated acting, and whimsical scenarios give it a charmingly old-school feel. Yet beneath the retro fun, there’s an earnest message: appreciate the journey and keep the joy alive, no matter the setbacks. That sentiment resonates universally, which is why “My Golden Years” doesn’t just look like a throwback – it feels timely and personal. Watching The Lemon Twigs clown through their misadventures, viewers of any age can relate to the notion of striving for one’s dreams and cherishing the “golden” moments along the way.

Musicality: Vintage Sounds with a Modern Twist

Of course, a music video is only as good as the song behind it, and “My Golden Years” is The Lemon Twigs at their musical best. The track is overflowing with the kind of rich, melodic craftsmanship that characterized the pop-rock classics of yesteryear. From the first notes, a sunshiney guitar riff hooks you in​ – it’s bright, catchy, and sets an upbeat tone. Layered on top are the band’s signature harmonies, which unfold as smoothly and sweetly as a lost Beach Boys gem​. In fact, those radiant vocal harmonies and the handclap-laden rhythm give the song some serious Pet Sounds-era vibes​, transporting listeners to a time when rock music was drenched in innocence and warmth. Yet alongside the nostalgia, the Twigs inject a fresh energy: the drums have a propulsive, toe-tapping groove that keeps the track feeling lively and modern, and the chorus bursts forth with undeniable sing-along power.

Younger brother Michael D’Addario takes the lead vocals here, and his performance is a revelation. Michael’s range and expressiveness make him a perfect frontman for this tune – one moment he’s cooing softly and angelically, the next he’s belting with a raw, gritty edge. That dynamic vocal approach brings depth to the song’s emotional arc, as if he’s embodying both the tender reflection and the passionate resolve behind the lyrics. Meanwhile, Brian D’Addario adds backing vocals and deftly intertwines his guitar lines, demonstrating the tight-knit musical chemistry the brothers have honed since childhood. The arrangement is lush but never overstuffed; every guitar strum, bass groove, and piano accent is placed just so, balancing retro flourish with crisp clarity. Credit must also be given to The Lemon Twigs’ production choices – in an age of digital everything, the band famously records their music on analog tape in their Brooklyn studio, using vintage equipment to achieve an authentic warmth. You can hear that analog glow in “My Golden Years.” The recording has a tangible depth and organic quality; it doesn’t sound like a modern pastiche of old styles, it genuinely feels like a long-lost hit from the ’70s that somehow still hits fresh ears just right in 2025.

Nostalgia and Reflection in the Lyrics

Beneath the bright melodies and playful video, “My Golden Years” carries a heartfelt message. The title itself hints at the reflective nature of the lyrics – it’s a song about recognizing that the time we’re living in right now could very well be the best time of our lives. The Lemon Twigs have noted that the track is about “making every minute count and living up to your potential”. In their typical whimsical fashion, they even joked that perhaps “people like Mark Ruffalo or people who hike might like the song” and that it’d be a good tune for working out​. Humor aside, the essence of that statement rings true: “My Golden Years” urges us to seize the day. As Michael and Brian sing in the chorus (paraphrasing here), in these golden years, don’t let fear hold you back, because in the blink of an eye you’ll watch them fly by. It’s a sentiment that anyone can relate to, young or old.

This theme of cherishing the moment and looking back fondly is one The Lemon Twigs deliver sincerely. One reviewer described “My Golden Years” as a cheerful bit of self-reflection for the band – they seem to be acknowledging how far they’ve come and realizing that the life they’re living now will become the fond memories they reminisce about in the future. Indeed, there’s a bittersweet undercurrent to the song’s happiness: a recognition that time moves quickly and today’s experiences turn into tomorrow’s nostalgia. The Lemon Twigs manage to capture that complex feeling – a mix of joy, gratitude, and a touch of melancholy – all within a breezy three-minute pop song. It’s songwriting like this that elevates “My Golden Years” beyond just a fun retro tune. The lyrics might be straightforward, but they tap into the universal anxiety about the passage of time and the determination to make the most of it. As listeners, we’re left not only humming the melody but also reflecting on our own “golden” moments.

“My Golden Years is about making every minute count and living up to your potential… in that sense I think that people like Mark Ruffalo or people who hike might like the song. Or it could be good while you’re working out.” — The Lemon Twigs, on the inspiration behind the song.

Channeling the Classics, Yet Utterly Contemporary

If “My Golden Years” feels like a classic hit from decades ago, it’s because The Lemon Twigs lovingly channel the spirit of the ’60s, ’70s, and ’80s in everything they do – but they also manage to remain utterly relevant in today’s music scene. Growing up on Long Island, Brian and Michael were raised on the sounds of rock’s golden age. (Their father, Ronnie D’Addario, was a musician who released Beatles-tinged pop tunes in the ’70s, so you could say this music is in their DNA.) The brothers immersed themselves in records by The Beatles, The Beach Boys, The Byrds, Big Star, Todd Rundgren – if it filled the airwaves of 1965–1978, it likely influenced the Twigs. You can hear these inspirations all over “My Golden Years”: the sunny harmonies (Beach Boys), the sparkling guitars and chiming chords (Byrds and Big Star), the theatrical flourishes and melodic ambition (a touch of Todd Rundgren or even Queen). Their sound is a veritable time machine of rock-pop glory.

Yet for all its vintage flavor, The Lemon Twigs’ music never comes off as a mere nostalgia act. Part of their magic is how they recombine those classic elements into songs that feel exciting and new. As veteran music journalist Rob Sheffield observed, the Twigs “do an old school style of power pop, but they’re reaching a new audience that doesn’t associate it with old school or nostalgia at all”. In other words, young fans hearing “My Golden Years” today might simply think it’s a great song – without realizing how many retro touchstones lie under its hood – and that speaks to the band’s relevancy. They’re introducing a new generation to the joys of analog-era rock by making it their own. It also helps that the band brings a youthful exuberance and irony that modern listeners connect with. They wink at the audience just enough to say “yes, we know this is a bit old-fashioned,” but then they play their hearts out with such sincerity that you’re swept up in the moment regardless.

The Lemon Twigs also capture the look and spirit of those past eras in their persona, bridging the gap between then and now. On stage, they dress the part in retro outfits and unabashed rock-star flair. (Brian’s flowing hair and vintage wardrobe even prompted Michael to joke that his brother was secretly Steve Perry of Journey – and indeed, Brian does bear a striking resemblance to a young Perry​!) Their live performances are full of classic showmanship – think rock-opera dramatics, big guitar solos, even the occasional Who-style leap or Beatles bow – yet they inject a youthful, tongue-in-cheek energy that feels very “2020s indie.” It’s this balance of homage and originality that has earned The Lemon Twigs a growing fanbase and critical praise. Last year, they landed on numerous “Best of” lists and even brought their retro flair to national TV, performing on The Tonight Show Starring Jimmy Fallon (complete with old-school leg kicks). The buzz around them makes it clear: The Lemon Twigs aren’t just reviving the past, they’re reimagining it for a new era.

In spotlighting “My Golden Years” this April, we’re celebrating the bridge between eras that The Lemon Twigs so brilliantly represent. Their video is a vivid reminder that music can be a time machine – transporting us to the feel-good spark of rock’s heyday even as it thrills in the present. After taking this technicolor nostalgia trip and hearing echoes of rock history blended with something new, one thing is clear: the D’Addario brothers are living in their moment and inviting us to share it. We hope you enjoy “My Golden Years” as much as we do – a featured pick that already feels like an old favorite, and a testament to embracing our own golden moments, today and always.