As the temperature drops, the wind picks up, and the setting sun over Lake Michigan paints the sky with vivid streaks of orange and pink, fall begins to settle in. I find myself lining up outside The Livery in Benton Harbor, a place steeped in history. Once a city livery where horses and wagons were kept, it has now transformed into a beloved brewery known for excellent food and, perhaps most notably, its great live entertainment. Tonight, the anticipation is palpable as the line stretches long—Brendan Bayliss of Umphrey’s McGee and Jennifer Hartswick, an original member of the Trey Anastasio Band, are set to bring their musical magic to the stage under the banner of Hartliss.
Once inside, the atmosphere is electric. As I explore the space, I encounter a quirky favorite: an old cigarette machine repurposed to sell tiny works of art—now dubbed the art machine. Unable to resist, I grab a new piece titled ‘Blind Date,’ a selection of paintings from artists you might know, though you don’t get to choose. It’s a bit of a roulette, and I smile at the thought that it mirrors the show I’m about to see—two world-class performers with mutual respect but no recorded output together. What can we expect? Music, laughter, and insight. You know, the kind of entertainment we once sought before the world was at our fingertips.
I find a seat on the second level, far in the back. I’m here to observe, to soak in the experience, so I leave the best seats to others. From my vantage point, I can watch the crowd while anticipating the show. An old friend and The Livery’s indispensable soundman, Jon DeWitt, spots me and comes over to chat. “Soundcheck was great,” he says with a grin. “They were joking around and really enjoying themselves. It’s going to be amazing.” His excitement is contagious, especially when he mentions that Jennifer’s trumpet playing is a highlight. I’ve heard her before, and I can’t wait to see how she weaves it into tonight’s performance alongside the guitar and vocals.
The lights dim, and the duo takes the stage to a raucous cheer, immediately easing into a dreamy rendition of Oh! Darling, followed by 50 Ways to Leave Your Lover—and already, Jennifer’s trumpet is in play. Their polished sound is captivating, the trumpet weaving seamlessly with the vocals and guitar, creating the illusion of a much larger ensemble. Brendan’s well-known humor shines through as he banters with the crowd, and to my surprise, Jennifer matches him wit for wit. There’s no fourth wall here; the audience is as much a part of the performance as the musicians themselves.
Jennifer’s soulful rendition of Jolene stuns the crowd, and they follow it up with a smooth take on Blind Faith’s Can’t Find My Way Home, complete with Jennifer’s unique scat lines. The room is fully immersed now, and Brendan, ever the mischievous performer, pulls a surprise on us. During Valerie, Jennifer’s silky smooth vocals set the tone, but when Brendan’s turn comes, he cheekily shifts gears into a fast-paced Moe tune, leaving both the audience and Jennifer grinning. She swiftly takes control, finishing Valerie with aplomb.
Brendan lets us in on a special secret: their trek to Michigan was in honor of their mutual friend George’s birthday. Tonight’s special Ferkin (a small keg traditionally tapped on Fridays) has even been named George’s Birthday Spanking. Thank you, George! It may be his birthday, but we’re all receiving the best gift—an unforgettable night of music.
There’s no set break, no time to cool down. The duo dives right into What a Fool Believes, and the hits keep coming. Each song is familiar, yet reimagined in a way only Brendan and Jennifer can. From Lovely Day to Angel from Montgomery, then Here and Now, their versatility is matched only by their talent. Jennifer’s technical mastery on the trumpet and her remarkable vocal range shine throughout the set, while Brendan’s mellow voice and expert guitar playing keep things playful and unpredictable. During Cyndi Lauper’s Time After Time, Brendan suddenly bursts into Bear Down Chicago Bears, much to the crowd’s delight.
The night wears on, but no one notices. The banter between the performers and the audience makes time irrelevant. There’s no strict setlist—genre and convention seem to have no sway over this show. Brendan reads the room like a seasoned quarterback, and only he could follow Just the Two of Us with Creep. From Guilty Feet to Come Together to Total Eclipse of the Heart, each song is delivered with a twist, keeping the audience rapt until the very end. When they wave and exit the stage, the crowd is having none of it. Chants and cheers coax the duo back for one final encore—a no-holds-barred version of Freedom that gets everyone on their feet.
Hartliss brings us music we didn’t know we wanted, performed in ways we couldn’t have imagined. It’s like pulling the lever on the art machine—what you get is always a surprise, and always better than you’d expect.
