Rock on, Summerlin, rock on!
Friday, February 9, 11:20 p.m. The Rock's Lounge at the Red Rock Casino is all atwitter with the ass-shaking sounds of Fergie's "Fergalicious." From outside, the dim, bustling lounge is just another of Vegas' popular no-cover liquor oases bumping hip-hop, '80s and Top 40. But gazing across the sea of grooving bodies, something is ... different.
Onstage at the far end of the lounge, beyond the strobing lights and the wafting stage smoke, Chris Phillips and Marley Taylor romp and cavort like teenagers, taking turns belting out an ever-changing roster of rock and hip-hop songs. A very tan, toned, curvaceous Taylor, in her signature hot pants and crop top, grinds on Ciara's "1, 2 Step" just before seamlessly passing the crowd's attention to Phillips for his rendition of Gnarls Barkley's "Crazy." Just like in the life-sized cutout of the pretty pair that greets guests at the door, he sports his customary tight undershirt over his tan, athletic bod and adds to this a pair of sunglasses and a whole lot of bling. Throughout the night, the pair will also churn through what must amount to a huge pile of hats backstage.
Determined to find more alternatives to the megaclubs and on-Strip joints that tend to separate one from one's paycheck, I venture west, rather than east, seeking free entertainment at what I am told is my neighborhood's "local casino." I expect to be entertained for sure, but the couple's genuine megawatt smiles and gushing affection for their audience take me completely by surprise. Better known as the Southwest's most beloved duo, Zowie Bowie, Phillips and Taylor deliver this performance every Friday night from 11 p.m. to 2 a.m., plus a Rat Pack-period show Saturdays from 8 p.m. to 2 a.m.
With a personal style that is both rock and urban, the pair seem to be cut from the same glamorous cloth. Backed by a four-piece band and a football-jerseyed backup singer, Mo, Zowie Bowie's set list reads like a Billboard chart countdown. After the first hour, the duo turns the room over to DJ Joey D while they catch their breath. The crowd doesn't slow their dancing in the interim, but after all the high-energy singing and dancing, it is a markedly difficult transition back to just club music. At 12:35 a.m. Phillips and Taylor return and need not so much as a second to warm back up. With Bubba Sparxxx's "Ms. New Booty," at least 15 ladies are hoisted on stage. "Meet the ladies of Summerlin!" announces Phillips, eyes dropping down to appraise the aforementioned booty. "I love Las Vegas." Clearing the stage for Taylor's solo to Cassie's "Me & U," Phillips then re-emerges for the Black Eyed Peas' "Let's Get It Started," "Pump It" and Fergie's "London Bridge." As bubbly and wide-eyed as a young Marilyn Monroe, and with much the same look, Taylor finds more moments to take center stage as she lures an audience member into her act for Donna Summer's "Love to Love You Baby" and writhes around just enough for Nelly Furtado's "Say It Right" and "Promiscuous." Though Phillips does share his own blond spiky 'do with a Labyrinth-era David Bowie—who really does have a son named Zowie!—there is no relation. In past interviews, Phillips has referred to Zowie Bowie as his alter ego, carried over from a former side project.
Like the famous onstage couples of their Rat Pack-period show, Phillips and Taylor delight their crowd with a bit of that witty repartee requisite of a darling Vegas showroom act. Bombshell Taylor is the apple of Phillips' eye, both onstage and off, Phillips jokingly calling himself the Joe Simpson to Taylor's Jessica. Coming up on their Latin finale, Taylor confides that the two met six years ago on April Fools' day, when they were each married to other partners. What am I getting for Valentine's Day, Taylor asks her beau. "Dinner for two at Fatburger," jokes her Romeo. Who says nothing blooms in the desert?
Xania Woodman thinks globally and parties locally. And frequently. E-mail her at
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