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Bowlive IV Recap Including Day & Night 8 Reviews

We’ve officially been “Bowlived” for the fourth year as Soulive reached the finish line of their 4th Annual residency, Bowlive, on Saturday night. It’s a bittersweet feeling; similar to the feelings you get when you have to leave an amazing few weeks at summer camp. For the members of Soulive, seeing the regular faces and New York City fan dedication is a wonderful energy for them to play off of throughout the run. In turn, fans get to see their favorite artists night after night, performing exquisitely executed originals and crushing covers with spectacular guests. All the while, both fans and band dance around with each other, their friends, and other musicians in the audience who are there just to bare witness. Everyone smiles and engages each other, soaking up every glorious note. It’s a symbiotic relationship that is hard to fall away from after being dipped so deeply for eight nights. So, when the end comes, we must remind ourselves that these residencies are special because they only happen once a year! Soulive reminds themselves that they have something special to look forward to as much as the audience does. And each year, the audience witnesses the unfolding of a beautiful musical dynasty that Eric Krasno and brothers Neal and Alan Evans have created.

 Unlike the three previous year’s run, Soulive chose to focus their energy into eight shows instead of ten. This choice applies great pressure to any band who chooses to change the formula of a well-established and respected event. Bowlive fans expect a certain caliber of guests, a high level of surprise sit-ins, and some spectacular musical experiences that sometimes end up being a once-in-a-lifetime moment.  Soulive knows this to be true and always takes the time to consider such factors. How about having Mod dancers bust out into the bowling lanes during the second set of Night I?! It was just go time at that point!

Over the course of eight nights, guitarist Eric Krasno, bass keyboardist Neal Evans and drummer Alan Evans provided a stage and support for fantastic and exciting artists. They played endless jams in multiple styles across the musical spectrum, which is an important goal of the residency every year. Special guests included rocking Southern Blues brothers, guitarist Luther Dickinson and his brother, drummer Cody Dickinson, the 1970’s soul vocalist, Lee Fields and his modern day counterpart, Nigel Hall. There was the unmatched pedal steel slide guitarist Robert Randolph, legendary jam scene DJ, DJ Logic, and The Shady Horns lent their wall of sound during the second week with the help of crushing saxophonist Bill Evans one night. Some of America’s most outstanding keyboardists, 1970’s Memphis blues keyboardist, Booker T. Jones, mad scientist and keyboard wizard, John Medeski, and the ever experimental Marco Benevento, dominated their time on stage. Stepping in to melt faces on guitar was the astonishing Los Lobos’s David Hildago and The Meter’s Leo Nocentell. Soulive closed out their epic week playing with America’s most famous funk bassist, George Porter. Jr.

Another exciting element of Bowlive each year is the choice opening bands Soulive picks to set the audience’s mood each night. Due to a benefit at the Brooklyn Bowl on Night Six, there were only seven opening groups, all delivering a variety of musical power. The ridiculous ragers who make up Kung-Fu opened the run with so much fury. It was a perfect choice. The rocking Sister Sparrow and the Dirty Birds, The London Souls and Leroy Justice got the dance floor grooving. It was also a great pleasure to see two powerful females amongst the male-dominated residency by way of Alecia Chakour (The Alecia Chakour Band) and Arleigh Kincheloe (Sister Sparrow). The soul and flavor of love got shot to our hearts with The Nigel Hall Band, the Alecia Chakour Band and Cocheme Gastulum’s The Electric Sound of Johnny Arrow. You’re encouraged to read about them all in the previous night’s posts.

Then, you have the unannounced guests who are a separate list of continual, crushing talent. The Allman Brother’s southern rock guitarist Warren Haynes and slide guitarist Derek Trucks surprised the audience with a secret full third set on Night Two. Trombonists Sanders Sermon (Tedeschi/Trucks Band) and Natalie Cressman (Trey Anastatio Band) and trumpeters Maurice Brown and Igmar Thomas, and saxophonist Cocheme Gastulum (Sharon Jones and the Dap Kings), enhanced the wall of horns over the run on various nights. Behind everything, the chemistry and talents of Eric Krasno, Neal Evans and Alan Evans, are what make Bowlive possible.

Perhaps the most special show for many Soulive fans is the Kids show. Soulive held another KidsBowl performance early Saturday afternoon from 2pm to 3pm. These specific types of shows bring Soulive’s music to both the fans children and the unknowing adults who bring their kids to bowl on a Saturday, not knowing what a treat they are in for.  For dedicated Bowlive fans, the kids show is a wonderful way for the individual dancing alone at night to bring his or her family to meet one another.  The reality of life becomes evident as the adults were in “parent” mode, not “party” mode. Babies were crawling on the dance floor and children of all ages were running around in bowling shoes. The lights were on and bumpers were out. In their hour, they performed a few Soulive originals and brought Meter’s bassist, George Porter, Jr. It was when the set was over that the real raging began, however, when the children were allowed on stage to play with instruments and dance.

KidsBowl Set:

Uncle Jr.

Vapor

Hat  Trick

Turn It Out

Hey Pockey Way (w/ George Porter, Jr.)

How Sweet It Is (To Be Loved By You)

 It was back to party time with the evening show and The Alecia Chakour Band opening. Her blues siren vocals backed by Neal Evans on keys, bassist Alex Chakour, drummer Caito Sanchez, saxophonist Cocheme Gastulum, and trombonist Dave “Smoota” Smith, were perfection.  After a lovely instrumental intro, Chakour sang seven band originals, including “Runaway,” “Over Again,” “You Didn’t Tell Me,” and “The Sun.” Each member of her band taking solos and leads amongst her sweet sounding vocals. This was a fantastic group of soulful musicians and a perfect choice to transition into the funk-filled evening.

Opening Set:

1. Instrumental

2. Runaway

3. Over Again

4. You Didn’t Tell Me

5. The Sun

6.Ghost

7. Shirley

8. Everything Time I See You (Stevie Wonder Cover)

The important point of all of this, simply, was the music. Music that creates a passion within Soulive and luckily, that passion is extended to the fans. For the final evening of their amazing residency Soulive would play host to their mentor in funk, Meter’s bassist, George Porter Jr. But not before bringing it home for the Soulive purists, proving once again what a sick power trio they truly are.  The first set was pure fire, and with help from the Shady Horns, there was nothing to divert our thoughts from what was most important.  The set was full of sick Soulive originals, “Uncle Jr.,” “Aladdin,” and “One in Seven.” “Lenny,” a Stevie Ray Vaughn cover and highlight of any set, allows Krasno to open up a can of whoop ass upon your ears. He broke his string during his ripping solo. Enough said. The London Souls’ Tash O’Neal (guitar and vocals) and Chris St. Hilaire (drums) joined for the a “cover” of their own “Steady Are You Ready” then stayed on to help deliver a crushing version of Howlin’ Wolf’s “Killin’ Floor” in the vein of Electric Flag’s version. Remember, as we learned on Night Four, Krasno is a huge Tash O’Neal fan, so you can imagine the chemistry.

Set I:

Uncle Jr. (w/ Shady Horns)

Aladdin (w/ Shady Horns)

Come Together (Beatles cover)

Lenny (Stevie Ray Vaughn cover)

One In Seven

Steady Are you Ready (London Souls cover w/ Tash O’Neal & Chris St. Hilaire)

Killin Floor (Howlin’ Wolf Cover…Electric Flag Version w/ w/ Tash O’Neal & Chris St. Hilaire)

 Soulive performed a beautiful rendition of “El Ron,” before George Porter, Jr. was introduced for Set II, continuing on as one of Bowlive’s greatest musical mainstays.  During this tune, the Shady Horns, with the help of guest saxophonist Cocheme Gastulum, broke off into an extended improvisational blowing session with Alan supporting on drums. For lack of better words, it could best be described as a drum line for horns. A Hornline, if you will?! The entire second set evolved into of slew of classics from The Meter’s catalog.

“People Say,” kicked off a funk-fueled set with James Casey delivering a rousing solo. Casey has carried a saxophone around his next all week and when he plays, it’s clear that he was meant to blow a horn.  However, it must be mentioned that over the run, Casey provided grooving percussion on the congas for many songs. It was a dance party for “Hey Pockey Way,” as Porter announced that, “Everyday should be Mardi Gras!!!”  Then, audience participation time for the fun tune, “Hand Clapping Song.”  The next Meter’s original, “Out in the Country,” was performed in the style of Porter’s slow emotional arrangement from his It’s Life album. This was a gorgeously played ballad that tugged at the heartstrings of the crowd in a deep way. From a personal perspective, it brought tears to my eyes, almost opening the floodgates until I reeled it back in.  I wasn’t alone in this outpour of emotions. Again, acknowledging that this super-stimulating, night time version of summer camp, full of friendly faces, is like ending an addiction cold-turkey. Bowlive is an institution in the Jam Band universe at this point, it lasts longer than many music festivals, and it’s not easy for the die-hards when it ends.

The set ended and no one moved.  There was just endless screaming and shouting of Krasno and the Evans brother’s names. Then, Brooklyn Bowl owner, Peter Shapiro, stepped onto the stage. On the last night of every Bowlive, right before the final encore of the run, Peter Sharpio does something special for Bowlive’s loyal audience in an effort to show his gratitude for their support of live music.  At the end of the first Bowlive, 700 shots of tequila were handed out from the stage.  He kept it entirely mellow last year by passing around Aromatherapy plants: Sage, Rosemary and Thyme, asking that the audience to grab sprigs of each plant and inhale. This was to encourage a revitalization within our body, mind and soul for the energy to dance on for one more song. Not missing a creative beat, Peter Shapiro took the mic on this final night and thanked us for our loyalty in proper rockstar fashion. He alerted the audience that this was a milestone 40th show for Bowlive and that the he had had made t-shirts with “40” on the back and “BOWLIVE” on the front. XL shirts went flying around the venue and Shapiro asked that the audience put them on right away before Soulive would deliver us our double encore of “He Bite Me (The Dragon)” and “Ain’t No Use.” The gifting of the shirts was a smart and fun way to end this year’s Bowlive.

Set II:

El Ron (w/ Shady Horns and Cocheme Gastulum)

People Say

Take A Chance

Hey Pockey Way

Jezebel

Hand Clapping Song

Out In the Country

Encore:

He Bite Me (The Dragon)

Ain’t No Use

Soulive has truly cemented their reign as a musical dynasty. A talented trio on top of their game in this unforgiving musical bastion of NYC. The magnitude of music overheard during the last two weeks was dynamic and inspiring.  The guests and the musicians solos were magnificent, diverse and captivating. Soulive always gives us something to look forward to every single night of Bowlive and this year was nothing less.

On personal note, I hope these reviews have helped supplement the wealth of musical knowledge that Soulive bequeathed upon us during Bowlive IV.  It is a delight and a  privilege to witness Bowlive every year and count Soulive and the Brooklyn Bowl as part of my local music scene. It also goes without saying that it is an honor and a true highlight of my career to be blessed to write for this amazing phenomenon called Bowlive. Thank you to Peter Shapiro, the Brooklyn Bowl, all the staff and production crew. Thank you to Royal Family Records for the opportunity to cover such a delightful event. A giant thank you to all the guests who lent their sound to the stage. Finally, the biggest congratulations and thank you to Alan Evans, Neal Evans and Eric Krasno for making it all possible. Your fans eagerly await to see what you have in store for Bowlive V!

Karen Dugan

tinyrager.com

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Bowlive IV Night 7 Recap w/ George Porter Jr., Leo Nocentelli & The Shady Horns : Next Up Kids Bowl / George Porter Jr. + The Shady Horns

Friday nights are always fun at the Brooklyn Bowl.  There is a relaxed weekend vibe. Everyone is ready to dance, eat Blue Ribbon fried chicken and enjoy a rich Brooklyn brewed lager. We had hit night seven of eight of Soulive’s Brooklyn Bowl residency and Soulive was prepped for the beginning of the end. I wish I could say the same for the audience. Understanding that the band must be weary, there are those fans who just simply can’t ever get enough of virtuoso guitarist Eric Krasno, soul drummer Alan Evans and one of the unique keyboardists of our generation, Neal Evans. As these three musical wizards warmed up over the week, the energy has radiated to an outstanding level. The boundaries of their musical talents have been pushed to the limits by the guests that have graced the stage with them.

Leroy Justice set the pace tonight with their garage rock sound. Leroy Justice is a legitimate rock n roll band consisting of the charismatic Jason Gallagher (guitar/vocals), Sloan Marshall (keys), Bradley Wegner (bass), Josh Karis (drummer), Justin Mazer (guitarist). Their eclectic, southern, hard-rocking sound and on stage presence taps into The Doors, Lynyrd Skynyrd, The Allman Brothers and The Black Crowes. The keyboard was covered in an American flag and Pennsylvania license plates decorated the amps. The slamming rhythm section drove the songs that varied in styles from hard rock to southern blues with harmonica and got the crowd in dancing mode.

Over the seven nights of Bowlive IV’s run, Soulive has delivered the audience a Stax appreciation night with Memphis blues keyboardist Booker T. Jones, a southern rock throw down with guitarist Luther Dickinsion and drummer Cody Dickinson and a psychedelic jazz night with experimental jazz keyboardist John Medeski and saxophonist Bill Evans. Last night, Soulive brought it back to their roots; back to their initial passion of soul and funk, with special guests bassist George Porter, Jr. and guitarist Leo Nocentelli, of the legendary 1970’s funk band, The Meters. Soulive opened their set, just the three of them, with an amazing rendition of “Steppin” and “Eleanor Rigby.” The trio was on fire, each taking a little time to shine through the tune. Wasting no time at all, Alan Evans introduced “a first in Bowlive History, y’all!” Guitarist Leo Nocentelli, one of the original forming members of the greatest New Orleans funk band ever, was up on deck for the rest of the set. With the help of The Sandy Horns, Nocentelli , “Rudy’s Way” and “Hat Trick.” It was nice to see Nocentelli and Krasno trading funky licks amongst the traditionally jazzy tunes. Neal’s hands were pounding away at the bass keys and his legs were constantly in motion, dancing behind his kit. Everyone was pumped up as bassist George Porter, Jr. was invited out for “Come Back Jack” and “Cissy Strut,” the songs that made the Meter’s a household name, was supported by Porter’s funky bass riffs.  Porter exited and Nocentelli continued on vocals for Stevie Wonder’s “Jesus Children on America” into “Want Me To Stay.” To say that the band was excited was a gross understatement. The energy flowing between the musicians and through the audience was like a supernova, with screaming fans and our Royal Family musicians ecstatic to be on stage with their own musical heroes.

Set I:
Steppin
Eleanor Rigby (Beatles cover)
Rudy’s Way (w/ Leo Nocentelli)
Hat Trick (w/ Leo Nocentelli)
Come Back Jack (The Meters cover w/ Leo Nocentelli and GPJ)
Cissy Strut (The Meters cover w/ Leo Nocentelli and GPJ)
Jesus Children of America > (Stevie Wonder cover w/ Leo Nocentelli)
If You Want Me to Stay (Sly and the Family Stone cover w/ Leo Nocentelli)

A slow, sexy, melodic version of The Meter’s “Pungee” began with Krasno and the Evans brothers for the second set and George Porter snuck out in the middle of it. It would be Porter’s time to shine after Leo Nocentelli dominated the first set. “No More Okey Doke,” showcased the baritone sax talents of Ryan Zoidis, who traded licks against Porter’s bass lines. Krasno then took what could arguably be the sickest solo of the run.  As if under a trance, his face began a series of contortions that resulted from the severe intensity at which he was focused on delivering the notes. His passionate playing lifted him onto his toes and his body undulated back and forth. It was epic. All the while, the remaining musicians on stage provided a solid foundation for his shredding guitar playing.  “No More Time,” “Jezebel,” and “Stop That Train,” were amazing, different and it was wonderful to hear a bass player with our favorite power trio. It must be mentioned that Neal Evan’s technique of playing the bass line on his clavinet is one of the most defining aspects of Soulive’s sound. So, the addition of one of the sickest bass players to the already magnificent power of Alan, Neal and Krasno projected and supported their expansive sound. When “How Sweet It Is To Be Loved By You” began to play, the same energy that comes from an audience hearing, “With A Little Help From My Friends,” came from this audience. The crowd went wild, couples turned to one another and kissed, and friends placed their arms around each others shoulders. It was friendly, loving and high-energy, creating a smile on every face. With happiness dripping from the rafters, “Them Changes,” a famous Band of Gypsy’s tune written by Buddy Miles, was loud and vibrant with Ryan Zoidis taking another bone-crushing baritone sax solo.

The jams that occurred throughout both sets were fantastic. Everyone felt at home, whether on stage or in the audience. Those comfortable, jamming encounters are what fan our passion for the funk. The funkiest encore of the run, “Afrika,” included a never-ending, thumping rage as Lettuce and Break Science drummer Adam Deitch, finally graced us with his presence. This was not to be taken lightly as Deitch is arguably one of the best drummers of our generation and a Bowlive mainstay in the previous years. As well, unannounced trumpeter Maurice Brown (Tedeschi Trucks Band) and Natalie Cressman (Trey Anastasio Band) ran out into the horn section during the first measures of the song.  At this point, Leo Nocentelli was on guitar along with ten other musicians on stage while Porter sang the tune, “Just Kissed My Baby!” POrter danced around on stage, would turn around to direct the horns and even ran over to Neal’s keyboards and played with him. It was madness, super genius madness and the crowd soaked it up like a sponge.

Set II:
Pungee (Meters cover w/ GPJ)
No More Okey Doke (Meters cover w/ GPJ)
Need More Time (w/ GPJ)
Jezebel (w/ GPJ)
Stop That Train (Bob Marley & Wailers cover w/ GPJ)
How Sweet It Is (To Be Loved By You) (Marvin Gaye cover w/ Leo and GPJ)
Them Changes (Buddy Miles cover w/ Leo and GPJ)
Encore: Africa (w/ Adam Deitch, Leo and GPJ)
Encore: Just Kissed My Baby (w/ Adam Deitch, Leo and GPJ)

The quality of music that came from the Brooklyn Bowl stage the past two weeks has ignited fires in our musical souls. Why would we want it to stop now? To the chagrin of those Soulive fans who couldn’t make it to as many shows they would like this year, there is only one night left of the Fourth Annual Bowlive residency. However, like every closing night of Bowlive, Soulive promises to make it best.  Last night’s guest, bassist George Porter Jr. will continuing his reign tonight as Bowlive’s #1 special guest.

Karen Dugan

TinyRager.com

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Bowlive IV Night 4 Recap w/ Booker T, David Hidalgo & The Shady Horns | Tonight Hidalgo Returns, Marco & The Shady Horns

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Dedicated music lovers brought themselves out to the Brooklyn Bowl for the start of Soulive’s second week of the Bowlive IV residency. Guitarist Eric Krasno, bass keyboardist Neal Evans and drummer Alan Evans are back with a new week and new musical adventures.

_DSC4418Last week’s roster was packed with sit-ins by southern blues rock guitarist Luther and percussionist Cody Dickinson (The North Mississippi Allstars), the fierce harmonica playing of John Popper (The Blues Travelers), the 70’s flare of vocalist Lee Fields and his Expression Horns, the pedal steel slide guitar styling of Robert Randolph (Robert Randolph and the Family Band), the soul-filled flavor of vocalist Nigel Hall and the spinning talents of DJ Logic. Surprise guests included the amazing Allman Brothers Band guitarists Warren Haynes and Derek Trucks and trombonist Sanders Sermon (Tedeschi/Trucks Band).

One of the highlights of Bowlive this year has been the killer opening bands kicking off every night. Kung Fu absolutely blew the roof off the first night, setting a pace of rage for the rest of the week. The second night followed with the powerful 8-piece Sister Sparrow and the Dirty Birds who kept the energy high and the Alecia Chakour Band delivered their sultry sounds on Saturday. You can read about those shows in earlier posts here on TinyRager.com.

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Following one of the best first weeks in Bowlive history, the formula would to remain the same. The high powered, high energy, talented horn-crunching musicianship of saxophonist Cochemea Gastulem (Sharon Jones and the Dap Kings) and his band, The Electric Sounds of Johnny Arrow, showcased a different style of music to Soulive fans. The sounds of Africa’s Fela Kuti and 70’s baritone player Lekan Animashanu provided influence to the tunes. One’s hips couldn’t help but begin to grind to the pulsating percussion infused music. After the opening set, there were members of the audience who could be overheard discussing these new sounds that Soulive had introduced to their Bowlive roster.

Set List:

Dark City
Carlito
Impala 73
You’re So Good To Me
Heleyos
Lluva Con Nieve
Fathom 5
No Goodbyes

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The theme for the rest of the night was simple. Play one strong, satisfying Tribute to Stax Records with one of the coolest, hippest, electric blues keyboardist of all time, Booker T. Jones (Booker T. and the MG’s.) However, the audience had to be patient. Soulive purists still needed to see their favorite trio stand alone. Alan, Neal and Eric performed “Outrage” and “Dig” before the Shady Horns joined the stage. Baritone saxophonist Ryan Zoidis and trumpeter Eric Bloom (Lettuce) and James Casey (Trey Anastasio Band) brought another layer of funk to the vibe with “Hatrick” and even more horns joined when Cochemea’s baritone saxophonist Freddy Deboe and Lee Fields band’s saxophonist Mike Buckley sat in on “For Granted.”  Their powerful horn solos overwhelmed the speakers causing feedback that took a minute to control and it was back into full funky rage.

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When Booker T. Jones came on stage, the crowd went wild. To experience an entire set with Booker T. and Soulive was liberating. However, to see how excited Soulive was, well, that was just icing on the cake of what was a delicious remaining night of music. Krasno put it best as he spoke to the audience, explaining that as much fun as it is for the fans, it’s equally as fun for Soulive, as they are fans themselves. Fans that have the distinct pleasure and honor of inviting their mentors and influences on stage to join them. The passion for Booker T. was also evident as you looked around the audience and saw other famous Jam-world faces such as Erik Kalb (Deep Banana Blackout), David Bailis (Pimps of Joytime), and Alecia Chakour (Alecia Chakour Band).

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Booker T. and Soulive crushed out iconic Booker T. and the MGs hits “Hip Hug Her,” “Hang ‘Em High,” “Time is Tight,” and more. They then played “Born Under A Bad Sign,” which Albert King made famous but was written by Booker who along with the MG’s and The Memphis horns appear on that studio version. There was the catchy instrumental versions of Cee Lo Green’s “Crazy,” and Lauryn Hill’s “Everything is Everything,” with each instrument on stage taking the lead on each song.  It was sharp, stunning and solid. The Booker T’s Memphis Soul Sound was supported wonderfully by Soulive, all three of whom were grinning from ear to ear throughout the entire set. Finally, it wouldn’t be Bowlive without a surprise special guest. Guitarist David Hidalgo (Los Lobos), in town a night early for his Wednesday night Bowlive appearance, would pop out halfway in the middle of tunes then disappear again. This would continue through the set, teasing us with what would be seen on night five.

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The Booker T. encore was the most recognizable tune of all, the instrumental classic, “Green Onions,” with its ripping Hammond Organ line were both Neal and Booker T. enjoyed trading licks on their keys. That song threw everyone, of all ages, back into the soundtrack of 1993’s The Sandlot, back riding around in their 1962 Chevy Impala Convertible with the top down. It is a song that defined the ages and every one of all ages was invested.

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Capping off the night, the trio stood alone on stage for “Tuesday Night Squad,” a nod to the night and perhaps Soulive’s way of naming the dedicated tribe who supported them on such an early weeknight.  The Tuesday Night Squad we became and Bowlive fanatics should hold that badge with honor, the same way Soulive was visibly honored to perform for us last night with such an amazing icon of music.

Last night’s tribute to Stax Records was a pleasure.  Tonight get there on time for another stunner of an opener with the ever-rocking London Souls and guests Marco Benevento (keys) and guitarist David Hidalgo (Los Lobos).

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Set List:
Hip Hug Her
Hang ‘Em High
Born Under A Bad Sign
Crazy
Time is Tight
Something
Everything is A Everything

Encore:
Green Onions
Tuesday Night Squad

Written by Karen Dugan
Tinyrager.com

Photos By Andrew Blackstein & Allison Murphy

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Soulive is back and full of energy for their fourth annual BOWLIVE Residency held at the ever-popular Brooklyn Bowl.  Bowlive is an exciting time for the New York City music community, which was made clear last night as Soulive performed to a sold-out crowd. A crowd who showed up to RAGE with Eric Krasno (guitar), Neal Evans (drums), and Alan Evans (Hammond B3 organ, bass keys, clavinet) while a blizzard whipped around outside.

A few things have changed this year. There are eight nights instead of ten, there are more guests than ever and you should expect surprises every night. However, one constant that never falters is Soulive’s devotion to diversity. Their mission is clear. Showcase multiple genres of music by hosting amazing guests backed by the trio’s own diverse talents.

44439_10151538968272755_2083839976_nWith the most powerful kick-off in the last four years, the rocking Jazz Funk Fusion of KUNG FU opened the run at 8:30 on the dot. KUNG FU is made up of keyboardist Todd Stoops (RAQ), bassist Chris DeAngelis (The Breakfast), saxophonist Rob Somerville (DBB), guitarist Tim Palmieri and drummer Adrian Tramontano (The Breakfast). They powered through their set-list with crushing intensity and warmed up the crowd with favorites “Do the Right Thing,” “Popcorn,” and “Scrabb.”

Then came the moment the crowd had been waiting for since the rosemary-scented close of Bowlive III. The power trio began their set with the electric “Outrage,” as the crowd leapt off the floor, fists punching the air. The raging Soulive classic “Hat Trick,” a psychedelic “Shaheed,” and rocking “Tuesday” followed, with the venue filling with Soulive’s tight and full sound.

Blues harmonica player John Popper (Blues Traveler) was the first guest to grace the stage with Soulive.  Choosing the classic Beatles tune “Come Together,” fans were delighted to watch the traditionally instrumental song be sung by Popper himself!  The Blue Traveler’s tune “Mulling It Over” closed the set with high intensity and passionate fans screaming their praises.

The trio that never ceases to amaze wasted no time with long set breaks.  Only a few minutes went by before the boys were back on stage, this time with slide guitarist Luther Dickinson (North Mississippi Allstars) demanding the audience to “Shake What Your Momma Gave Ya.” While our attention generally would have been on the musicians, the crowd’s attention was pulled to the bowling lanes where four dancers in mod outfits shook their own asses up and down the aisles for the surprised crowd. A wonderful, fresh idea that reminded us that the guys are just as fun as they are talented.

With the crowd popping with energy and excitement,  Soulive continued to tackle our musical senses with Luther Dickinson singing a ripping version of Jimi Hendrix’s “Spanish Castle Magic.” During George Harrison’s “While My Guitar Gently Weeps,” the amazing guitar styling of Dickinson and Eric Krasno were showcased through stunning solos.

Percussionist Cody Dickinson (North Mississippi Allstars) joined the stage for the Beatles “Tomorrow Never Knows,” Bob Dylan’s “Someday Baby,” and “Shake ‘Em on Down,” a country-style blues song recorded by Bukka White in 1937. The Dickinson brother’s southern-blues flavor enhanced every tune.

When Cody Dickinson knelt down and put on his washboard and his thimbles, the crowd paid deeper attention as they knew something unique was about to take place. Cody’s metal tipped fingers danced around on the electric washboard, closing the set with his rhythmic sounds backed by amazing bass licks from Neal Evans.

Final guest, DJ ?uestlove (The Roots), was unable to make the show due to circumstances out of his control. Eric Krasno announced to the audience that the power trio would continue playing and the crowd went wild. Then, the first unannounced special guest, Saunders Sermons (Tedeschi Trucks Band), sang and provided trombone for the Bill Wither’s cover “Kissin My Love.” It was a wonderful close to the first night of what promises to be another outstanding run.

Over the next seven nights, Soulive fans will hear music from legendary bass player George Porter, Jr., the heavy rocking London Souls, the soulful singing of Alecia Chakour, the powerful blows of the Shady Horns and so many more surprise artists who sit on the sidelines, hoping and itching to have a chance to join Soulive’s stage. Tonight, put your dancing shoes back on for pedal steel slide guitarist Robert Randolph (Robert Randolph and the Family Band) and soul singer Lee Fields (Lee Fields and the Expressions).

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” We Wish You Were Here” ~ Allen Woody Benefit ~

Allen Woody

Allen Woody

An absolutely historical night of music.  A bitter-sweet night of music.  A magical combination of guitar-shredding artists who came together for the memory of one man. Allen Woody!

Allen Woody!! For those of us who tend to seek out a bass line in a song, the name Allen Woody should register in your brain’s musical library.  Specifically, in the southern rock genre. He was the stand-out bassist for bands such as The Allman Brothers Band, Gov’t Mule, The Artimus Pyle Band and more.

Allen Woody

Allen Woody

His unexpected passing on August 26, 2000 encouraged his fellow musicians to hold the first benefit called One For Woody in September 2000.  Tonight, ten years later, Warren Haynes and an ARSENAL of guitar-wielding friends put together the second benefit for this greatly missed musician: Another One For Woody: “Wish You Were Here!”

This was a man whose musical presence touched the lives of numerous musicians, inspired a genre and who’s musical contribution deserves recognition.  Tonight, people paid over $140 a ticket to pay homage to this dearly missed bass player whose tragically early departure from music left a gaping whole in the sound of southern rock.  The proceeds from this 10th Anniversary event went to raising money for musical education in schools.  For every person we heard complaining about the price, we politely reminded them of this fact.  Having just had the privilege of attending T-Bone Burnett’s “Waiting For Superman” Benefit at The Beacon (click for my review) a few weeks earlier, it is safe to say that the quest for keeping music & art in the school system is not going to ever be ignored. We are all soldiers in that fight.

“It’s too loud? Too fuckin’ bad” -Allen Woody 4/4/96

Roseland Ballroom

Roseland Ballroom

Arriving at 6:45pm, I had quibbled with my man over arriving to the venue early. He didn’t want to stand around for hours and I wanted to make sure we had ample time to arrive early enough for good viewing locations.  Roseland Ballroom is one of those venues, like Terminal 5, that has a sardine-like feeling with horrible site lines due to low ceilings and poor design.  Doors were meant to open at 6pm but didn’t open until after 7pm.  When we arrived, the line to the venue was wrapped completely around the block. Of course, even being an hour early, we were still slightly late but the first of our friends. Our section of the line starting to bulge as more friends joined our space.

Dino Perucci (Dino Perrucci Photography) and Allison Murphy (Allison Murphy Photography), two of my favorite NY based photographers, were walking the front of the stage.  My smile swelled because I knew that I didn’t need my camera tonight.  Throughout this article, many of the pictures you will see are shots through their lens.  Thanks to both photographers for allowing this Tiny Raging blogger to stand there and take it all in, not having to worry about the pictures.  And thank you, not simply for this show, but for the hundreds you do every year. Thank you, from all the people who admire your talent and work, for doing what you do and bringing the music to our eyes.

The show was supposed to start at 7pm and the doors didn’t even open until after 7pm.  After a lovely chat with the lovely Allison Murphy while the unusually long sound check and stage set-up it seemed about that time.  Those of us in the front were debating which musicians would be standing/sitting/playing where.  As long as I could see a full-on shot of Derek Trucks, Warren Haynes and Luther Dickinson, I didn’t care where I was standing.

Warren Haynes Acoustic Set

Warren Haynes – Guitar
Edwin McCain – Guitar
Kevin Kinney – Guitar

Out walks Warren Haynes with two other musicians that I am unsure of.  It wasn’t until maybe an hour later that I found out that the men were Edwin McCain and Kevin Kinney. This was the acoustic set and it was beautiful.

As soon as Warren Haynes started his strumming into Kevin Kinney‘s Just Outside Of Heaven (A Good Country Mile), I got that religious swell that I sometimes reach when the beauty of the music overwhelms me.  This time, it was just as much the energy in the room as the music.  I looked behind me and saw the faces of all my friends just beaming with excitement and love.  Edwin McCain sang The Lucky One.  All three sang on a gorgeous rendition of I Shall Be Released.

Set: Just Outside Of Heaven (A Good Country Mile), The Lucky One, I Shall Be Released

North Mississippi Allstars Duo

Luther Dickinson – Guitar & Vocals
Cody Dickinson – Drums, & Electric Washboard

Special Guests:

Gordie Johnson (Big Sugar) – Guitar
Artimis Pyle (Lynyrd Skynyrd) – Drums
Danny Louis (Gov’t Mule) – Keys
Audley Freed (Cry of Love) – Guitar

Around 8:15pm, the Dickinson Brothers,  tonight calling themselves the North Mississippi Allstars Duo, took the stage.  The Dickinson family had a wonderful connection to Allen Woody over the years.  The late Jim Dickinson, the Duo’s father, was good friends with the members of the Allman Brothers Band back in the day and when the North Mississippi Allstars toured with Gov’t Mule, they have fond memories of Allen Woody sitting in with them.

Warren Haynes + Gordie Johnson (Photo by Allison Murphy)

Warren Haynes + Gordie Johnson (Photo by Allison Murphy)

The Brothers Dickinson brought the Memphis blues to our ears with Sitting On Top of the World, a 1930’s standard. The gospel tone came out with Shimmy She Wobble > Station Blues > Preachin’ Blues, all North Mississippi Allstars originals.  It was at this time that standing in front of the speakers began to take effect and I had to pop in the ear plugs.  It never fails and as usual, I ended up passing out the rest to friends and strangers around me who were clearly in need.

And then it was time for the guests.  Gordie Johnson, Big Sugar guitarist and recent Gov’t Mule producer, came out to join the Duo for Po Black Maddie. Initially, it looked as though Gordie was going to sing the song but it almost appeared as if he was unsure of the words.  Did anyone else catch this mumbling into the microphone?? Luther ended up singing the song.


Hook Herrera, Warren Haynes + Luther Dickinson (Allison Murphy)

Hook Herrera, Warren Haynes + Luther Dickinson (Allison Murphy)

Gordie Johnson remained for Straight to Hell. Cody Dickinson‘s smile never left his face the entire set.  It almost looked plastered on but we all know he was truly happy. How could anyone not be?  There was a stand-alone drum solo by Cody Dickinson while Luther and Gordie Johnson switch sides of the stage for the final song of the set.

The end of their set was FIRE!!  The Duo welcomed Artimis Pyle (Lynyrd Skynyrd) on drums, Danny Louis (Gov’t Mule) on keys and Audley Freed (Cry of Love & the Black Crowes) to the stage to perform Whiskey Rock A Rolla! There was now an arsenal of musicians on the stage to sing about whiskey and rock-n-roll! Four guitarists as Cody Dickinson moved from his drums to a guitar, tambourines, keyboards…What a mess of Southern rednecks.  Their vests, boots, long stringy hair, cowboy hats…all screaming of their bluesy country background.


Set: Sitting On Top of the World, Shimmy She Wobble > Station Blues > Preachin’ Blues, Glory Glory, Po Black Maddie, Straight To Hell, Whiskey Rockin Rolla

Gov’t Mule

Warren Haynes – Guitar & Vocals
Matt Abts – Drums
Danny Louis – Keyboards, Background Vocals and Other Goodies
Jorgen Carlsson – Bass

Special Guests:

Gordie Johnson (Big Sugar) – Guitar
Jim Loughlin (moe)- Drums
Vinnie Amico (moe) Drums
Chuck Garvey (moe) – Guitar
Hook Herrera – Harmonica
Luther Dickinson – Guitar & Vocals
Cody Dickinson – Drums, & Electric Washboard
Artemis Pyle (Lynyrd Skynyrd) Drums
Rich Robinson (Black Crowes) – Guitar
Robert Kearns (Cry of Love) – Bass
Audley Freed (Black Crowes) – Guitar
Savannah Woody – Vocals

The members of Gov’t Mule take the stage after a few minutes of stage setting. Warren‘s iconic raspy voice heads into Railroad Boy. The screen behind the band was projecting a black background with “GOT MULE?” plastered across in white. Warren ripped a solo and the set just launched into southern goodness at its best.

There was a spacey rip into Blind Man in the Dark, a personal favorite to sing around my apartment. Warren asked us how we were feeling and the place erupted with a happy reply.  Danny Louis jumped off the keys and onto guitar for Steppin’ Lightly.  At this point, there were old picture of Woody shooting or lingering across the screen behind the band. His face smiling at us, showing his appreciation for the music in front of him.

Sometimes there is nothing better then watching the hands of your favorite guitar player.  Personally, my favorite guitar player had not yet hit the stage but here in front of me was Warren.  He is simply amazing.  Watching Warren, I was in tune with his hands much more then usual.  I equate that to the fact that I have never been this close to his hands before. I was so happy to be in the front row. Banks of the Deep End sprang out of his hands and so it went…full on Warren!

And now it was time for some GUESTS!!!  Gordie Johnson once again joined the stage, this time followed by Jim Loughlin & Vinnie Amico, the drummers from Moe.  They raged I’m A Ram before jamming into Dear Prudence where Chuck Garvey, also of  Moe, joined with his guitar. I LOVE Moe.

Warren Haynes + Chuck Garvey (Photo by Allison Murphy)

Warren Haynes + Chuck Garvey (Photo by Allison Murphy)

Dear Prudence with the members of Moe.  AWESOME! THIS little addition to the stage made me very VERY happy.  Seeing Chuck on stage with Warren was interesting.  Their sounds are so different so vibing them together was great even though I silently wished it had been Al who was joining the stage.   Chuck lead while Warren sang. There were whimsy art paintings across the screen behind the stage.  Chuck gave a great solo and then tagged in Luther.

Warren Haynes + Hook Herrera (Photo by Allsion Murphy)

Warren Haynes + Hook Herrera (Photo by Allsion Murphy)

The 320 Blues saw Hook Herrera join the stage with his mighty harmonica.  Oh, the harmonica. I LOOOOOOOOOVE the layer of sound a harmonica add to a musical journey.  As well,  Luther and Cody Dickinson joined the stage followed by Artemis Pyle (Lynyrd Skynyrd).  GOD! It just kept getting better and better! So many musicians had been touched by Allen’s friendship, music and memory.  Cody busted out his washboard and I finally heard the North Mississippi Allstars sound that I associate so much to that washboard.  The place was on FIRE!! and the music was so loud and vibrant that the musicians drinks were shaking off the amps.   As far as energy was concerned, this was the pop-off song of the night, so far.

Audley Freed + Robert Kearns (Photo by Allison Murphy)

Audley Freed + Robert Kearns (Photo by Allison Murphy)

Warren then spoke of how Big Sugar used to open for Gov’t Mule and how he and Allen Woody would rage this Al Green song. He welcomed Rich Robinson (Black Crowes) to the stage for Stay With Me, Rick’s slide guitar sound melting everyone’s ears.  Danny Louis was back on his keyboard.  This song was so pretty.  Warren ripped a solo and then they all hugged. The next song saw Rich Robinson staying on stage and being joined by Robert Kearns (Cry of Love) replacing Jorgen Carlsson on bass and Artemis Pyle (Lynyrd Skynyrd) jumping on drums.  They flew into Sometimes Salvation, a Black Crowes cover, and the venue cheered.

Simple Man was next.  I love this song. It never gets old for me. Matt Abts left the stage this time leaving only Artemis Pyle to play the drums. Audley Freed was back out on guitar and so they went…


Warren Haynes + Savannah Woody (Photo by Allison Murphy)

Warren Haynes + Savannah Woody (Photo by Allison Murphy)

Wishing Well was next with the same people gracing the stage. And then we were given an emotional surprise. Savannah Woody, Allen Woody’s daughter, came out to the front of the stage to sing Soul Shine. And  she sang the line:  Now you gotta let your soul Shine / Just like my daddy used to say...the entire place erupted with the longest loudest cheer of the night and Warren’s tears took over the gleam in his eye.  It took some time for people to realize who Savannah Woody was but when she sang that line, I knew immediately that it must be SOME kind of close relative to Woody.

During the song, she was standing on stage, arms dangling while solos were being taken.  A stage hand brought out a tambourine in the cutest way but she still didn’t move that much.

Warren Haynes + Savannah Woody (Photo by Allison Murphy)

Warren Haynes + Savannah Woody (Photo by Allison Murphy)

When Allen died, a fund for Savannah’s education was established in his memory. She didn’t look any older then a high school student and it made me sad to know she lost her father so young. But the fact that she was up there, singing in her father’s memory, and not crying…we knew she was a strong. Certainly stronger then me as I teared up once I realized who she was and what she meant to the show.  It must feel wonderful to see that your father touched so many lives.  It must be wonderful to know that all those amazing guitar legends up on stage were actually men who look after their own and I am sure have taken her under their wing over the years.  It was a lovely and touching performance of an otherwise tedious song.

This show was supposed to end at 11:50pm, due to city/venue rules.  This set ended at 11:30pm and we KNEW that we were not going anywhere for sometime because now….it was time for The Allman Brothers Band, but not before almost a 40 minute set break.

Set List: Railroad Boy > Blind Man In The Dark, Steppin’ Lightly, Banks Of The Deep End, I’m A Ram (with Gordie Johnson, Jim Loughlin & Vinnie Amico), Dear Prudence (with Chuck Garvey, Jim Loughlin & Vinnie Amico), 32/20 Blues (with Hook Herrera, Luther Dickinson, Cody Dickinson & Artemis Pyle), Stay With Me (with Rich Robinson & Artemis Pyle), Sometimes Salvation (with Rich Robinson, Robert Kearns & Artemis Pyle, without Jorgen Carlsson), Simple Man (with Artemis Pyle, Audley Freed & Robert Kearns, without Matt Abts & Jorgen Carlsson),Wishing Well (with Artemis Pyle & Audley Freed), Soulshine (with Savannah Woody & Artemis Pyle)

The Allman Brothers Band

Gregg Allman – Keys
Butch Trucks – Drums
Jai Johanny “Jaimoe” Johanson – Percussion
Warren Haynes – Guitar
Marc Quiñones – Percussion
Oteil Burbridge – Bass
Derek Trucks – Guitar

Special Guests:

Hook Herrera – Harmonica
Rich Robinson (Black Crowes) – Guitar
Artemis Pyle (Lynyrd Skynyrd) Drums
Berry Oakley, Jr. (Bloodline, OKB) – Guitar
Audley Freed (Black Crowes) – Guitar
Chuck Garvey (moe) – Guitar
Danny Louis – Keyboards, Background Vocals
Vinnie Amico (moe) Drums
Jim Loughlin (moe)- Drums
Luther Dickinson – Guitar & Vocals
Cody Dickinson – Drums, & Electric Washboard
Matt Abts – Drums

The set break must have last over 40 minutes.  Sadly, my date for the evening felt the weight of the tiresome day during the obsessively long break and had to leave.  A set that was supposed to end at 11:40pm and didn’t even start until at least midnight.  This was insane but I only knew good things would come from those of us who had been standing on our feet for over five hours at this point.

Allman Brothers Band, Warren Haynes + Derek Trucks (Photo by Allison Murphy)

Allman Brothers Band, Warren Haynes + Derek Trucks (Photo by Allison Murphy)

When the music final started, my feet were aching, I was missing my date and fighting to hold my place up in the front row.  The masses pushed even closer as Derek entered the stage.  And for the first time since I was able to meet him on his tour bus during Mountain Jam (click to read), I was back into a super fan.  My legs buckled at first site, my smile exploded out the side of my face and I screamed like one of those chicks who faint when seeing the Beatles or Justin Beiber.  Derek-Mania was going through my entire body.  He is the one musician that makes me completely lose control.

Derek Trucks + Marc Quinones  (Photo by Allison Murphy)

Derek Trucks + Marc Quinones (Photo by Allison Murphy)

At this point, I am afraid I won’t be doing a great job of writing out exactly what went down.  Like I said, I get a little more then weak in the knees when I see Derek Trucks and stopping to takes notes or trying to recall everything when all I want to be doing is staring at his fingers, well…..I didn’t write much at all.

First, the overly handsome Oteil Burbridge joins the stage, followed by Warren Haynes and Gregg Allman who wander to their respective instruments.  It didn’t take more then 60 seconds for the rest of the members of The Allman Brothers Band, including Marc Quiñones on percussion, to lock into place and blast right into Don’t Want You No More, the first song on the first Allman Brothers album and an instrumental that was originally recorded by The Spencer Davis Group in 1967.  All I wrote in my notes is “Ok, I just need to dance now.”

Gregg Allman continued striking the keys and singing into This is Not My Cross to Bear, a song Greg wrote about an old girlfriend.  Both Derek and Warren were given ample time to release their talents through solos during this song so be sure to watch.  And as you watch Derek smile towards the camera right in the beginning of the following video, you can be sure he is smiling at me.  Oh yes!  To be sure **wink**

End of the Line was next.  Warren changed out his guitars for this one and ripped out an astounding solo.  Sometimes I just don’t understand how things can sound so different with every show.  Same style but soooo different in sounds.  At this point it is still only the members of The Allman Brothers Band gracing the stage and it proceeded that way for the following 5 songs.

Greg Allman + Danny Louis (Photo by Allison Murphy)

Greg Allman + Danny Louis (Photo by Allison Murphy)

So at this point, there is a lull in the sound throughout the audience and I catch myself SCREAMING like one of those Beatles Mania fans again: “DEREK I LOOOOOOOOVE YOU!!!!!!!!!!!!!!!.”  No One Left To Run With was next, one of the few songs Dickey Betts wrote for the group but never sang.

Fun fact: This song was included on the 2002 compilation CD Mullets Rock!. For a while, The Allman Brothers were prime offenders of the haircut that was “Business in the front, party in the back.”

There was a gnarly guitar duel between Warren and Derek.  I mean it just never ends with these two.  Warren was  presenting us with such a phenomenal night of music and he was the ONLY musician to play in almost every song and at least in ever set.  He was the hardest working man in show buisness that night!  The drums in this song were killer.

Black Hearted Woman, also a song written by Gregg Allman about the same woman he wrote This is Not My Cross to Bear about, followed and continued right into Other One Jam, a Grateful Dead cover, until they begin inviting out the guests!!! Greg sang his heart out and the video shows it!


Hook Herrera came out and joined the boys for Who’s Been Talking. That man is an absolutely phenomenal harmonica player. I’ve said it a million times but I LOVE THAT INSTRUMENT. You can’t get a sound from any other instrument the way a sound is produced through a harmonica. It’s just soulful and the epitome of the blues to this southern gal.

Artimus Pyle + Audley Freed (Photo by Allison Murphy)

Artimus Pyle + Audley Freed (Photo by Allison Murphy)

Midnight Rider, a crowd favorite,followed.  Now, the original version of the song was with Duane Allman playing.  I believe  Gregg Allman re-made it a few years later (correct me if I am wrong).  If you listen to older recordings, you can hear and feel Duane and Dickeys’ opposing styles very well. So amazing.  Also, in 2005, this was used in the opening credits of Rob Zombie‘s horror flick The Devil’s Rejects.  Who doesn’t love that kind of product placement!?

Midnight Rider was followed by One Way Out. This song welcomed out Rich Robinson, Berry Oakley Jr. & Artemis Pyle to the stage.  I don’t know why but the videographers apparently must have run out of time or video because the Allman Brothers YouTube videos begin dying off around this point.

Warren Haynes + Berry Oakley Jr (Photo by Allison Murphy)

Warren Haynes + Berry Oakley Jr (Photo by Allison Murphy)

Statesboro Blues saw all guests leave the stage except for Berry Oakley Jr..  Berry Oakley Jr. is the son of Berry Oakley, a founding member and original bass player for The Allman Brothers Band who sadly passed away in 1972.  It was a tribute for many people this evening and I was hoping people recognized the significance.   Berry Oakley, Jr. left the stage and was replaced by Audley Freed & Danny Louis on guitar and keys respectively for The Band‘s The Weight.

Chuck Garvey, Jim Loughlin, Jimmy Vanderbogart & Vinnie Amico came out to join The Allmans during one of my all time favorite Grateful Dead songs, Franklin’s Tower. Got to be honest with you and admit I have NO CLUE who Jimmy Vanderbogart is and I can’t find any info online that can give me more insight – If you know, please comment.

Southbound followed with the addition of the Dickenson Brothers joining the crowd on stage along side Hook Herrera and Danny Louis.  This was one of my favorite songs of the set simply because it was The Allman Brothers with this North Mississippi Allstars Duo and a freaking harmonica.  SOUTHERN GREATNESS!!!

All guests exited the stage and a RAGING Whipping Post closed out the set.  Derek Trucks once again showing us he is the king of the slide guitar. Once again showing me that he is the king of kings in my world when it comes to the guitar.

Gordie Johnson (Photo by Allison Murphy)

Gordie Johnson (Photo by Allison Murphy)

As my girlfriend and I walked away, we realized it was almost 2am in the morning on a work night.  We discussed leaving before the encore and went to the restroom.  Coming back up from the basement bathrooms, we smiled at each other as we heard the   stage light up again.  We couldn’t leave.  Not this time.  Warren Haynes began strumming the chords to Pink Floyd’s Wish You Were Here. And without uttering a word, the entire venue began singing the lyrics.  Warren places his hand behind his ears and the venue sings louder.  Berry Oakley, Jr., Gordie Johnson, Danny Louis and Matt Abts joined the stage for the remainder of the song with images of Woody’s face flashing smiles across the screen behind them.  And I cried…for the third or fourth time that night.

Set List: Don’t Want You No More, Ain’t My Cross To Bear, End Of The Line, No One Left To Run With, Black Hearted Woman > Other One Jam, Who’s Been Talking, Midnight Rider, One Way Out, Statesboro Blues, The Weight, Franklin’s Tower, Southbound, Whipping Post

Encore: Wish You Were Here

What an amazing night of music!!  Simply amazing. The epitome of love and community within southern rock was found on that stage this night.  I truly wish I could offer you a free download but alas…..

Click here to DOWNLOAD/STREAM/LISTEN to the show!

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