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Jerry Joseph & The Jackmormons, 8/22-24/14, Virginia City, MT

Over the years Virginia City has meant a lot of things to a lot of people. Throughout the decades it has been home to vigilantes, gold rush miners, cowboys and the settlers of the west. It has always played host to an eclectic mix of citizens and travelers. Opium purveyors, fur traders, adventurers and vagabonds have brushed shoulders on the wooden sidewalks. For the last 10 years a different, but equally eclectic, mix of nomads has descended on the once territorial capital of Montana. Every August without fail, the weekend tourist crowd brushes shoulders with the zombies and Jackmormons as they stroll the wooden walkways. Jerry Joseph and company repeatedly have come to town…always to party down.

This year marked a bittersweet moment in the annals of Virginia City, the Jackmormons, and their fan base (affectionately know as “Zombies”). It was a year to say goodbye and fare-thee-well. Not just to a band member departing, but also to a friend and fellow traveler on Montana’s ragtag asphalt and dusty rural music scene. The backroads have played host to many a musical event in Montana, and even more post show shenanigans. In a state where distance isn’t measured by miles, but by hours of travel the road sometimes plays a tragic role as well. Last April the Montana music scene lost a friend to many in a traffic accident. Out here on the highway another fellow traveler in life slipped into the silence like an ocean…Kari Friedman’s void was recognized by Jerry Joseph Friday night with the dedication of “My Little Tiger.” Jr Ruppel wore a button with her picture on it, as did many of the fans in attendance all three nights. The dozen prayer candles gracing the stage were a beautifully stark reminder too. They pulled into mind the lyrics from “Altar in Your Box.” Looking at them softly flickering, struggling mightily against the alternating total void of light and the overwhelming brilliance of the wash and led lights it was easy to call to mind these lyrics: “And I will light a candle…And say a prayer for you..So that I will not feel guilty, On the nights that I drive through.”

Still the show goes on and the only constant in life is change. After 19 years with Jerry Joseph and the Jackmormons a big change was coming down the pipeline as well. Jerry described Jr Ruppel as “one of my best friends for 19 years…” before stripping off his guitar and letting it crash to the floor from chest height at the end of Sunday’s “Speedwater> We Will Not Be Lovers> Boys and Girls in America> Let It Be>Speedwater.” It could very well be the last time Jerry would close out a set with Jr on bass beside him. Leaving the band to pursue other ventures in life was not a decision it seemed Jr was taking lightly, but one all were resigned to. As the two of them clasped shoulders walking off the stage it was clear that the understanding was there. Life happens and we will go on while the dusty road plays out in front of us.

At set break while outside, Jerry commented that the entire Sunday show setlist was hand picked by Ruppel. “We’re kind of letting him do his thing” Jerry commented when asked about a request for the second set. Songs like “Salt Lake City”, “Good Sunday” and “Climb to Safety” represent the meat of what the Jackmormons have been crafting over the last two decades between those two. The set was filled with explosive energy that reverberated off the walls and into our hearts and down our spines. Jerry played a rousing jam on the keyboard during “Climb To Safety”. Jr reached back to his punk rock roots; bashing and smashing his bass into his amp. Steve Drizos lept over his drum set while closing out “Speedwater”. The emotions almost melted the amps and seemed destined to reduce the block to a pile of wooden rubble. It’s amazing the old Virginia City Community Center, once the high school gymnasium 60 years ago, was still standing at the end of the run.

All three nights had their moments. Saturday’s “Pink Light> Fire and Rain> Pink Light” was sublime. With the addition of Jenny Conlee Drizos on the keyboard (as she was for much of the weekend), it gave the band room to maneuver within the song.

The James Taylor cover was fitting and appropriate on so many levels as we said farewell this weekend. But also we were still in shock never believing that what were seeing was happening. The lengthening of a well know song with the jam in the middle was a newer fixture of the weekend. Sets would weigh in at close to 80 minutes with only 4-6 songs in them. The addition of both Jenny and a heavy dose of up and coming axe man Jeff Crosby helped facilitate this. While the power trio system works well for the Jackmormons, the addition of other well oiled gears to the machine gives the tempo, pacing, and jams more depth and variance. “Savage Garden> Woman’s Gotta Have it> Let’s Get It On>Savage Garden” is a perfect example of this. Clocking in at just over 18 minutes the song in no way feels that long when listened to. The movement into and out of the vocal rap in the middle is supported heavily by the keys and second guitar. Jeff’s solo which develops out of the rap grows in size and subtly commands one’s attention as the band slowly fills in behind, picking one up just as Jeff starts to drop away. It leads into the dramatic ending of the song with eloquence and determination.

Hitting the road out of Virginia City seemed to be a little bit slower this year. Every year for the last 10 years people seem to linger post show. This year that seemed even more pronounced. Fans struggled to pull meaning back from the weekend. They struggled like the prayer candles on the stage, sometimes finding context (and light) while other times they seemed overwhelmed by the context (and light) around them. Sometimes it seems we’re frightened by the truth… that we don’t need an Angle to cover up our past. That this is the charmed life and through it all, the good the bad, the beginnings and the ends… through it all, with a little work it’s still the best we’ve ever had.

Full Photo Album can be found: HERE.

_____________________________RIP Kari Friedman 1984-2014_______________

MP3 Links:

https://archive.org/details/JJJ2014-08-22.aud.flac

https://archive.org/details/JJJ2014-08-23.aud.fla

https://archive.org/details/JJJ2014-08-24.akg481.flac24

Greensky Bluegrass ~ 10/3/2014 ~ The Vogue, Indianapolis, IN

All Photography by Keith Griner (Phierce Photography)

The Wood Brothers with Chris Kasper ~ Vogue ~ Indianapolis, Indiana ~ September 30, 2014

Written by: Zen Wild

Photography by: Tony Vasquez of Vasquez Photography

Photo Galleries: The Wood Brothers | Chris Kasper

It’s been a couple of months since we’ve been to the Vogue, but it’s September 30^th tonight and we’re here to see The Wood Brothers, with Chris Kasper opening (along with the beautiful Kiley Ryan on violin). It’s going to be an amazing show. I already know it. Half an hour before the music is supposed to start, the place is already getting packed. It looks like it did when I was here to see G. Love, Dr. Dog, and Gary Clark, Jr. If you want to be up front, you better get near that rail now, because it won’t be so easy to get there later. We settle in near the left side of the stage, a couple feet away. A record player upon the stage is playing some music while we wait, and the stack of vinyl lying below has a Little Walter record in front. I’m hoping that in the time we have left to wait we’ll get to hear it. Time will tell that wishes do occasionally come true, as later, Chris Wood will come out and pop the record on for a few songs before The Wood Brothers start their set. I love the blues. Now, back to the present where everything’s about to start.

Chris Kasper comes out and kicks things off, playing one by himself, before being joined by Kiley Ryan. It sounds great, and once Kiley hits that stage, it sounds even better. I love the sound of a fiddle/violin. It’s absolutely one of my favorite instruments. Coming all the way from Philly, they’re not here just to pass on through, they’re here to let you know about it. Anything that’s steeped in folk, country, bluegrass, or blues, I’m probably going to love, especially if it’s done right. They do it right. Stripped-down affairs such as this, similar to something like The Civil Wars, are just beautiful to behold. Two instruments, two voices, one big, big sound.

The third song they play is “Never Saw You Blues,” and I think it’s amazing. Like I said before, I love the blues. Chris explains, before playing the song, that it’s about one of those instances where you go to a party and see an ex-girlfriend with a friend of yours, and then you pretend like you didn’t see a thing. Who hasn’t been there? They burn that song right down to the ground. “Bask In the Light” follows and after that, “Meet Me Down the Road In a Few,” which, Chris lets us know, is about meeting someone who’s almost cool, but not quite there yet, and so he says, “meet me down the road in a few.” It’s a good tune. Following up, Kasper plays a sing-along, to which everyone sings along, and he compliments a man who trumpets like an elephant before everything begins. They close the set with three more songs, including “Mr. Charlie” and “Oh, Caroline,” before Chris finally thanks the audience and tells everyone to “enjoy the Wood Brothers.” That last statement is undoubtedly a given, but as Chris and Kiley leave the stage, there’s no doubt that the set they blessed us with was absolutely scintillating. Before I leave, I know that I’m grabbing one of their cds.

After Little Walter plays for a bit on that record player, when The Wood Brothers make their entrance, it doesn’t take long for them to suck a person in. Their songs pull you in like the sweet words of a long-lost love. The crowd erupts when they hit the stage, and the band opens with “Neon Tombstone,” off their newest album. I’m dancing from the moment everything starts, and I’m not the only one. It would be much harder to find someone who’s not dancing than someone who is. Right after, the group follows up with “Wasting My Mind,” also from that newest album, and “Blue and Green.” I love it all, and when for the next song, “Keep Me Around,” Chris Wood straps on a harmonica rack while still playing double bass, I’m grinning from ear to ear. That’s one of my favorite tracks from that new album. “The Muse” is next, the title track from that album, and the delivery is brilliant. Without even telling you, I’m sure you already know that I love that one, too.

Now, I could relate to you every song that The Wood Brothers play throughout the night, but I’m not going to. Needless to say, the set is amazing. The harmonized vocals are so good, as well as the percussion, guitar, and you know Chris Wood can play that bass. That’s one of the reasons that Medeski, Martin, and Wood have always been so good: Chris Wood.

At one point, the band has Chris Kasper and Kiley Ryan join them on stage, asking the crowd to quiet down, huddling around a single, sensitive mic, so that they can play to us softly and sweetly. They even cover Tom Petty’s “You Don’t Know How It Feels,” to which the crowd goes nuts. You know that Hoosiers love Tom Petty. That’s a given, but tonight, at the Vogue, there are a lot of Hoosiers who’ve loved everything that The Wood Brothers, Chris Kasper (and Kiley Ryan) have played. It’s hard not to. I mean, you’d really have to work at it to not love this music. I just hope that both groups are coming to your town soon, so you can love them in person, too.

J Mascis / Luluc – Bottletree Café – Birmingham, AL – 09/30/2014

Written by: Rosemary A.W. Roberts

On a Tuesday afternoon, the last day of September 2014, my husband and I found ourselves driving from Mobile to Birmingham, AL. We had been at our “day jobs” all day; we knew we had to work Wednesday; but still, we made the drive because Dinosaur Jr. vocalist and guitarist J Mascis was performing a solo concert at a tiny club called the Bottletree Café, and we absolutely HAD to be there! With the recent release of his gorgeous solo album Tied To A Star, J Mascis will be touring coast to coast in the USA this fall, before heading across the Atlantic for more shows. Tour dates can be found here: http://www.jmascis.com/tour-dates/

Though we were expecting a “café” setting with tables and chairs, the tiny venue had cleared the floor space to accommodate the sold out 250-person show. The evening began with Australian duo Luluc, who like J Mascis have released their most recent album Passerby on acclaimed Seattle-based Sub Pop Records. Soft dreamy melodies captivated listeners, as Zoë Randell shared her lovely, spellbinding voice and strummed her guitar. Meanwhile, Steve Hassett coaxed a honey-dripping echo from his guitar and sang in beautiful harmony with Zoë. Songs like “Without A Face” and “Tangled Heart” created an air of wistful bliss, and time seemed suspended; I thoroughly enjoyed their set. Learn more about this fascinating band and check out their music here: www.lulucmusic.com

The intimate stage was then equipped with a microphone, a chair, and two Gibson guitars (CF100’s, I think), and J Mascis sat down amidst the roar of the crowd. Opening with “Listen To Me” instantly pulled us in, reflecting the sentiments I’d been feeling for weeks: “I can’t wait to see you, I can’t wait…” A joyfully melancholy set began to unfold, with J’s uniquely pleading voice slicing through space, and his sublime guitar work tugging at our heartstrings. The opening track from Tied To A Star, “Me Again” was beautiful beyond belief. “Little Furry Things” was played with acoustic simplicity at the start, but when J cranked it up and injected some piercing delicious distortion, the audience erupted with cheers. The juxtaposition of acoustic beauty with electric fuzz and hum provides a stimulating comfort, an emotional intensity, a wild ride; it’s truly wonderful to hear this man play. Next came “Ammaring”, a song that encapsulates the other paradox J Mascis presents his listeners: it is pure sorrow, but simultaneously pure joy. This is why we came here.

From the new album, “Stumble” held genuine sweetness, and “Every Morning” was uplifting and light in melody, though its lyrics tell of struggle. To the delight of the Dinosaur Jr. fans, “Get Me” was well played and received. The new instrumental “Drifter” gracefully floated into “Heal The Star”, and the outgoing guitar solo was masterful and stunning. Dipping back to Dinosaur Jr., the haunting “Not The Same” highlighted the beauty of J’s voice, and “Pond Song” both whispered and screamed with rebelliousness. A surprising sparkle of beauty emerged as J Mascis covered Mazzy Star’s “Fade Into You”; this song fits him like a glove. “Ocean In The Way” came off quite nicely, and “Not You Again” brought a bit of punk to the party. To close the set, “Alone” wrapped me in a sonic shroud, and tears of joyful gratitude clung to my eyelashes, as J’s soul seemed laid bare on his guitar. Re-appearing for an encore, J Mascis asked for requests before settling on the well-chosen “Flying Cloud”. It was a totally fulfilling night of musical delight, worth every minute and every mile it took to get there and back. Always take the time to see music that moves you: it’s healing salve for the soul. This combination of Luluc and J Mascis gave me exactly what I needed.

Setlist:

Listen To Me, Me Again, Little Furry Things, Ammaring, Stumble, Every Morning, Get Me, Drifter > Heal The Star, Not The Same, Pond Song, Fade Into You, Ocean In The Way, Not You Again, Alone

Encore: Flying Cloud

Nahko and Medicine for the People – 10/2/2014 – The Bluebird – Bloomington, Indiana

moe. – CEFCU Center Stage – Sept. 18, 2014

The Revivalists’ kick off fall tour at Mobile’s “St. Practice Day” Celebration 9/19/2014

Review and Photos by: Shari Hartmann

O’Daly’s Irish Pub brought the luck of the Irish to Mobile music lovers on Friday night with a concert lineup featuring New Orleans’ phenoms, The Revivalists. This HUKA Entertainment produced show was held outdoors at the 3-in-1 bar’s “backyard” — an empty lot behind the bar’s back deck — with a stage set up for the occasion. Calling it “St. Practice Day,” to mark the halfway point to St. Patrick’s Day, complete with green beer on tap, the feel was more like street party meets private blowout as fans from New Orleans to Pensacola gathered eagerly to see what has become one of the hottest bands on the jam scene and beyond.

Maggie Koerner started things off with an unexpected twist. She took the stage, dressed appropriately in green, and explained that her band had taken ill during the week. But her band’s trouble was the fan’s good fortune. Having been enthralled with Koerner’s performances with Galactic over the past year, this was the first many had seen her perform solo. She sat with her guitar flat in her lap, hauntingly plucking the bass string, and she sang. And she was mesmerizing. From the first notes of “Sirens,” with its pulsating bass beats, this siren’s sultry vocals transfixed the audience. Playing all originals, from her solo albums, her indie-blues style is dark, often introspective, yet her deeply soulful, slightly raspy voice and her uniquely evocative, haunting phrasings turn hypnotic melancholia into cathartic experience. Koerner treated the spellbound fans to a stirring “Shades of Grey” as well as a first-time-played song, still untitled, which will hopefully be part of a third album she is hoping to release early next year. For her final tune, she was joined by “the best brothers in the world,” The Revivalists’ David Shaw, Zach Feinberg and Andrew Campanelli for a vigorously enchanting “Judgment Day.”

The Revivalists then turned up the heat on an already steamy evening. Bounding on stage, David Shaw yelling “Mobile! You ready to get down!” Their near two hour set was pure energy from start to finish. Opening with “Chase’s House” they had fans dancing immediately as Shaw covered the stage, moving from one corner to the next, leaning out over the crowd, one leg propped on the speakers. But he wasted no time jumping down, greeting the devotees in the front row. Shaw’s dynamic presence, coupled with his powerful, soulful vocals, gets the party rocking and the hearts thumping!

But it’s not just Shaw. The entire band commands the stage with potently engaging energy. Pedal steel guitarist Ed Williams is sitting, he’s standing, wait… he’s kneeling… ON the guitar as he leans it forward! You are sure he’s going to topple over any second, yet he remains in full control of his playing. Michael Girardot’s, who’s keys are set up behind guitarist Zach Feinberg and Rob Ingraham on sax, runs out to the front of the stage and jumps on a speaker. You’d think it was all a gimmick, but it’s not. Yes, it’s a masterful stage presence, but it also seems to come naturally. These guys are truly having great time and want their fans to be as excited as they are. On this night there was no doubting the crowd’s exuberance or band’s honest vitality.

But all that energy can come to naught if the music isn’t there… And here is where the band’s authenticity makes it all come together. The band seemed more at home on stage than I have ever seen them and that seemed to translate into their music as well. They sounded tighter, more in tune with each other, and more at ease in their solos and jams than I have heard them in the few years I’ve been following them. They flowed seamlessly from “Concrete” to “Not Turn Away” to “Sunny Days” with the precision of the seasoned performers they have become. Zach Feinberg offered up robust, roaring guitar solos in “Concrete” as did Ed Williams’ stingingly unique pedal steel in the “Shake jam” and Rob Ingraham’s seductive sax in “Sunny Days.” Bassist George Gekas and drummer Andrew Campanelli held it all together throughout the night, demonstrating precisely powerful chops, especially during the fabulously funky “When I’m Able”> “Sexy M.F”.

Of course, the set would not be complete without an appearance from Maggie Koerner. She joined the band for stunningly soulful BeeGees’ “To Love Somebody.” Starting out slow and sexy, the tune built to a fevered pitch as Koerner’s wails washed over the swaying enthusiasts, resulting in goose bumps, and led Shaw to declare it “brilliant!” Nor would the set be complete without fan favorites “Catching Fireflies,” “Criminal” and “Soulfight.” which they delivered with incredible energy straight from the heart. They left the stage with the crowd pleading for more. No one was ready for the fun to end and when they returned the stage, Shaw said, “You know we wouldn’t do you like that Mobile.” Mobile was treated to a new song, an intensely emotive indie tune with the chorus “Don’t Hide from Me.”

The Revivalists are a must-see band, and if this sets the standard for the fall tour, audiences across the country need to grab their tickets and put their seatbelts on, because it’s going to be one hell of a ride.

Setlist:

Chase’s House, Two-ton Wrecking Ball (Fish Out of Water)> Not Turn Away> Shake Jam>Not Turn Away>Sunny Days, To Love Somebody (Bee Gees) w/ Maggie Koerner, When I’m Able>Sexy M.F. (Prince), Catching Fireflies, (Unknown), Upright, Soul’s Too Loud>Appreciate Me>Criminal, Soulfight

Encore: (New Song –Don’t Hide)

Fall Tour Dates (partial list):

Sept. 19 – Mobile, AL – O’Dalys Irish Pub (Outdoors)
Sept. 20 – Augusta, GA – Arts in the Heart
Sept. 20 – Augusta, GA – Sky City
Sept. 23 – Knoxville, TN – The International
Sept. 24 – Charlotte, NC – The Chop Shop
Sept. 25 – Asheville, NC – Asheville Music Hall
Sept. 27 – Pensacola, FL – Pensacola Seafood Fest
Sept. 28 – Birmingham, AL – Vulcan Park
Oct. 08 – Columbia, SC – The Music Farm
Oct. 09 – Winston-Salem, NC – Ziggy’s
Oct. 10 – Raleigh, NC – Lincoln Theatre
Oct. 11 – Corolla, NC – Mustang Music Festival
Oct. 12 – Wilmington, NC – Ziggy’s
Oct. 17 – Baton Rouge, LA – The Varsity Theatre
Oct. 18 – Natchez, MS – Great Mississippi River Balloon Race
Oct. 29 – Houston, TX – Fitzgerald’s
Oct. 30 – Dallas, TX – Granada Theater
Oct. 31 – Austin, TX – Emo’s
Nov. 01 – New Orleans, LA – Tipitina’s
Nov. 02 – New Orleans, LA – Voodoo Experience
For more information about The Revivalists and their fall tour visit the band’s official website.

Garth Brooks~09-19-14~Phillips Arena~Atlanta, GA

Written by Mike Gregory

Photos by Lucas Armstrong

After an 18-year hiatus, country music megastar Garth Brooks has returned to the stage for a world tour, which included 7 shows in Atlanta. Fans came in droves from surrounding areas, and downtown was bustling with Garth fever. Phillips Arena holds nearly 18,000 people and boasts a 4-sided big screen television suspended above the stage, allowing close up views for the entire audience.

The crowds consisted of all ages and excitement was in the air as everyone made their way into the arena for the first of two shows on Friday, which started at 6:30pm. Garth took the stage with a welcoming smile kicking off the night with hits like “Man on the Machine” and “Rodeo.” The arena erupted with cheers when he announced he was going to “bring out all the old stuff,” even though he has a new album coming out November 11th. The show was a perfect blend of rock and country. He played hits like “Ain’t Goin’ Down (‘Til The Sun Comes Up), “Two of a Kind, Workin’ on a Full House” and of course, “The Thunder Rolls.” Garth engaged the audience even grabbing one fan’s cell phone, recording the show from his perspective. He worked all sides of the stage making everyone feel as though it was their own personal concert. It was a wholesome and rocking show all at the same time.

The first performance would be full of unexpected surprises. The 19^th just so happened to be his wife, Trisha Yearwood’s 50^th birthday, which led to a huge cake with a tiara on top rising up from the center of the stage. Garth led the audience in singing happy birthday after crowning her. The surprises continued when Garth welcomed Kelly Clarkson to the stage, (Clarkson is featured on Trisha’s new album entitled PrizeFighter). Garth stepped back from the spotlight allowing Trisha and Kelly to highlight the title track from her album, which is set for pre-release on Friday. She also did a few more hits including, “She’s in Love with the Boy” and “How Do I Live.”

Garth continued the reunion performing fan favorites “Friends in Low Places” and “The Dance” as well as a Billy Joel cover, “Shameless.” Garth did a double encore consisting of 5 songs starting with Aerosmith’s “Fever” and closing with “Much Too Young (To Feel This Damn Old)”. At one point the drummer who was inside of a lighted sphere rose high into the air and began to spin. The keyboards on either side of the drums rose up as well. Simultaneously, confetti shot out over the crowd. After a brief thank you to the audience, it was time to go as another hungry crowd was chomping at the bit to get in. Find out where you can get your “Garth on” at http://www.garthbrooks.com/ .

On a side note, Garth is taking time to give back to the community through his organization, Teammates for Kids. While in Atlanta, the organization hosted a football camp for 150 kids from the Children’s Restoration Network each of whom will receive guidance from the Atlanta Falcons star, Roddy White. The camp encourages kids to work hard and be a good person—certainly, something the world is lacking.

Gov’t Mule, Babcock Theater, Billings, MT 9/19/14

Review and photos by: Phil Santala

For Gov’t Mule, hitting the road with tours that run roughshod across the country has always been something they seem to do with ease, that same kind of ease with which most people show up to their 9 to 5 job. Barnstorming across the country, sitting in with other acts at festivals, and running the annual charity Christmas Jam has earned front man Warren Haynes his moniker as “the hardest working man in show business“ time and time again. Through all the shows and years Gov’t Mule and Warren have also pushed through more than their fair share of public pain and sorrow. In 2000 the band and crew would suffer the loss of original member Allen Woody. This past summer longtime friend and guitar tech Brian Farmer passed away, two weeks before the scheduled kick off of the 2014 fall tour.

Still, the band plays on. Coming out of the haze of the midwest and launching themselves into the west coast run, Mule sold out the Billings show a day before the event. With an off day to recoup following the Fargo, ND show at the Fargo Theater, and facing a 8 hour drive to the Masonic Auditorium show in Spokane, the crowd anticipated a hot show. They would not be disappointed. The first set proceeded with a well mixed variety of faster heavy songs and slower bluesy jams including the “Mule> Who Do you Love> Whole Lotta Love> Mule” rager. The set closer of “Million Miles From Yesterday” was a soulful ballad that brought the house down with Warren’s slow, deep reverberating solos.

The second set featured a series of well orchestrated originals and covers. Danny Lewis not only picked up the guitar for a few of these moments, but also stepped out from behind the keys to get closer to bassist Jorgen Carlsson. The two of them would trade licks and smiles throughout the set. The intro run of Jimi Hendrix covers of “Are You Experienced> Angel> Machine Gun” absolutely lit the crowd up. It even inspired Warren to play the guitar on his microphone stand. Matt Abts’s drum solo was surprisingly void of the normal exodus to the beer and bathroom lines one might typically expect to find. The crowd was clearly in for the long haul here.

The Howling Wolf> Stevie Wonder> Howling Wolf jam of “How Many More Years> High Ground> How Many More Years” was a sight one would only find at a Gov’t Mule show. Warren mixes so many musicians and styles with such a fluidity it’s a rare treat to see. The show also featured tracks from the latest album Shout and the encore was the highlight of these. Occasionally using the megaphone featured on the album’s cover, the Mule dropped an extended cut of “Captured” on the audience. It would have been enough to leave it there, but always the showman Warren dropped in the final “cover” of the night. The ever present and popular Allman Brothers Band song “Soulshine” was a rousing success and hit with the audience, and was able to propel even the most stubborn in the crowd out of their seat at last. It was during this final song that Warren flashed his signature two-fingered peace sign to the audience. It elicited the same in return along with hoots, cheers and smiles all around.

Over the course of the sold out show at the Babcock Theatre in Billings something became apparent. Warren and the crew don’t keep grinding it out on the road just to fulfill contractual obligations. They don’t do what they do just for a paycheck. Music seems to do for them what it does for many of those in the audience. It transports us away from our problems; and if it reminds us of them, it tells us too that we have the solution to solve them at our fingertips. There were times when, deep in the jams, Warren looked at peace with his eyes closed, just letting the music move him. Erupting out of these soulful moments he often smiled. I’d like to think that when he flashed those two fingers up in the air that out in the cheers and raised hands, Brian Farmer was smiling and watching as well. Rest In Peace, brother…