Postcards: Live Widespread Panic Blog

After stops in Nueva York, Asheville and Vegas, Panic's Halloween run finally returned to where it belongs, New Orleans. Lakefront Arena was pretty much as I'd remembered it, although inside, it seemed smaller, like when you visit your elementary school years later. The crowd was noisy and excited before the show began, but grew even louder with the perfectly chosen BORN ON THE BAYOU opener. JB's voice sounded just right.

Panic performed PIGEONS, TIME ZONES and DISCO next. The songs were solid and played without any segues in between. But then, suddenly, a 22-minute DINER erupted and moved on to a long GRETA (with a little bit of a nod to Professor Longhair somewhere in the middle). Then CHRISTMAS KATIE > HER DANCE NEEDS NO BODY, WORRY closed it out.

The second set began with a cover, well, actually, three of them, but the first two weren't new. Nevertheless, PROTEIN DRINK > SEWING MACHINE, MAMA KIN was a hard-charging opener. Panic doing early Aerosmith was pretty cool. The tempo slowed a bit with MERCY but then quickened again with a great cover of BABY, PLEASE DON'T GO. (It was my favorite song of the night.)

The next song, a slow one, the Stones' TIME WAITS FOR NO ONE, was also well played. Then it was time for the third Vic Chesnutt cover of the set, BLIGHT, before Panic finished with a smooth SURPRISE VALLEY > DRUMS > SURPRISE VALLEY > IMITATION LEATHER SHOES.

The crowd expected more covers for the encore, and the band didn't disappoint. Another John Fogerty classic, PROUD MARY, whipped the crowd into a frenzy. And when JB called Trombone Shorty to the stage ("Is Mr. Troy available right now? I know it's been a long time!") the applause was thunderous. It must've felt pretty good because afterward, Trombone Shorty hugged JB twice.

I think Sticky Fingers is one of the 14 best albums ever made, but I often skip the first song, BROWN SUGAR, because I've heard it so many times on the radio. But hearing it live with a skilled trombone player was a perfect end to the show. It felt like a special night. It felt like New Orleans.

This was the second Vegas show of the weekend. The show the day before was outside at Vegoose for a big festival audience. But this show at the MGM Grand's Garden Arena was for Panic fans. In addition to dancers high above the stage and naughty nurses with kneepads in the crowd, there were covers, bustouts and a whole lot of guitar love. It was Panic's finest Halloween show in years. A tight CONTENTMENT BLUES began the show—so it made perfect sense that JB was dressed as a chicken(1).

The second song was the first bustout, a straightforward take on the Doors’ PEOPLE ARE STRANGE. I have no scientific evidence of this, but it seems they really like to cover the Doors on Halloween(2). Panic, pumpkins and the Doors.... An upbeat YOU SHOULD BE GLAD followed and then an all-too-brief moment of guitar bliss. Not even two minutes long, JOHN'S OTHER JAM(3) was way too short. Even at 10 minutes, it wouldn’t have been too long. If I didn't keep my cell phone on vibrate, I’d want this to be my ringtone. OK, you get the point.

Panic then eased into a fine PILGRIMS (with John Keane on pedal steel) before segueing into a long, lively GRETA and then into David Bromberg's SHARON. JB was chatty throughout, applying the song’s lyrics to Fiona Apple(4): “That girl could dance like her back had no bone.” After TIME ZONES, they went into a perfectly spacey STOP-GO, with JB doing a THREE LITTLE BIRDS rap and then later offering “a moment of prayer for Allah, a small, flightless little friend,” before finishing strong with IMITATION LEATHER SHOES > CHAINSAW CITY.

With John Keane back on guitar, Panic showed some Athens, Ga., unity by opening the second set with R.E.M.'s CANT GET THERE FROM HERE(5). Another cover, War's sprawling SLIPPIN' INTO DARKNESS—first covered on Halloween 2002—followed and went right into WHEN THE CLOWNS COME HOME(6). What was played up to this point was really very good, but what followed was special. First, an 18-minute DINER with great musical interplay and plenty of JB rapping ("And sometimes, why do I just start talking like Chris Rock?") into PROVING GROUND into a short DRUMS with Carrot Top and Outformation's Jeff "Birddog" Lane(7) joining TODD and SUNNY.

Then something really surprising happened. With JB singing, Panic played AIRPLANE for the first time since Mikey’s last show. As the song cascaded over the crowd, a palpable emotion swept through the room. And then, to the delight of many, Panic jammed out of AIRPLANE into Bonnie Dobson's oft covered MORNING DEW(8). They closed the set with a quick LOVE TRACTOR, leaving everyone to wonder what covers remained for the encore.

When the band returned to the stage, JB greeted the crowd: "We always have a lot of fun here in Cleveland. Thanks for having us." And then they made their way into THAT OLD BLACK MAGIC(9), the first of three covers. The second song of the encore was another bustout, the first cover of Golden Earring’s(10) RADAR LOVE in 10 years. The crowd was loving the music and would not be disappointed with the finale, the Beatles' I WANT YOU (SHE'S SO HEAVY). (It was light years better than the WHY DON'T WE DO IT IN THE ROAD cover in 2002.) The song's culminating guitar frenzy was the perfect end to this show, sending thousands of cheering fans out into the corridors of the MGM Grand.

This was the spring-tour closer. The previous Panic show I’d seen, two days earlier at Jazz Fest, played for a big festival audience—a completely different kind of crowd—had a weird flow. This show didn’t. It was blastoff from the first note. The Nokia Theatre in Dallas is, I suppose, cooler than not cool, but kind of corporate and stale. The sound, however, was superb.

The first set started hot right out of the gate with a strong ARLEEN opener. I was on Schools’ side in the first row off the floor, maybe 50 feet back and six feet up. So I was watching him as the show started and, immediately, I thought, “That’s strange. This sounds like ARLEEN. There’s no way they’d open with that.” Fortunately, I was wrong. And thanks to a playful lead-in, Panic then smoothly segued into Bloodkin’s WHO DO YOU BELONG TO? It was like we’d somehow been dropped into the middle of a second set. Only two songs in and I was already surrounded by grinning fools doing the Rerun Dance. The third song, another upbeat one, UP ALL NIGHT, certainly resonated with me as I’d just seen Gov’t Mule > New Mastersounds > Galactic in New Orleans before catching a flight to Dallas, a journey sponsored by Gold Bond and Jameson.

Musically, things then shifted from the light of the first three songs to the moodier PAPA’S HOME > LITTLE LILLY > PAPA’S HOME > FISHWATER. The FISHWATER, in particular, was dark and dirty. And the RIBS AND WHISKEY that followed was so spirited, I figured it was the end of the long, loud first set. But then Sunny’s percussion kicked in. The set wasn’t finished. For a song Panic doesn’t play that often, the crowd, surprisingly, seemed to know from the beginning that it was SYMPATHY FOR THE DEVIL. The band tore it up. That is how you end a set. Even now, five months later, when I close my eyes, I can still hear all the woo hoos.

ALL TIME LOW was a high-intensity start to the second set. And the PROVING GROUND > BOOM BOOM BOOM > PROVING GROUND continued the boisterous groove. A well-played PIGEONS and DARK DAY PROGRAM were next, and then NRBQ’s FLAT FOOT FLEWZY (fittingly “singing flewzy woozy boogie on a Saturday night”) before heading into a 20-minute DRUMS. As DRUMS grew longer, and other band members joined in, JoJo channeled a little James Brown. When everybody was finally back onstage, they launched into a hard-charging DINER > TALL BOY to end the set. While a CHILLY closer, which the band’s set list indicated, would’ve been a fantastic finish, the set still closed on a high.

As this was the end of the tour, the band thanked the crew during the encore break. “Because we love ’em so much,” said Schools, “we’re gonna make ’em stay up late, and play another set.” And while it wasn’t actually a third set, the stellar encore lasted nearly 30 minutes: THREE CANDLES, a perfectly placed ROCK between two thick slices of SURPRISE VALLEY and a sing-along version of END OF THE SHOW to, well, end the show.

The plush Silva Concert Hall at the Hult Center, a performing-arts center in the grandest sense, has terrific sight lines and crystal-clear sound. The only negative is that you can’t bring beers to your seat, which would’ve been nice to know before I’d bought four of ’em. But it didn’t even matter because this show in Eugene, Ore., was a smoker.

Any set-opening jam is all right with me. And if DRIVING > DISCO > DRIVING follows that, even better. Panic then launched into GOOD PEOPLE, and listening to its piano interlude now, it’s easy to spot where JoJo’s DARK BAR so easily fits in today. Next, to the crowd’s delight, the band played GLORY—for only the second time in six years—before moving on to a tight version of Willie Dixon’s WEAK BRAIN, NARROW MIND, with Schools’ bass thumping away (as it did throughout the night). LITTLE LILLY, BLIGHT (again, Schools seemed to be feeling it) and an extended YOU SHOULD BE GLAD finished the set.

People stayed in their seats to hear DJ J Boogie spin throughout intermission. He closed his set with the Doors’ BREAK ON THROUGH (TO THE OTHER SIDE). But before he finished, the accompanying sound of Schools’ bass reached the stage before Dave actually got there. And then the rest of the band joined in on the jam.

Again, it was a great start, and, truthfully, the whole set was one jammy, delicious highlight. Eight second-set songs were each at least nine minutes long. There were smooth transitions from Jerry Joseph’s NORTH into Howlin’ Wolf’s SMOKESTACK LIGHTNING—which JB owned—into Widespread Panic’s CONRAD. After about 35 minutes, there was finally a long enough pause in the music for JB to say, “We might as well. We’re here already.” And then they finished the set the same way they started it: all passion, guitars and thundering bass—SLEEPY MONKEY, TALL BOY, REBIRTHA > DRUMS > PAPA LEGBA, SPACE WRANGLER.

The encore break was noisy, with people screaming and stomping their feet. “Well, thank you, Euguene,” said JB. And then after a beat, he added, “If I ever have a kid, gonna name him Eugene!” Time was winding down, so we only got a one-song encore, which is usually disappointing. But this searing version of RED HOT MAMA was a great way to end one of the best Panic shows I’d seen in years.

Sharon 7/23/08 Myrtle Beach

The third night at the Myrtle Beach House of Blues found a restless crowd and a chatty band ready to go. The show started with AIN'T LIFE GRAND > WALK ON THE FLOOD, REBIRTHA > BIG CHIEF JAM (the first in exactly nine years) > RIBS AND WHISKEY. And while the music wasn't as dark as the beginning of the previous night's show, it was equally as strong, particulary REBIRTHA through RIBS AND WHISKEY. Gradually, the music grew darker as Panic finished the set with CASA DEL GRILLO, LOW RIDER > PAPA'S HOME > DRUMS > HATFIELD > PAPA'S HOME.

"This song is by a very good friend, Mr. Vic Chesnutt," said JB before the band played LET'S GET DOWN TO BUSINESS to start the second set. And then JB introduced SEND YOUR MIND by saying, "This one's by a very, very, very good friend we have never met, Mr. Van Morrison." The elongated SECOND SKIN that followed really got the crowd swaying and moving, which didn't slow as Panic then launched into DISCO > IMITATION LEATHER SHOES > RADIO CHILD.

Next up was THREE CANDLES. And then Jerry Joseph, who covered Guns N' Roses' PARADISE CITY later in the night at the HOB restaurant, was called to the stage. While they all tuned their instruments, Schools tried to get someone in the crowd to throw his Syd Barrett T-shirt to Todd to no avail. ("Look, he wants the Syd Barrett shirt, and he'll pay for it, all right?") While I was hoping for something dark and brooding, like last October's collaboration on ROAD TO DAMASCUS in Portland, I was no less pleased with LIGHT IS LIKE WATER. JB must've been pleased, too, because at the song's conclusion, he said, "Jerry motherfucking Joseph, everybody. He was with us since before the beginning."

Once Jerry left the stage, Panic went right into DRIVING SONG and then into the triumphant return of BREATHING SLOW. You've got to give Jimmy credit: For someone so talented, he has no problem reading sheet music on stage. (I suspect lots of guitarists wouldn't do that.) The second set ended with a strong rendition of FLICKER.

It was only fitting that the first song of the encore was David Bromberg's SHARON. As far as "the same rowdy crowd that was here last night is back again," this was probably the rowdiest crowd I'd been a part of since last year at the Ryman Auditorium in Nashville. The song started out as boisterous as ever, but it ended slowly and quietly with JB in full-on crooner mode. A quick GIVE, with guitars blaring, followed. And then it was over. As the lights came on, a Hank Williams Jr. song everyone—except me—seemed to know blared over the PA, and I thought about another of my favorite bands, the Band. And to paraphrase them: "Look out Charlotte, there's a storm coming through."

"Vacation" 7/19/08

We drove down the Eastern Shore of the Chesapeake Bay, crossing over the Chesapeake Bay Bridge-Tunnel, a 23-mile engineering marvel of bridges and tunnels, before landing in Porstmouth, Va., a small, Southern city situated hard on the banks of the Elizabeth River. It was hot and sunny and seemed like as a good a day as any to see Widespread Panic. Seating was general admission, so we found a spot near the center of the floor as the venue slowly filled with girls in dresses and guys in collared shirts.

The show opened with Jerry Joseph's reggae-tinged CHAINSAW CITY and then moved onto compact versions of HEROES, WALKIN' (FOR YOUR LOVE) and TIME ZONES before an elongated BIG WOOLLY MAMMOTH. After playing Bloodkin's WHO DO YOU BELONG TO? and "ripping off Bob Dylan" with TICKLE THE TRUTH, the band invited violinist Ann Marie Calhoun to join them onstage to close the set with ANGELS ON HIGH, THE TAKE OUT > PORCH SONG. I was thrilled to hear a fiddle added to the mix, but with the sounds of '97 Panic accompanied by David Blackmon in my head, I wanted more. Fortunately, there was more to come.

JB opened the set with a brief warning: "You all look kind of mushed up there. Be careful of one another now. Unless that's the way you like it," and then went right into FROM THE CRADLE (BLACK HOLE on the band's set list), which, for me, is a perfect way to open a set. From there, the band began to stretch out the music, with WONDERING > BLACKOUT BLUES, AUNT AVIS > YOU SHOULD BE GLAD following the opener. Ann Marie, who seemed as gracious as she is talented, came back out and things really took off. ("Well, since Ann Marie's back, I think I'll tune up," said JB.)

So often when someone sits in with a band, that person interacts with whoever is playing the same instrument. But that's not what this was like. Just like with Robert Randolph sitting in at Bonnaroo, Ann Marie interacted with the entire band. Her sound complemented Panic's rather than sounding like an addition, taking the songs, SURPRISE VALLEY > VACATION (!!!) > DRUMS (which, obviously, she didn't play on) > SURPRISE VALLEY > CITY OF DREAMS, to a different place. (I could listen to this VACATION on a loop all day long.)

Fortunately, at intermission, I was able to move to a uniquely close vantage point, which allowed me to notice things I probably never would have. And during the second set, the most obvious thing was how much fun everyone onstage was having. It was smiles all around, especially when Ann Marie was fiddling away between JB and Jimmy. The other thing I noticed was the eye contact and head nods used to signal the direction of a song. And when it came to the elongated HENRY PARSONS DIED (with a GREEN ONIONS jam in the middle) closer and the nearly 25-minute encore, NONE OF US ARE FREE and RIDERS ON THE STORM, that direction was simple—keep moving forward. (It's worth checking out this show for the interplay between the guitars and fiddle on RIDERS alone.)

As we made the drive north the next morning, I began to think about whether I should try to make it to Myrtle Beach when I remembered what JB said just before the encore: "I do not know what the question was, but the answer is yes."

Listen to "Postcard" 7/11/08

Stream samples of the whole show:

After living in New York City for the previous 12 years, I’ve found myself in a small beach town this summer, which means I haven’t seen much live music recently. So I jumped at the chance to see Panic in Philadelphia on Friday. But to be clear, Philadelphia and I haven’t always gotten along. I mean, sure, I’ve got some friends from there—and I do love cheesesteaks—but other than that, all I’ve ever really gotten out of Philly is a bunch of argumentative sports fans and, as a 14-year-old on my way out of the Vet, a punch to the back of the head by a Philbilly at least twice my age and three times my weight.

So perhaps my previous experiences colored my expectations for Friday’s show. Fortunately, the opening licks of SURPRISE VALLEY, sounding stronger than they have in years, allayed my fears, as did the band’s smooth segues into PORCH SONG and then back into SURPRISE. For the most part, the rest of the set, ROCK, TICKLE THE TRUTH, CAN’T GET HIGH, FREE SOMEHOW, DOWN, TIME ZONES and the late, great Warren Zevon’s LAWYERS, GUNS AND MONEY, was played straightforward with just a bit of jamming. (Not that there’s anything wrong with that.)

The Festival Pier at Penn's Landing, which is situated along the Delaware River, is a cool spot, but, strangely, it faces away from the water. (That decision seemed particular curious when, during the second set, there was a brief fireworks exhibition over the Ben Franklin Bridge few concertgoers saw.) As the second set began, the weather was clear and perfect. And beneath a black-and-white cookie of a moon and a starry, cloudless sky, Widespread Panic began to lay it down.

Johnny Neel, formerly of the Allman Brothers Band and others, joined together with the band following DISCO. And his sit-in on FISHWATER, the Meters’ IT AIN’T NO USE and YOU SHOULD BE GLAD launched the rest of the show. He and JoJo played side-by-side, with the sounds from their two sets of keys weaving together and apart, driving the show from a slow-burning groove toward the swagger of POSTCARD, AIRPLANE > PROTEIN DRINK > SEWING MACHINE, NORTH to end the set.

At times it was jammy, at times it was loud and at times it was aggressive. But for most of it, Jimmy, looking like Santa Claus on Atkins, played like he was in charge; his lead more searing than lingering. And the enthusiastic crowd—not huge, but tightly packed—cheered its response.

The encore, the hard-charging WALK ON THE FLOOD followed by the Talking Heads’ CITY OF DREAMS, capped off a silky first set and a furious second one, leaving smiling faces to sing into the night.

Philly, man. Who knew?

The tour opener in LA was a riotous affair.  Sample here:

Surprise Valley