8 Days At The Fair Grounds: New Orleans Jazz Fest 2026 Review & Photos

Over the course of eight days, two weekends and a dozen nights out in the city, the 57th edition of the New Orleans Jazz & Heritage Festival offered a sweeping reminder of why this gathering remains among the most vital musical events in America.

Legends held court (Herbie Hancock, Stevie Nicks, Burning Spear and Little Feat to name a few), a new generation of artists announced itself with authority (River Eckert, Britti, Victor Campbell, Sally Baby’s Silver Dollars), and Jon Batiste further staked his claim as Jazz Fest royalty across a couple of milestone performances.

Notably in 2026, Jamaica took its long-overdue turn as the Cultural Exchange Pavilion’s featured country, revealing itself to be less a guest and more a member of the extensive New Orleans global family. As Cultural Exchange Pavilion program director and curator Valerie Guillet remarked in a chat with JamBase, Jamaica and New Orleans are “tied together, historically, culturally, geographically.”

A Caribbean island of fewer than three million people birthed ska, rocksteady, reggae, dub, and dancehall, giving the world a whole new set of riddims to vibrate with. A sub-sea level port city in the American South, in a constant state of rebuilding against most odds, has given us jazz, second line, bounce, Cash Money Records, brass band funk, and Mardi Gras Indian culture.

Per capita, the cultural output of these two places is virtually unmatched anywhere on earth. Both are rooted in the Afro-Caribbean diaspora and both punch so far above their weight that the phrase loses meaning. That Jazz Fest chose Jamaica as its 2026 Cultural Exchange country felt less like a curatorial decision and more like a long-overdue family reunion.

“This is a spiritual practice!
— Jon Batiste, from the Festival Stage on Friday

It’s easy to take such a time-honored festival for granted, but just hours before the gates swung open at the Fair Grounds, news broke that a former North Carolina law enforcement officer had been arrested in a Florida hotel room, allegedly en route to carry out a mass shooting. The plot was thankfully foiled, and it served as a grim reminder of the harsh world outside these gates, and of what it means to gather this many people in joy and celebration.

That Jazz Fest persists, thriving deep into its sixth decade and drawing nearly half a million people across eight days, feels less like tradition and more like an act of collective relief from the oftentimes harsh realities of the modern world.

Read along for a full report recapping all eight days around the Fair Grounds (in addition to a dozen nights in the city), with photos from Adam McCullough.

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Day One :: Thursday, April 23

On the first “Locals Thursday” (day one, acclimation day, etc.), the 2026 New Orleans Jazz & Heritage Festival opened to as idyllic and picture-perfect conditions as one could ask for. It was breezy, mild and, as would endure throughout the entire weekend, never quite tipping into the oppressive heat that so often can set in at the Fair Grounds. Every day at the Fair Grounds has the potential to feel like a gift, and day one was no exception.

Thursdays at Jazz Fest tend to be less chaotic, more convivial and a little more local (true to its nickname) than the three that follow, and this was no exception. If you’re lucky enough to be in early and can swing it, I cannot recommend enough the strategy of arriving close to gates opening to experience the serenity of day one before the influx of masses, there’s nothing quite like it.

Inside the grounds, lighter Thursday crowds made for easy navigation, and it took all of 60 seconds past the turnstiles to run into the familiar faces that only materialize during these two weekends, for me, such annual reunions are as integral to appeal of the annual pilgrimage as any singular musical performance (or bite of food).

Sally Baby’s Silver Dollars :: Gentilly Stage

Local gems Sally Baby’s Silver Dollars christened the day (and Jazz Fest overall for yours truly) at the Gentilly Stage, and what a way to start. It was the much buzzed-about newish NOLA band’s first-ever Jazz Fest appearance, and their charismatic frontman wasted no time winning over the early arrivals with what he called “songs for the outcasts,” hitting on an eclectic array of creole jazz, classic NOLA R&B, acoustic grunge sounds, second line brass bombast and a lot more in the brief set.

The setlist included a tune about gargoyles (unreleased and titled “Gargoyle” for now) and a stunningly powerful blues tune “I’ve Got No More Tears Left To Cry” (with a timeless sound quality) from their sole EP, all delivered by a freewheeling but airtight eight-piece ensemble featuring a three-member horn section rooted in traditional New Orleans sounds. “I’m molting,” Sally Baby hilariously exclaimed between songs, a nod to this season of rebirth that landed kicked things off right and maybe helped a few break the shells they wear in the outside world.

Britti :: Rhythmporium

Next over at the Rhythmporium, Britti delivered what would ultimately prove to be one of the more emotionally resonant sets of the weekend. For the local artist, the gathering was a family affair, as the tent was filled with extended kin, friends and local fans from in town and out of town packed in to support their own. Britti’s stunning voice absolutely shone through on the melodramatic “So Tired” and a gorgeous take on the classic “Midnight Train to Georgia.” The talent’s voice is equal parts velvety and aching, delivering almost unbearable tenderness, with songs carrying a weight of emotional gravity, and delivered with a full-throated and sometimes wailing contralto style.

The set also included a take on Prince’s oft-covered “Nothing Compares 2 U,” her own single “Keep Running” and “Reach Out.” Britti’s tremendous talent and beaming personality made this tiny stage feel enormous, performing with enough heart and soul to reach everyone packed in the mid-grounds tent. Another Jazz Fest debut that left an impact in the early goings of the 2026 edition.

Sierra Green & The Giants :: Blues Tent

The day’s biggest surprise came unplanned: Sierra Green & The Giants in the Blues Tent. I’d never heard of her walking in and left an immediate convert. Her cover of “I Can’t Stand the Rain” was stunning, and she followed it by declaring “It’s a man’s world but it wouldn’t be nuthin’ without us” before tearing into a James Brown cover that she made entirely her own, riffing that the world “wouldn’t be nothing without your auntie, wouldn’t be nothing without your grandma” until the tent was on its feet.

She also covered Black Sabbath’s “Changes” filled out with robust horn section bombast with a sound that coulda just as easily been found on Beale Street as Frenchman Street, a powerful cover of the Ozzy favorite in more of the blues tradition. Find her at a small club around town and you may see me there.

Vieux Farka Touré :: Cultural Exchange Pavilion

Vieux Farka Touré, the legend of Mali appearing in the Cultural Exchange was a major circle on the cubes for me when they were released a month out, and the guitarist was dazzling as ever in the Jamaica-themed and adorned Pavilion. As has been the case in past years, African artists have made their presence known when filling in a few gaps between artists from feature countries (much like Nigeria’s Etran de L’Aïr in 2025) and begs the question: when will an African nation be the featured country again at Jazz Fest? Guillet told me that “it’s in the plan to go back to Africa and bring some new sounds to the festival” in the future.

After performing earlier at the larger Blues Tent, Touré (the son of larger-than-life Mali legend Ali Farka Touré) appeared in the smaller pavilion and stood out once again from his genre peers with more technical speed and propelling styles (read: frequent Fest performers Bombino and Mdou Moctar). Touré’s style is much more earthen and rooted in the blues than those two, as his playing is more anchored by a droning, cyclical rhythm that is relentlessly mesmerizing and meditative.

Touré’s syncopated one-finger picking and singing styles, breezy flowing tempos and infectious sense of melody and groove made it physically impossible to stand still in the breezy and well-decorated yellow, red and green themed Jamaica tent, and his radiant smile and effortlessly cool guitar work (always steadily controlled with remarkable composure even when firing at an extraordinarily proficient level) anchored a set that ranged from midtempo bouncy groovers to a hypnotic and heavy desert blues psych dirge.

Kings Of Leon :: Festival Stage

Kings Of Leon closed the Festival Stage on opening day, and as someone who signed off after the 2010 pop pivot but still enjoys the first three records (particularly 2007’s Because of the Times) the portion of the set offered up nostalgic moments (the setlist included five songs from the album, more than any other, including “Black Thumbnail,” “Fans,” “Knocked Up,” “My Party” and “On Call”).

Overall, the set was weighted a little heavier on newer material (read: 2010 to present), with a fairly substantial lighting rig unusual for most Jazz Fest headliners, and, by the looks of the demographics of their crowd, KoL proved they’re still attracting youthful fans deep into their third decade as a band. “Sex on Fire” closed it out (and yes, I too sang along).

Monty Alexander “Jamericana” :: WWOZ Jazz Tent

The day’s coda came courtesy of living jazz pioneer Monty Alexander at the Jazz Tent, whose chill vibes and scat-laden jazz made for the perfect cooldown after a packed day. An elemental figure in so many modern jazz (and ska/reggae) sounds, seeing these types of legends still holding court in the Jazz and Blues Tents is always a pleasure to treasure.

The Jamaican-born pianist mentioned he emigrated to Miami with his mother in 1961 before settling in New York just before dropping into a cover of the James Bond theme, music he said used to comfort him when homesick after his move to the States. In a year when Jamaica is the featured Cultural Exchange country, it was a fitting final note to sign off on day one.

Thursday Bites, Sights & Lagniappe

• Festival Feed: Prejean’s pheasant and quail gumbo – still the first stop once in the gate (always!). Also enjoyed the vegan soul food platter for some moderate health-ing and the first of countless rosemint teas to keep things balanced. Eight days at the Fair Grounds requires seeking out the options offering a little more nutritional value, color and balance.

• Night moves: Caught an excellent first set of STS9 at The Joy Theater, which included a couple Artifact-era favorites (“Native End” and “ReEmergence” were highlights) followed by a Steve Kelly-led superjam with members of Naughty Professor (bassist Noah Young and Sam Shahin), along with Richard Rourke on keys and guitarist Joe Pizzolato at the brand new upstairs concert venue at the Avenue Pub on St. Charles Avenue.

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Day Two :: Friday, April 24

Another stunning day of beautiful weather greeted the early birds chirping at the gate in the morning on Friday, and the festival was already finding its rhythm. On Friday, I learned again that every day of Jazz Fest is indeed like Christmas morning (had two different friends tell me exactly that when I remarked that I can never sleep in during these two weekends no matter the bedtime), and it was early to rise and start yet again. They’re not wrong and despite the sleep deprivation — as they say, could be worse!

Edna Karr High School Gospel Choir :: Gospel Tent

The Gospel Tent remains the best place to calibrate your soul before a long day on the grounds. The Edna Karr High School Gospel Choir delivered exactly the jolt needed, their “Now I’m on my way” chorus refrain setting the vibe for everything that followed. If you’re not starting your day in the Gospel Tent at least once (or twice or thrice) during Jazz Fest, you may be doing it wrong… just sayin’.

Papa Mali’s Shantytown Underground :: Lagniappe Stage

Papa Mali’s Shantytown Underground (four-piece horn section, two guitars, bass and vocals heavy on dub reggae) was example infinity of the almost inconceivable volume of talented, creative artists in this city getting together for a fun one-off type jam dedicated to an artist or vibe outside of their go-to act(s).

The rare collective featured members of 007, Eric Bolivar, Jason Mingledorff, Jonathan Freilich on guitar, and Wally Ingram and performed an array of hits originating from Jamaica and some deeper cuts, styling versions of Dawn Penn’s “You Don’t Love Me (No, No, No)” and Heptones’ “Sea of Love” among others, while the band and fans shared the immaculate vibes of the early Friday day at the Fest.

The Rumble ft. Chief Joseph Boudreaux Jr. :: Festival Stage

The Rumble brought the Festival Stage to life early. Big Chief Joe Boudreaux held court with hype calls “the real thing for sho y’all,” songs about second lines, living funerals, and the spirit of New Orleans that hits and lives deep in the chest. A tune called “My People” featured out-of-this-world trumpet effects, and the keyboard player held his baby while dancing and playing, because like so many things at the Fair Grounds it’s a family affair. There were a few mic issues on Big Chief Joe at the outset that course-corrected quickly — it takes a little while to warm up a Cadillac, after all.

GIVERS In Light :: Gentilly Stage

Lafayette’s GIVERS reunited their original lineup for the first time in seven years to perform their 2011 debut In Light, the album that made them a national name (and blew Neil Young’s mind). GIVERS first played Jazz Fest back in 2012, and 14 years later Tif Lamson was back singing and playing a mini standup drum kit alongside the proper drummer, delivering those vintage summery indie pop sounds that were so prevalent in the late ’00s and early ’10s.

Lamson spent the better part of two years as part of Shania Twain’s touring band recently, and appeared as comfortable as ever revving up the masses. Hearing “Up Up Up” and “Meantime” again after so many years took me back to a simpler time attending school down here and running a little indie and jam-focused music blog, a shot of nostalgia to the arm and generally a feel-good time at the Gentilly revisiting these tunes.

Ani DiFranco :: Fais Do Do

Ani DiFranco played to a massive Fais Do Do crowd, and in her hands the stage felt even more like a living room no matter the platform. DiFranco has been a festival stalwart for a few decades now and appears to still be going very, very strong after Friday’s set.

She bantered on about Roe v. Wade, delivered intricate flatpicking over standup bass and violin, was joined by guest Joy Clark during her set, and smiled radiantly while delivering her signature quirkily sounding guitar and instrumentations, to pour over the large crowd on this warmer spring Friday afternoon. This set felt like what a festival should feel like — DiFranco remarked “You’re making it feel like we’re indoors,” providing some trademark warmth and congeniality to the weary and packed late afternoon crowd.

Jon Batiste :: Festival Stage

The day’s headlining set on the main stage began with Blind Boys of Alabama joining Jon Batiste’s massive ensemble for a soul-stirring rendition of “Amazing Grace” set to the melody of “House Of The Rising Sun,” and the creative orchestration paid off (and was one of the best festival set openers I’ve witnessed in years).

From there, Batiste delivered a production of unprecedented scale, built with a maximalist vision: a gospel choir, a tap dancer on a raised platform, and the kind of spiritual grandeur that transcends performance. The set saw Batiste reimagining material largely from 2021’s We Are and 2025’s Big Money across a kaleidoscopic performance that blurred every prevalent Jazz Fest feature genre boundary in sight, at one point threading “Big Money” into Beethoven’s “Moonlight Sonata” into Leonard Cohen’s “Hallelujah” without breaking a sweat.

True to his stated belief that these sets are “love letters to his hometown,” Batiste used the grand main stage platform to spotlight fellow New Orleanians, inviting Flagboy Giz to perform “Outside.” Each year he’s appeared at Jazz Fest, the set has grown larger in stature, grandeur and meaning and this was his finest moment yet. I’ll say it a few times: 2026 is the year Jon Batiste earned the King of Jazz Fest title. As Batiste remarked:

This is not a performance, it’s a spiritual practice.

Indeed, king.

Hiromi’s Sonicwonder :: WWOZ Jazz Tent

Tucked in the corner Jazz Tent, Hiromi’s set offered a chance to cool down, a refreshing tonic from the day’s bombast, playing as part of a beautiful quartet of bass, drums, and trumpet, offering sounds to the stately Bayou St. John oak trees and surroundings just outside the tent as much as the attentive seated crowd hanging on every note. Equal parts cinematic and composed as wild, improvisational and adventurous, Hiromi’s quartet featuring Hadrien Feraud (bassist, and one of the most technically talented musicians I’ve ever seen), Gene Coye, and Adam O’Farrill played a blend of jazz roots music, fused clav funk, and several varieties of fusion, mostly delivered at a high tempo, within innovative, boundary-pushing compositions.

Catching a solid portion of Sonicwonder was quite possibly my favorite musical segment of the entire first weekend. During “XYZ,” Hiromi attacked the keys, gliding in and out of Feraud’s central bass-heavy framework, producing several rounds of tension and release while improvising on both the grand piano and synth sitting atop, garnering rounds of audience applause when crescendo moments were reached. This set had more Zappa-frenzied energy and prog frameworks than most things you’d see in the Jazz Tent, with spots of video game-styled wizardry performed at a level of musicality and stylistic range I’ve genuinely never seen before. To add to the atmospherics, golden hour hit with 20 minutes left as the sun sank low enough to come in the side door, misters overhead lending their own majesty. An unreal way to end a Jazz Fest day.

Friday Bites, Sights & Lagniappe

• Sound hiccups across stages in the early going of the eight-day festival were prevalent on Thursday and again on Friday, and then virtually non-existent throughout the weekend proper.

• Bites: Vaucresson’s jerk chicken sausage po-boy, a classic NOLA vendor that’s been serving at Jazz Fest since the earliest days of the festival in the ’70s.

• ShowJam Mento Band in the Cultural Exchange Pavilion covered “The Gambler” on all-acoustic instruments — top covers list contender. As Guillet explained, “Mento is like the calypso of Jamaica… it’s a dying tradition. It’s really hard to find these artists who still play” this style of music. The stripped-down acoustic quartet was omnipresent throughout the first weekend and I caught segments of at least three of their sets.

• Sean Paul at Congo Square: The Jamaican superstar headlined the festival’s most fun, boisterous and rowdy stage. I heard multiple people say it was their favorite set of the weekend. I caught a quick glimpse and was thoroughly entertained (particularly by the wild dancers he had in tow), though it was hard to tear myself away for too long from Jon Batiste and Hiromi.

• Jonathon “Boogie” Long in the Blues Tent: Add to the growing list of Jazz Fest constants returning in 2026, Boogie furiously shredding through the aisles of the Blues Tent. It’s an annual tradition that has become its own legend, growing with each passing year, and this year’s edition did not disappoint. Boogie shared a priceless anecdote about playing with B.B. King in 2013 where B.B. accused him of stealing a lick, to which Boogie responded, “I stole all your licks.”

• Night moves: Badbadnotgood played a floor-shaking set at the Beaux Arts styled Civic Theatre, capped by Samuel T. Herring of Future Islands joining for a jarring, gyrating rendition of “Time Moves Slow” on the final encore. One of the best overall shows (and sit-ins) of the entire twelve days running around New Orleans, and easily the most surprising. BBNG’s style meshing experimental jazz and hip-hop fits into the Jazz Fest night scene like a glove — hopefully they’ll return and embed themselves further in this scene.

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Day Three :: Saturday, April 25

Saturday was hot and crowded, with some of the longer lines to enter the gates I’ve seen in 15 years at the Fair Grounds (only to be topped the following Saturday). Saturdays tend to bring the largest names and this year’s edition was no different with ageless Fleetwood Mac legend Stevie Nicks slotted on the main Festival Stage and stadium-packing country and Americana mega star Tyler Childers closing down the Gentilly Stage, stretching the capacity limits pretty far. Clouds moved through mid-afternoon and some ultra-pleasant raindrops cooled things down for the final hours of day three, creating some memorable scenes during the headliner sets playing in the afternoon showers.

The Deslondes :: Gentilly Stage

NOLA’s finest twangin’ act The Deslondes offered up their blend of “hobo folk” (their words not mine), front porch blues, rockabilly and swamp pop, delivering nearly an hour of all these sounds with much, much soul. A relaxing but heady way to start Saturday, the band was the first to perform on the Gentilly Stage, offering up a cover of Woody Guthrie’s “I Ain’t Got No Home in This World” recast as a tribute to immigrant communities facing ICE raids, a sharp, sad and timely choice, and one of many artists to comment on the slow-motion disaster that has been this administration’s immigration enforcement tactics.

Their original “Muddy Water” was a standout, a festival tune if there ever was one with the line “And we drink muddy water / ‘Cause we know it only makes us stronger / I don’t give a dang if you do or you don’t no longer,” before covering J.J. Cale’s “Drifter’s Wife” and their own “Less Honkin’ More Tonkin’,” which should be a bumper sticker if it isn’t already. A high noon Deslondes set was a strong way to kick the dust off and set the tone for the day.

Mahmoud Chouki :: Lagniappe Stage

In the blazing mid-afternoon sun, Mahmoud Chouki took the crowd on a multi-cultural 45-minute journey, playing on the Lagniappe Stage and again delivering one of the most musically dazzling sets of the weekend. After playing one of the best sets of the 2025 Fest, Chouki returned with a slightly different setup and personnel that included Oscar Rossignoli on grand piano, Rurik Nunan on violin, Ricardo Pascal alternating between alto and soprano sax, Lex Warshawsky on bass, and Alfred Jordan Jr. on drums, with Chouki himself commanding his signature cigar box oud, among other tools.

The set opened with “Mahmoud’s Blues” before winding through a lush “Caravan” and the tender “Angelica” that had Rossignoli’s piano and Nunan’s string flourishes locked beautifully in syncopation. Chouki took the crowd to Macedonia with the beautiful “Jovano,” then the set evolved through the meandering orchestral passage of “Safar” with Nunan’s violin leading the top of the sound, a beastly drum solo from Jordan in the midsection, and a dramatic breakdown. A haunting “St. James Infirmary” threaded New Orleans tradition through a global tapestry of sound, another musical manifestation of New Orleans music’s global reach to all corners of the earth (and vice versa). Those who ventured in for Chouki’s set got taken to some far out places.

Jason Isbell & The 400 Unit :: Gentilly Stage

Returning for a mid-afternoon set prior to Tyler Childers, Jason Isbell and the mighty 400 Unit worked through the band’s deep well of tunes, reached back to his Drive-By Truckers days for “Decoration Day” and touched on his catalog favorites “Maybe It’s Time,” “Traveling Alone” and “Super 8.”

In spite of all the freight train intensity of the rockers and swoons of the heart-wrenchers, perhaps the most notable moment was the banter — Isbell turned to guitarist Sadler Vaden and asked the question everybody was asking on Saturday: “Tyler Childers or Stevie Nicks? What the hell kind of choice is that?!” Vaden’s answer: “Bruce Hornsby.” I luckily ended up doing all three.

Wind swirled the sound a bit but a power-packed, mostly upbeat set closed with a two-to-three-minute guitar duel and a fallen soldier song as dark clouds blew through before the swaggering “Super 8” picked the energy back up with Vaden trading snarling guitar roars over The 400 Unit’s relentlessly chugging rhythm section. Bookish barroom country rock and Americana was in high supply on Saturday at the Gentilly end of the track, and Isbell teed the crowd up nicely for Childers to follow and knock ’em down.

Stevie Nicks :: Festival Stage

Stevie Nicks walked out to Tom Petty’s “Runnin’ Down a Dream,” delivering a fitting tribute nine years almost to the day after Petty’s final Jazz Fest appearance on this very stage in 2017 (also a rainy day). All in black, she opened with “Not Fade Away” as the sun broke through for the first time in hours.

She spoke about Katrina and her “feelings of strength and love and caring about you” before singing a rain song, then told the story of Jimmy Iovine telling her the album Bella Donna needed one more single, and that song was her duet with Tom Petty “Stop Draggin’ My Heart Around.” After “Rhiannon” made the masses swoon, sing along and cry (couldn’t have been me though), I jetted back to the other side to pack in as much as I could salvage of the conflicting artists…

Bruce Hornsby & The Noisemakers :: Fais Do Do

Bruce Hornsby closed the Fais Do Do, bantering heavily with some characteristic irreverence amidst some early sound issues that slowed things out of the gate, remarking, “[this is] one of our best songs, we hope all this shit going on up here won’t screw it up.” He told a story about Snoop Dogg ripping him off, “so I ripped him off,” playing a hip-hop beat over a folky dulcimer.

Branford Marsalis sat in for “I’ve Been Up and I’ve Been Down” and “The Way It Is,” and Craig Klein of Bonerama joined too. Jazz Fest magic was building toward Sunday and Hornsby in the rain offered up a major peak of the weekend.

Saturday Bites, Sights & Lagniappe

• Bites: Soft shell crab po-boy with all the hot sauce.

• A Jamaican DJ in the Cultural Exchange Pavilion had the crowd singing along to a Bob Marley medley — full Kingston dancehall vibes were in abundant supply in the Cultural Exchange Pavilion throughout both weekends of Jazz Fest 2026.

• Sauvage Fest: Sensational keys talent Richard Rourke and his band of brothers played to revelers spilling out of the Fest near the Fortin/Sauvage main gates, keeping the party going well past 7 p.m. The scene outside the gates continues to expand each year and the amount of porch and street sets going on has pushed well into double-digits most days.

• Night Moves: Spent the late night hours watching the Tipitina’s owners and home team Galactic featuring Jelly Joseph ring in the new day, channeling through a setlist chock-full of staples from their three-decade career to a sold out crowd at the classic venue on Napoleon and Tchoupitoulas.

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Day Four :: Sunday, April 26

Sunday provided yet another blessed day of sunshine and relatively cool temps. Crowded, but not to the level of Saturday, Sunday had a packed schedule from open to close with no room for downtime and a brutal set of conflicts once again at the closing hour(s). There are worse problems to have in life.

River Eckert :: Blues Tent

Strolled through a packed Blues Tent before noon to catch a spell of 16-year-old piano and keys wunderkind River Eckert playing to a fully packed house, catching a +10-minute rendering of “Pass That Torch” — a tune and title that doubles as a thesis statement for what Jazz Fest means to New Orleans music.

Playing with his father Jake Eckert and an ace band, River attracted a massive, multigenerational crowd, and the future couldn’t be brighter for him and the health of the city’s music scene. This is a constant feeling at Jazz Fest — the city and festival seemingly regenerate new talents organically every single day, year and decade and there’s no better place to keep a finger on the pulse than these Fair Grounds.

Nomfusi :: Congo Square and Cultural Exchange Pavilion

South Africa’s Nomfusi was one of the standout surprise artists of the weekend. An impeccably tight five-piece band and the nameplate singer Nomfusi Gotyana delivered spectacularly danceable R&B and party-hype grooves at both of the band’s outings on Sunday. Gotyana has a booming voice and the sound is heavily weighted towards Afro-soul and pop sounds that harken Graceland, with some jazz and R&B touches.

The South African band sparked a freewheeling dance party vibe in the grassy field below the Congo Square Stage in the blazing heat, as her bongo playing mate gave a kneeling call and response before tearing through a solo and revving the crowd and bandmates to collectively break loose. When the ever-present, lingering sense of FOMO diminishes or disappears completely as it did here, you know you’re in the right place at the right time.

St. Vincent :: Gentilly Stage

St. Vincent’s Annie Clark bantered with “Long time listener, first time caller” regarding Jazz Fest, then proceeded to deliver a highly theatrical set that would include a very special sit-in. She played “Daddy’s Home” and introduced “…at the Holiday Party” by noting, “In New Orleans, it seems like every day is a holiday… so y’all might understand this one the most.” Her observation on the city was apt, as Clark noted that “you are either born in NOLA and baked in the sauce, or you come to New Orleans and become your true self.”

During “New York” she went into the crowd and snatched a Jazz Fest dad hat from a silver-fox rail rider. Then David Byrne joined for a note-perfect “Wild Wild Life” sit-in, to lead-in to his own headlining set. I’d expected a Byrne/St. Vincent collab during her set, but was guessing it would be from one of their collaborative albums, so a nice surprise to catch a Talking Heads tune out of the David Byrne tour rotation. Sit-ins can sometimes be a touch rough and unrehearsed, but this one sounded like these two had been doing this tune for decades. Gentilly Stage was THE PLACE on Sunday.

David Byrne :: Gentilly Stage

David Byrne returned to Jazz Fest for the second time in his career to close out weekend one, again performing with a large troupe of musician/dancers all decked out in matching royal blue garb (everything worn was coded blue down to the shoes — in step with the entire set choreographed down to every note and marching/dancing order). Given the mobile marching setup, the music performed on stage leans heavily on those that are mountable, wieldable and/or portable — various percussives (drums, xylos, vibros), keyboards, a cello, etc. This set just doesn’t allow for a grand piano.

Byrne nudged in with some insightful banter and stories at various transitions, telling of a recent interview with NOLA resident John Cameron Mitchell, who remarked “love and kindness are the most punk thing you can do right now,” to which Byrne then added that “love and kindness [are] a kind of resistance right now” as a lead-in to the new single “What Is The Reason For It?,” with the choral refrain “Love can help you find a place.”

The setlist mixed songs from Byrne’s storied first career with the Talking Heads — hitting on “And She Was,” “This Must Be The Place,” “Once in a Lifetime,” and “Air” (with Annie Clark) — and tunes from his equally illustrious solo career: “Strange Overtones,” “Like Humans Do” and “Everybody is Coming To My House.” Byrne attracted the day’s largest crowd, easily rivaling (or perhaps topping) Rod Stewart’s turnout on the Festival Stage.

Jon Batiste Presents Swamp :: Blues Tent

There wasn’t much detail given ahead of time about this mystery set, but on Sunday local hero Jon Batiste would headline another Jazz Fest venue to close out the day, this time appearing in the Blues Tent, adorned with old Louisiana Spanish moss, old-fashioned garb, and native flora and fauna, creating a scene from a long bygone era, and putting on a Broadway-esque presentation of Louisiana music and culture fit for the world’s grandest stages. Those who got to pay witness to this set may have been treated to a workshopping dress rehearsal for something with longer legs and a New York presence.

Batiste has clearly held this vision and put a lot of his mind and soul into its creation, and to see it manifest for the first time was plenty exciting. Only catching the tail end, I walked up to Batiste rockin a pompadour singing “Ain’t That a Shame,” “No Particular Place to Go,” plus a few rolls of “Big Chief” (classic NOLA singalong moment), and then closed with 2021’s “I Need You” from We Are.

If it wasn’t already clear after Friday’s wowing set on the main stage, it was now: Jon Batiste is the King of Jazz Fest in 2026.

Sunday Bites, Sights & Lagniappe

• Bites: Shrimp pikliz, a very refreshing and highly acidic ceviche styled and accented with plantain — a new favorite and first time trying.

• Topp Brass plays ska in the Cultural Exchange Pavilion (a trio of brass with a quintet band backing) was beaming with enthusiasm and radiating positive vibrations. The whole band raised their hands when asked who was at Jazz Fest for the first time, example infinity of the rare or first time opportunities provided by the Cultural Exchange program.

• Craig Adams & Higher Dimensions of Praise in the Gospel Tent: I’ve closed the last three Jazz Fests with his set on weekend two and although it shifted to weekend one, I still managed to squeeze in a bit after seeing David Byrne. Adams remarked, “I’ve lost a little weight but I’m still tired,” by way of introduction to “Rock Me Like Jesus.” The leaner Adams hasn’t lost any of his vocal powers or presence and, despite being in the Gospel Tent, the delivery of this performance was pretty punk rock in nature at the end, as two singers Adams pointed to in the audience came up and delivered guttural screaming vocal performances to put a bow on weekend one.

• Boyfriend on the Gentilly Stage: Managed to catch the final Boyfriend song, which was literally the final Boyfriend song performed at Jazz Fest — this was the artist’s last show under the persona. She killed off her character and lay in an open wake on stage with a toe tag that read “Cause of Death: TIME.” Performance art at its finest, and an apt programming choice before creative savants St. Vincent and David Byrne who would later take the same stage. Kudos to the programming czars of Jazz Fest for staging Boyfriend, St. Vincent, David Byrne and Jon Batiste “Swamp” all in the same day.

• Leftover Salmon played their very long overdue first Jazz Fest set after 36 years. Always great to see the Colorado legends, even if just for a fleeting moment.

• Rod Stewart’s Festival Stage set featured an all-white nightclub stage design; caught one of his female singers covering “Jolene” while passing through.

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Daze Between

Monday brought Sally Baby’s Silver Dollars playing tunes at the Marigny’s Louisiana Music Factory to a crowd filling the aisles of the institutional record store. A relative newcomer to the scene, it was cool to see some of the original songs — “Taxman” (original, not The Beatles), “The Devil’s Shoestring” (“a musical amulet of protection,” as remarked by Sally Baby himself), “I Got No More Tears Left To Cry” (which could easily have been a Fats Domino song written and recorded decades ago) and “Gargoyle” from the first day Fair Grounds set — played again in a more intimate setting. Very much looking forward to the debut LP, reportedly to be recorded and released in the coming months. Excellent cover of Ernie K Doe’s “Tain’t It The Truth” as lagniappe to cap off a feel-good half-hour refresher to open the daze between.

Tuesday brought Sinkane back to NOLA as part of a larger spring tour, performing at the intimate Saturn Bar on St Claude to a revelrous and filled-out space. There isn’t much separation or barrier between band and audience in this corner barroom and this set had more of a similar feel to some of the porch and street party shows around the Fair Grounds than any of the other night shows attended throughout Jazz Fest 2026. Very, very fun show and impressive full sounds from the indie funk and soul vet.

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Weekend Two

As stacked as Weekend One was, judging by anecdotal evidence (volume of friends coming in town, hotel prices, general message board warrior sentiment), the influx of visitors for weekend two was set to top weekend one and for good reason, as headliners including The Eagles, The Black Keys, Widespread Panic, Herbie Hancock, Ziggy Marley, T-Pain, Tedeschi Trucks Band, Earth, Wind & Fire and hundreds of other acts were set to close out the back half of Jazz Fest 2026.

As beautiful and cooperative as the weather was in Weekend One, Mother Nature had other plans on Weekend Two — soggy, rainy, muddy conditions reigned for the first half, before clearing for two of the nicest, coolest and most glorious days (weather-wise) in the festival’s recent history.

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Day Five :: Thursday, April 30

This was a short day and fans were made aware of some sizable schedule changes early on, after receiving the early morning announcement that Widespread Panic’s headlining set would be taking place from 2 – 4:30 p.m. (instead of the previously scheduled 4:30 – 7 p.m.). With the deck reshuffled, a lot of people (present company included) set aside any other morning plans and responsibilities to get down to the Fair Grounds early, and, in spite of the soggy, ominous forecast, Panic would ultimately play to one of the larger Festival stage crowds I’ve seen for their classic Thursday sets here in many years, making the most of an abbreviated day of programming that had a lot of people scrambling to make it to the Fest in time.

Ambush Reggae Band :: Cultural Exchange Pavilion

The Jamaican-born/NOLA-based Ambush Reggae Band proclaimed “this is a reggae vibe” and set off a dank 45-minute set of deep grooves in the hot, humid and sealed up tent (rain flaps down for the first time this year) that gave the space more of a Cafe Negril vibe than usual. The vocalist belted out Bob Marley’s 1974 tune “Rebel Music,” providing what was likely the first of dozens of Marley covers that could be heard within these four temporary walls over Weekend Two.

Lettuce :: Festival Stage

Lettuce played a mostly laid-back early-afternoon set, mixing ebullient and approachable funk and soul tunes with a downtempo, electronic-fused hip-hop and trance sounds with ease, offering up solid variety early on — a new Nigel Hall-penned tune “Rising to the Top,” and hotter funk sounds on “Clav It Your Way” and “JB’s Squadive.” A long overdue first time playing the Fair Grounds (a surprise to learn, much like Leftover Salmon on weekend one). Here’s hoping it isn’t their last.

Widespread Panic :: Festival Stage

If there’s a home (read: visiting) team that isn’t a NOLA original at Jazz Fest, Widespread Panic would have a claim to this title. About 13 minutes after their newly scheduled start time of 2 p.m., John Bell took to the mic and greeted the masses “good afternoon you beautiful people” before launching into “Ain’t Life Grand” as the sun made its lone appearance of the afternoon through some dusty heavy clouds. Thursday marked the debut Jazz Fest performance of 2026 guitarist Nick Johnson, who is keeping Jimmy Herring’s seat warm while the Panic mainstay recovers from cancer treatment. By all appearances on Thursday, Johnson has stepped into the role without much of a hitch and drove the ship for a large part of the first half of the set, steering through a muscular and meaty jam segment in “Greta” and nailing the soaring “Surprise Valley” points that have been a litmus test for past post-Mikey guitarists.

The “Arleen” into “Fishwater” into “Arleen” segment to close was delivered with some extra oomph as dark skies began to return. Guest sax (and whistling) by Roger Lewis and Gregory Davis of the Dirty Dozen Brass Band enhanced these versions, nodding to the host city that has been a second home for the last four decades over nearly 50 appearances in New Orleans.

Thursday Bites, Sights & Lagniappe

• Bites: Jerk mushrooms with rice and peas from the Jamaica Cultural Exchange tent.

• Sights: Saw a guy dancing in an ankle bracelet at Panic, no judgment there. Keep on rockin’ in the relatively free world and sir — it seems you have a very cool probation officer.

• Late Night: Stanton Moore hosted his annual solo band show alongside Robert Walter (Greyboy Allstars) and Will Bernard, in addition to Skerik (sax) and Big Sam (trombone) at the Toulouse Theater in the French Quarter, playing mostly improvisational originals for a couple of hours to a packed house still drying out from the afternoon deluges. The core trio has logged hundreds of hours on stage together and this was a great first ‘classic’ Jazz Fest night show of weekend two.

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Day Six :: Friday, May 1

With the most ominous forecast of the entire festival showing heavy rains and storms throughout the day and night, I made my way to the Fair Grounds early. The lineup in the early goings was weighted heavily with artists who hold annual slots and have established can’t miss spots on the schedule — including Tony Hall’s James Brown tribute, Cuban-born NOLA transplant piano wizard Victor Campbell in the Jazz Tent, Bruce Daigrepont’s zydeco party at Fais Do Do and Dragon Smoke.

Luckily was able to pack in quite a few sets in the first three hours, before the rain, mud and cold became too overwhelming and led to a very early exit (although most of the day’s headliners — The Black Keys, Ziggy Marley, California Honeydrops and more — admirably persisted through the difficult conditions).

Tony Hall & The New Orleans Soul Stars :: Gentilly Stage

Opening with “Cold Sweat,” Tony Hall proved himself once again to be one of the most charismatic and multi-talented frontmen and musicians in the New Orleans music scene, playing master of ceremonies with a band of locals, doing the Godfather of Soul proud with an airtight set of classics that also included “Papa’s Got a Brand New Bag,” “Get Up,” a hyper-paced “Superbad” and more from the endlessly deep James Brown catalog.

A consummate professional, Hall’s dead serious approach to performing some of the most fun and danceable music ever created paralleled nicely with the general ethos of Jazz Fest and the gargantuan production effort that goes into it. It’s a whole lotta work, (cold) sweat, and preparation to create something as fun as Hall’s set (or Jazz Fest, more broadly).

Victor Campbell Cuban Quartet :: Jazz Tent

On Friday, the young and virtuosic Victor Campbell made his third appearance at Jazz Fest, where the heart of Havana met the sounds of New Orleans piano’s torchbearer. Victor and his band took the stage and proceeded to go full throttle for the duration of the set, lighting up the audience and setting fire to the sometimes laid-back confines of the WWOZ Jazz Tent.

Campbell and his band played with madcap intensity, balanced with some lighthearted whimsy, kicked out the chairs and went for broke, seizing the opportunity to impress such a large crowd. The ability to seamlessly run through transitions between traditional blues, to classical piano, to an aggressive and supercharged Cuban rhythmic timba pattern kept things wildly engaging and unpredictable. So many gears shifted during this performance and the crowd was left utterly spellbound yet again by Campbell’s artistic vision and execution, having been on an unforgettable and expressive musical journey before even having lunch — such is life at Jazz Fest.

If we’re lucky, expect to see Campbell’s legend continuing to grow at Jazz Fest for decades to come. One of the best sets of the weekend.

Bruce Daigrepont Cajun Band :: Fais Do Do

As the skies began to look less than favorable, I was able to catch a glimpse of Bruce Daigrepont and his band doing the “Marksville Two Step.” Jazz Fest would’ve felt very incomplete without the chance to see one of the festival’s most veteran performers and his family band holding court at the Fais Do Do, a performance space that could (and maybe should) arguably be named after Bruce some day.

There’s so much continuity at Jazz Fest and Daigrepont has performed his convivial and inviting brand of good time zydeco every single year on this stage since 1991, along with his wife on washboard and hordes of family members and friends in the audience. Seeing new things each year is always a main goal, but so is seeking the comfort of being in the same place at the same time seeing the same band each and every year. It’s about balance, yins and yangs, etc.

Dragon Smoke :: Congo Square

The rains began to fall a bit during NOLA supergroup Dragon Smoke’s set, as vocalist and guitarist Eric Lindell (wielding a flying V) opened up their set with some blue-eyed soul that balanced with some Gulf South and NOLA R&B and funk tunes led by Ivan Neville, and backed by Galactic’s legendary deep pocket rhythm section of bassist Robert Mercurio and drummer Stanton Moore.

Dragon Smoke only plays a handful of shows each year and although the catalog is fairly small, it’s never quite executed in the same way — the general style contrasts a bit from general NOLA fare, leaning heavier on Motown and Memphis blues and soul, covering Buddy Guy’s “Man of Many Words” and King Floyd’s “Groove Me,” amongst a number of Lindell originals peppering the setlist.

Friday Bites, Sights & Lagniappe

• Night Show: The Heavyweights featuring Oteil Burbridge at The Joy Theater. Cory Henry, Robert “Sput” Searight and Eric Krasno’s Heavyweights show featuring one of the heaviest hitters of them all (Oteil Burbridge of Dead and Company, The Allman Brothers Band and Aquarium Rescue Unit) joining for the duration was a major can’t miss and expected highlight of the packed night show slate. To say this set far exceeded expectations would be a massive understatement. The quartet opened with the most uncontrollably blazing and completely unhinged rendition of Jimi Hendrix’s “Fire” I’ve ever heard or witnessed. Notable covers included a Joe Zawinul “Mercy, Mercy, Mercy” bass showcase for Oteil, a couple Beatles covers led by Krasno (“Something” and “Get Back”), a guest spot by Robert Glasper for Billy Cobham’s “Red Baron” suites. To close, the quartet played a proper take on Marvin Gaye’s “Inner City Blues” and a bring-the-house-down disco-jubilee take on Gaye’s “Got To Give It Up” that stretched on for well over a dozen minutes as Cory Henry had the crowd in the palm of his hand — perhaps the peak musical moment(s) I witnessed during all of Jazz Fest 2026. An unforgettable show and hopefully the buzz ignites a proper tour or, at the least, makes this an annual affair in the Jazz Fest night show rotation. Would not ever miss.

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Day Seven :: Saturday, May 2

The rains that marred the first two days of weekend two had dissipated by dawn on Saturday, making way for pristine weather and no more delays, schedule changes, or shortened days. As was the case on weekend one’s Saturday, the crowd turnout nearly doubled all other days, mainly thanks to the Eagles headlining the Festival Stage.

When the cost of a single Jazz Fest daily ticket is less than the cheapest seat on a headliner’s arena tour (and/or Sphere run), people are going to come from far and wide to seize the opportunity. In what would be a first in my 14 years of attending Jazz Fest, the festival sent out an alert in the mid-afternoon that the day had sold out and ticket sales had ceased. I didn’t even know this was possible!

Leyla McCalla :: Fais Do Do Stage

Leyla McCalla played beautiful roots, folk, and storytelling tunes on banjo and electric guitar — breezy, cheery, summery festival day fare. Lyrics like “now I’m older I can’t feel your love” and “when we were younger our hearts were open wide” carried a wistful tenderness.

Her final song paid homage to the Haitian revolution — “Haiti was the first independent Black nation in the western world,” she noted — and the set closed with a banging country-roots-folk breakdown and a danceable outro, with her sister Sabine McCalla sitting in.

Dumpstaphunk :: Gentilly Stage

Dumpstaphunk hit the Gentilly Stage with Tony Hall first taking on lead vocals on “Make It After All,” followed by “Justice” and “Livin’ in a World Gone Mad.” The set was stacked with special guests (including a vocalist and a few extra horns beyond their usual Dumpsta Horns duo of Alex Wasily and John Michael Bradford) and carried the kind of righteous, heavy-bottomed funk energy that has made Dumpstaphunk one of the most reliable draws at the Fair Grounds.

Little Feat :: Blues Tent

One of the best sets and biggest surprises of the entire festival, bar none. Little Feat, with three remaining members of the classic lineup in Bill Payne, Sam Clayton, and Kenny Gradney, plus longtime member Fred Tackett alongside newer additions Scott Sharrard on guitar and vocals and Tony Leone on drums, packed out the Blues Tent for Saturday evening’s closing slot and proceeded to deliver a masterclass.

They ran through classics early on with “Oh Atlanta” and “Time Loves a Hero,” and percussionist Sam Clayton took the lead for an earthy take on Little Walter’s “Mellow Down Easy” that proved just how at home this band is in a blues tent. The set peaked with their local homage “New Orleans Cries When She Sings,” which flowed into second line bombast, delivering a funky “Fat Man in the Bathtub” before closing with an extensive, boisterous “Dixie Chicken” that had the staff throwing in the towel on keeping the aisles clear, as the crowd loudly supplemented the song’s unforgettable chorus.

In no way did this set ever feel like a nostalgia act or a band deep into their seventh decade — Sharrard does an admirable job filling the enormous shoes of the late Lowell George on vocals while adding longer, searing rock leads of his own. If it was their last time playing New Orleans and Jazz Fest, they made it count during an emotional 90-minute ride through their storied catalog. Delivered with immense power, force, and impeccable sound dialed into the Blues Tent, the set landed with the kind of authority that reminded you why these songs have endured for over 50 years. Easily one of the highlights of this year’s Jazz Fest.

Saturday Bites, Sights & Lagniappe

• Bites: Ya-Ka-Mein (old sober NOLA noodle classic) from Miss Linda, a staple of the Crescent City and Jazz Fest itself.

• Big Freedia’s bounce party on Congo Square brought dozens of crowd members on stage for a boisterous, bombastic twerkfest dance-off to “Back That Azz Up.” Pure, unfiltered and uncensored Jazz Fest joy.

• Soul Rebels Brass Band on Congo Square were power-packed with local scene veterans — “ain’t no party like a Soul Rebel party ’cause a Soul Rebel party don’t stop.” They covered NAS’ “If I Ruled the World” in brass bombast style and brought out their Le Bon Temps set staple, doing Phil Collins’ “In the Air Tonight.” These guys have become the premier brass party band in NOLA over the last decade, occupying the space and throne once held by Rebirth Brass Band and Dirty Dozen Brass Band before them.

• Dianne Reeves in the Jazz Tent brought dazzling acoustic virtuosity, anchored by a fast-picking guitarist of remarkable talent and flair.

• Night moves: Caught bassist Kevin Scott (a veritable force of nature, seemingly at all times of the morning, day, night, late night, but particularly during Jazz Fest) playing with guitarist Nir Felder, young North Carolina organ sensation Sam Fribush, and drummer Mark Radabaugh at the new Avenue Pub upstairs performance venue (“Pubstairs”), playing deep into Saturday night. Another fantastically fun, musically rapturous, only-at-Jazz-Fest happening.

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Day Eight :: Sunday, May 3

“I think this might be the nicest day I’ve ever seen at Jazz Fest,” said Anders Parker, and he wasn’t wrong. The weather could not have been any better: sunny, breezy, cool but not cold, warm but not hot — just right. Impossibly good vibes on the final day to send everyone home smiling, and a full dance card as usual capped by some once again difficult conflicts to close out the festival (Herbie Hancock vs. Mavis Staples vs. Tedeschi Trucks Band vs. Steve Earle & Anders Osborne, for example).

Jabez :: Cultural Exchange Pavilion

Jamaica’s premier gospel reggae band Jabez opened the Cultural Exchange Pavilion with a set that demonstrated the full range of sounds emanating from the happy little isle. Jabez would later play in the Gospel Tent, the first combo of Jamaican sounds and gospel music across both stages, proving the island’s musical reach extends well beyond reggae and dancehall.

They proclaimed, “it’s amazing what praises can do” during the jubilant, feel-good set. As Guillet noted of her curatorial approach to Jamaica, “We like to really showcase the wide range of roots and roots culture… from the more old school reggae to the new way of reggae. Some of the stuff that’s expected, and some maybe not so normal, like gospel.” Jabez was a perfect embodiment of that philosophy.

George Porter Jr. & The Runnin’ Pardners :: Gentilly Stage

Jazz Fest is a home game for artists like George Porter Jr., and on a day this beautiful he played it like one. “What a beautiful Sunday, yeah you right!” he called out, before settling into a mellow blues-leaning set with his tight quartet Runnin’ Pardners setup, a welcome deviation from the Meters funk squeezes, more tonic than turbo-charged.

“After my surgery last year I said I’m gonna stand up at Jazz Fest… next one,” he laughed. He introduced festival head honcho Quint Davis, saying “I was here when he started this,” then GPJr. and Co revved things up toward the end before bringing his great-granddaughter Calliope, his granddaughter, and his lady on stage. Warm and fuzzies all around, capped with “Sing A Happy Song.”

RAM :: Cultural Exchange Pavilion

RAM brought the sounds of Haitian vodou rock to the Cultural Exchange Pavilion, a reminder that Haiti’s independence in 1803 makes it the oldest Black republic in the Western world, and that the island’s musical traditions run as deep as any in the Caribbean. Only caught the tail end of this set, but the band paraded through the crowd with horns and portable instruments, embracing most folks in the tent and riffing on “Auld Lang Syne” as they marched out and across the festival’s general ground. An interesting thing to hear in early May and a helluva way to leave a lasting impression.

Herbie Hancock :: WWOZ Jazz Tent

After taking to the stage around 5:45 p.m., the maestro jazz god Herbie Hancock proceeded to open things up with an exploratory take on “Actual Proof,” remarking prior that he “recorded this one with the Headhunters” before trailing off, saying “it’s kinda fast…” It was immediately clear the legend was not here for a victory lap, always creating something entirely new and fresh at each show, with more of the time spent on stage improvising vs. playing composed segments.

“Watermelon Man” followed with wild, feathery synth textures tangled with incendiary guitar work from his extraordinarily unconventional Beninese guitarist Lionel Loueke, and the band locked into the kind of telepathic interplay that only decades of mastery can produce. During intros, Hancock joked that his drummer was “a little young to be in a band with all these old guys” and that Loueke was “a little bit crazy… no one else in the world plays guitar like him.”

Luckily another chance to see Herbie will present itself later this summer, so we booked it after a few songs to catch the tail end of Tedeschi Trucks Band at the other end of the Fair Grounds, rounding the home stretch of the horse track one last time…

Tedeschi Trucks Band :: Gentilly Stage

… And what a good decision this turned out to be as Tedeschi Trucks Band anchored the closing responsibilities at the Gentilly Stage, playing a special guest-laden set that included Teddy Swims and George Porter Jr. earlier on and, by the time I arrived, members of the extended Allman Brothers Band family sitting in for incendiary versions of “Dreams” and “Whipping Post.”

Warren Haynes re-staked his presence in 2026 as a Jazz Fest nights staple, making appearances at several shows throughout the week, including a Gov’t Mule show and a Saturday sit-in with The Meters at the Saenger. Transcendence almost always seems to occur on the final day, and this year was no different. The Sunday magic materialized at the buzzer, as it does almost every single year. Jazz Fest magic.

Sunday Bites, Sights & Lagniappe

• Fried chicken and jambalaya on Sunday at Jazz Fest: a tradition unlike any other. Soul-filling and quite possibly the largest proper meal offered at the world’s greatest food court. Also hit the shrimp and duck pasta to cover some classic bases missed on the prior seven days. A few I missed on will have to wait until 2027 I suppose…

• Caught a few minutes of Michael “The Sheik” O’Hara in the Rhythmporium, making his third Jazz Fest appearance, dripped out in a self-made designer outfit with bright gold pants, playing a solo piano and delivering a lounge-y set. What a vibe and musical history this guy carries.

• Jason Marsalis in the WWOZ Jazz Tent: Caught the tail end of Jason Marsalis as he performed his original song “Darling,” which was featured on the TV show Big Bang Theory, followed by “A Day in the Life of a Dream.” A brief stop but a warm one.

• The porch sit-in of the festival: Eric Krasno joined Brandon Dellucky’s Thermonuclear Fusion that included Kevin Scott (Gov’t Mule bassist), Joe Ashlar (keys), Donald Magee (drums), Brandon Dellucky (guitar) and Nir Felder (guitar), playing 2 a.m. Maple Leaf-quality jams on a residence’s patio under a tiny awning at dusk, a couple hundred folks parked and passing by on Ponce de Leon Avenue, just a few hundred feet from Jazz Fest’s Fortin Street exit. Only at (er, outside?) Jazz Fest.

After 12 days of immersion, I left New Orleans carrying the same good feelings and wish to convey the same message: there is simply nothing else like this. See you at the 58th in 2027.

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