THE NEW YEAR’S EVE EXTRAVAGANZA
12.31.06 :: Fillmore Auditorium :: San Francisco, CA
With this in mind, there may be no better band to spend NYE with than My Morning Jacket. The music of Jim James and company is full of thought-provoking, introspective lyrics backed by crunching guitars and soaring rock bombast. 2006 was a massive year for MMJ, culminating in one of the best shows of the year at San Francisco’s Fillmore.
At this point it was your typical NYE midnight madness sensory overload. Then Jim started singing Kool and the Gang’s “Celebration.” From “Celebration” they went into Lionel Richie’s “All Night Long,” featuring the horns of Elvis Perkins in Dearland (who had opened for MMJ on 12/30). My Morning Jacket somehow turned the wedding/Bar Mitzvah classic into a soulful party. Drifting from “All Night Long” to Wham!’s “Careless Whisper” and Prince’s “I Could Never Take The Place Of Your Man” is risky, but MMJ is not your ordinary band. They played these tracks MMJ-style, and like everything they do, it rawked!
The show was already at epic proportions as the band plunged into “Honest Man,” a haunting “Bear,” 11-minutes of “Steam Engine,” and a psychedelic “Wordless Chorus.” We had seen enough, My Morning Jacket had won, but they were not done. “Easy Morning Rebel” and “Dancefloors” gave way to Two-Tone Tommy singing a stellar version of “Highway To Hell” and eventually a massive “Mahgeeta” to bring the crowd to their knees. After almost three and half hours of dark, dirty, triumphant rock, Tommy ended the night with a bang. Pulling out his shotgun, Tommy paid his bandmates back for eating him earlier in the night. With the band lying dead on the stage, Led Zeppelin’s “Stairway To Heaven” began to play and My Morning Jacket ascended to HEAVEN.
It’s not that My Morning Jacket sound or play like Zeppelin, it’s the importance of their music and the potential for greatness that is comparable. MMJ make us believe again. Standing at The Fillmore, retracing the struggles and hurts of 2006, Jim James was able to convince the crowd that it is possible. Whatever it is depends on the individual; but My Morning Jacket reminds us that we can do it. Lots of bands write great songs and can rock the house, but MMJ fill the air with possibilities, dreams, and a hope that tomorrow may be better than today. There is currently no more important rock band on the planet than the Jacket, perhaps 2007 is the year the world finds out.
JamBase | San Francisco
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12.31.06 :: Radio City Music Hall :: New York, NY
moe. :: 12.31.06 :: Radio City Music Hall :: New York, NY
Set I: Godzilla, Moth, Blue Jeans Pizza, Spine of a Dog > Lazarus
Set II: Bullet > The Pit, She Sends Me, Nebraska, Time Ed* > Wind It Up
Set III: Not Coming Down > Wormwood > [Happy New Year] > New York City, Buster, Kids, Sensory Deprivation Bank > Recreational Chemistry
E: Letter Home, McBain > Down Boy
* “Time Ed” was unfinished
12.31.06 :: Concourse Exhibition Center :: San Francisco, CA
Words by: Tyler Hammer
This year’s Sea of Dreams Festival, held annually in San Francisco, was a perfect atmosphere for this kind of reflection. Not only did this event allow attendees to indulge in a delicious array of art and music, but it also provided an opportunity for many to reflect upon and enjoy one last New Year’s Eve with the original members of String Cheese Incident – who recently announced the upcoming departure of guitarist-vocalist Bill Nershi.
The range and scale of this year’s bash was impressive. This indoor festival ran an entire city block, including three unique stages and 27 varied, talented entertainers including ALO, Mark Farina, Pnuma Trio, Indigo Belly Dance, and Goddess Alchemy Project. For a reprieve from the music, one could immerse and entice their minds with a potpourri of other novelties scattered throughout the venue including art exhibits, sculptures, theater, ceremony and circus acts. This celebration was a feast for the senses and I gobbled up every last morsel I could.
Before the festivities I had a chance to pitch some questions to the man behind the scenes for this epic costumed circus – Peak Experience’s brainchild Johnny Dwork. With this being the 7th annual New Year’s Eve event and a much publicized 7 Heavens theme, I asked Johnny if things really were to be as fortuitous as this cosmic order of themes suggested. “We designed this event around a theme that will allow attendees to take a brief respite from our recent earthbound concerns,” said Dwork. “We are inviting our audience to attend as intergalactic ambassadors of goodwill with the hope that by the time midnight on December 31st rolls around we will be co-creating a groove of such delicious proportions that beings from across the Universe will want to join us in celebration.”
I could tell that Cheese really had the place heated up when during “Rain” the sweat-soaked ceiling began to drip on our shoulders. Things eventually settled down a bit as they closed their set with a mix of the old and new including, “Farther,” “It Is What It Is” and “Black Clouds.” While at times a bit sloppy, and not their best performance, the emotions of the evening trumped it all to make for an enjoyable set.
True to Johnny’s words, earlier in the evening my sense of loss was tempered as I experienced a scene that would prove to be the highlight of my night. The Sea of Dreams culture prides itself on its ability to bring together people of different tribes. “Just like at the Burning Man Festival,” said Johnny Dwork of Peak, “many of our participants thrive on cross-pollination of ideas and interfacing beyond one’s normal boundaries.” No other band performing on NYE embodied this sentiment more than Afropop sensation Zap Mama.
The African hospitality of Zap Mama’s music is a warm, inviting breathe of fresh air. It incites the newcomer, instantly making them feel at home among new and exotic sights and sounds. The feel good groove of Zap Mama and the seductive, smoky voice of Marie Daulne holds huge crowd appeal and I look forward to many more of their shows.
For the past two years, this Sea of Dreams Festival is truly unique in its ability to mesh both the Burning Man and jamband worlds. Both communities have an affinity for diversity, music, art in whatever form it takes, and, of course great love for good times. As Johnny Dwork rightly put it, “Perhaps the coolest concept that we can take away from these experiences is there is room for everyone to shine.”
SCI :: 12.31.06 :: Concourse Exhibition Center San Francisco, CA
Set I: Can’t Stop Now, These Waves, BAM! > Rockit > BAM!, Pretty Polly, Rhum ‘n’ Zouc, Close Your Eyes > Rocket Man > Close Your Eyes, Desert Dawn
Set II: Miss Brown’s Teahouse > Get On Up > Miss Brown’s Teahouse > Star Trek Theme > Jam > Star Trek Theme¹ > Rollover > Ziggy Stardust, Rain, Farther, Dub Jam > It Is What It Is, Bumpin’ Reel, Black Clouds
E: Joyful Sound, Birdland > Wheel Hoss > Birdland > Rollover
1 with NYE countdown
12.31.06 :: Philips Arena :: Atlanta, GA
Images by: Aaron Williams
Widespread Panic :: 12.31.06 :: Philips Arena :: Atlanta, GA
Set I: From The Cradle, Who Do You Belong To?, Wondering, Wish You Were Here, Driving Song, Expiration Day, Down, Ribs And Whiskey
Set II: Bowlegged Woman > Surprise Valley > Goodpeople > Imitation Leather Shoes, Airplane > Second Skin, Let’s Get Down To Business
Set III: I Can’t Stop Loving You*, Love Tractor > Pigeons > You Should Be Glad, Barstools and Dreamers > Fixin’ To Die* > Chilly Water > Action Man
E: May Your Glass Be Filled, Last Dance, Ain’t Life Grand
* with Col. Bruce Hampton on vocals
[Only ‘I Can’t Stop Loving You’]
12.31.06 :: Northsix :: Brooklyn, NY
Brad Barr of The Slip
Midnight with Meowskers
Brad Barr Goes Surfing
2007, you’re lookin’ pretty good so far! Happy New Year, everyone.
The View of Manhattan from Williamsburg, Brooklyn
JamBase | Brooklyn
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12.31.06 :: Aragon Ballroom :: Chicago, IL
As Umphrey’s strolled out for their first set, drummer Kris Myers stood perched over his kit, stirring the sea of people that stood in front of him. The first set ran with all Umph originals, opening with a “JaJunk” that had guitarist Jake Cinninger at the forefront on a high energy favorite that pulled everyone in right away and jumpstarted things quickly. “Out Of Order” featured the return of Cinninger’s Moog synthesizer, which opened up guitarist Brendan Bayliss for his flowing solos throughout the night.
Saxophone player Jeff Coffin joined them for a jam out of “Bright Lights,” which was heavy on Coffin’s deep rumbling sax notes. The last half of “JaJunk” had Cinninger throwing his entire wiry frame into his solos, yanking the notes out before he knelt down to end the first set with the sky high energy.
Ambient noise oozed from the stage as Umphrey’s returned for their third set. Soon enough, the slamming chords of “Bridgeless” sent everyone into the New Year. The chaotic “Bridgeless” ending stretched as the crowd seethed in anticipation for the “Auld Lang Syne.” The jam from “Bridgeless” was the best of the night and the crowd responded accordingly, as bodies slammed and leapt through the air. Soon enough a sea of balloons and confetti littered the Aragon’s massive dance floor and “Auld Lang Syne” rang in 2007.
For the encore, percussionist Andy Farag came out to join Bayliss, who was already playing lead champagne, for the vocals on “Dick In A Box,” a song from a recent Saturday Night Live skit, which made for a very funny, odd sing-a-long. Coffin returned for “Pay The Snucka,” which jammed on Cream’s “Sunshine of Your Love.”
Out of the three nights, the 31st may not have been the best musically, but New Year’s Eve shows are supposed to be one giant party, and it definitely was that.
Umphrey’s McGee :: 12.31.06 :: The Aragon Ballroom :: Chicago, Il
Set I: JaJunk > Hangover, Out of Order > FF > Miss Tinkle’s Overture, Bright Lights^ > JaJunk
Set II: Wife Soup^^, You’ll Need Somebody On Your Bond^^*, Farther on Down the Road^^**, Slacker, Syncopated Strangers, Higgins^^, My Old School^^$
Set III: Bridgeless^^ > Auld Lang Syne^^, Partyin’ Peeps^^, 2×2 > The Triple Wide@, She Caught the Katy**, The Bottom Half^^, Mail Package^^
E: Dick In a Box$$, Pay the Snucka^%
Taj Mahal & the International Rhythm Band opened
^ with Jeff Coffin on saxophone
^^ with Jeff Coffin on saxophone, Michael “Mad Dog” Mavridoglou on trumpet, Chris Neal on saxophone, and Brent Sanders on trombone
* first time played, Blind Willie Johnson; with Taj Mahal
** with Taj Mahal
$ first time played, Steely Dan
@ with Jake on acoustic
$$ first time played, Saturday Night Live writers
% with Sunshine of Your Love jam
12.31.06 :: Tweeter Center at the Waterfront :: Camden, NJ
Images by Kenny Pusey
The Disco Biscuits :: 12.31.06 :: Camden, NJ
Set I: Astronaut, The Great Abyss > Spacebirdmatingcall > 421 2 > Spacebirdmatingcall, Trucker’s Choice
Set II: Paul Revere3, Bazaar Escape4 > We’re Not Gonna Take It5 > Helicopters > Bazaar Escape > Munchkin Invasion > Basis For A Day > Bazaar Escape > Basis For A Day, Caterpillar, Therapy > Orch Theme6 > Therapy
Notes: 1 inverted
2 with Simon Posford
3 1st time played (Beastie Boys)
4 with countdown
5 1st time played (The Who); ending only (Listening to you…)
6 1st time played (Conspirator)
12.31.06 :: Beacon Theatre :: New York, NY
Highlights included straight up Mule selections like “Larger than Life” and “So Weak, So Strong.” Toots Hibbert of legendary Toots And The Maytals came out for the “Dub Side of the Mule” set, which included “54-46,” “Hard to Handle,” “True Love,” and “Baby Got Soul.” The stage was decorated with a Jamaican theme – palm trees, records, a sunset backdrop, and a brass band. Perhaps the most impressive song during the dub set was the Mule standard “I’ve Got Dreams” sung by Toots.
The house lights came up after the first encore but were quickly dimmed back down – nobody was ready to go quite yet. Finally a rousing encore was capped off with the Tom Waits tune “Goin’ Out West,” which found the audience singing Warren off stage.
Gov’t Mule :: 12.31.06 :: Beacon Theatre :: New York, NY
Set I: Thorazine Shuffle, Larger Than Life, She Said, She Said > Tomorrow Never Knows, Whiter Shade Of Pale, Dolphinius > Painted Silver Light, Sco-Mule, So Weak, So Strong
Set II: Dub Side Of The Mule: Play With Fire, Unring The Bell, I’m A Ram, 54-46, Hard To Handle, True Love Is Hard To Find, Pressure Drop, Let Down, Dreams To Remember Reggae Got Soul, Happy Mule Year! Turn On Your Lovelight, Reggae Soulshine
Set III: Gregg Allman & Friends: Sweet Feeling, Just Like A Woman
E: It Hurts Me Too, Goin’ Out West
^”Dub Side Of The Mule” guest artists
Gordie Johnson: Guitar & Vocals
Elaine Caswell: Vocals
Buford O’Sullivan: Trombone
Pam Fleming: Trumpet
Jenny Hill: Saxophone
Sean Pelton: Percussion
12.31.06 :: Theater of Living Arts :: Philadelphia, PA
Words & Images by: Jake Krolick
The evening’s attendees were plunged into sound promptly at nine by The Brakes’ spirited set. Fronted by the burly-piped vocals of Zach Djanikian, the band drew in stragglers from all over the venue. They kicked into high gear with a ferocious tune, “Riot at the TLA.” Matt Kass and Derek Fienberg‘s guitars dealt soul-laden notes back and forth as Zach crooned. They dipped into their bag of tricks pulling out “Special,” their mainstream ditty featured in an H&R block commercial. Josh Sack held down a well-built beat as Adam Flicker‘s fingers bounced across his keyboards. By the time the band hit its stride the floor was a bursting bubble of warm New Year’s grins. The welcoming sight of Zach holding down the pocket flanked by Matt and Derek on guitar took hold of the audience. The band debuted “The Chase,” a wild display of rock power, immediately followed by a piercing version of “Bullet.” With inferno eyes and much to prove, the young band energized the room.
James Brown’s “Sex Machine” exploded like a wild firecracker. Josh was flanked by Matt Kass and Derek Fienberg. The stage was set ablaze with a joining of the forces as the Brakes brought their wild youthful energy to the performance. Zack and Adam nestled onto the back riser of the stage with a robust bottle of Champagne. Each of their brass instruments honked out funky cries with fluid style.
As one a.m. approached, Josh Sack – sporting a More Cowbell shirt – and a mystery bongo player in a massive afro emerged. Their percussive ferocity led both bands into the Beatles’ “I’ve Got a Feeling.” Josh worked his way to the front of the stage while beating the piss out of an old cowbell. It was difficult to tell where the applause ended and the laughter began. A spirited, and perhaps tipsy, Matt Kass flailed around during “GEORGIE P.” With a bunch of high fives and waves the evening ended as abruptly as it began. Good bands always leave you wanting more.
Tea Leaf Green :: 12.31.06 :: Theater of Living Arts :: Philadelphia, PA
Set I: Country Seduction, Panspermic De-evolution > If It Wasn’t for the Money > Panspermic De-evolution, Rapture, Hot Dog, Taught to be Proud, Gasaholic
Set II: Auld Lang Syne1,2, Get Up (I Feel Like Being A) Sex Machine1,3,4, Have a Drink on Me1,5, Franz Hanzerbeak, One Reason, Tequila, Truck Stop Sally, Sex in the 70’s, Piss It Away, Can You Guess It? > Death Cake > Can You Guess It?, Flippin’ the Bird6, The Garden (Part III)
E: I’ve Got a Feeling1,7, Georgie P1,4,7
Notes: w/ The Brakes, 1w/ The Brakes, 2w/ midnight countdown, 3James Brown cover, 4w/ Auld Lang Syne, 5AC/DC cover, 6w/ Trevor on harmonica, 7Beatles cover, 8w/ “This Land is Your Land” (Woody Guthrie) tease
12.31.06 :: The Tabernacle :: Atlanta, GA
Images by Brandon Merkley
STS9 :: 12.31.06 :: The Tabernacle :: Atlanta, GA
Set I: T. W. E. L. V. E., Luma Daylight, F. Word, Really Wut?, Mischief of a Sleepwalker, Instantly
Set II: You Don’t Say, countdown to 2007*, Life’s Sweet Breath*, Be Nice*, One a Day*, Ramone & Emiglio*, Kaya*, Inspire Strikes Back*, Aimlessly*
E: Music, Us, Moon Socket*
* = w/Richard Devine
12.31.06 :: Fillmore Auditorium :: Denver, CO
Inside The Fillmore, all worries were left behind as the three-night blowout began with Keller Williams on 12/29 and the New Orleans Social Club on 12/30 supporting Yonder. On New Year’s Eve, Yonder pulled out all the stops. Percussion innovator Futureman did his magic with the YMSB members, never straying far from the stage the whole night. Opening to cheers with “Idaho,” the band moved into a monster jam, segueing “Fastball” > “Sometimes I’ve Won” > “On The Run” > “I’d Like Off” > “Too Late Now” > “Finally Saw The Light” > “On The Run.” Set two began with new favorite, “Classic Situation,” and closed with a Talking Heads cover, “Girlfriend is Better.”
YMSB :: 12.31.06 :: Fillmore Auditorium :: Denver, CO
Set I: Idaho, Fastball > Sometimes I’ve Won > On the Run > I’d Like Off1 > Too Late Now > Finally Saw The Light > On the Run, Rain Still Falls1, Romance Blues, Steep Grade Sharp Curves
Set II: Classic Situation, Fingerprint1, 2 Hits and The Joint Turned Brown, The Ewie Wi’ The Crookit Horn, Cuckoo’s Nest, 8 Cylinders, How ‘Bout You?, Andre De Sabato Nuovo1, Wind’s On Fire, Girlfriend Is Better
Set III: Ooh La La1, King Ebenezer Rap > Midwest Gospel Radio, Boatman2
E: The Bolton Stretch, Steam Powered Aereoplane
Futureman String Band opened
Entire show with Darol Anger on fiddle
Futureman on drums for sets 2 and 3, and Steam Powered Areoplane encore
1 First time played
2 Iko Iko tease
12.31.06 :: The Music Farm :: Charleston, SC
Words by: Brian Bavosa :: Images by Brad Kuntz
“PGroove,” who consists of Brock Butler (guitar, vocals), Matt McDonald (keyboards), Adam Perry (bass), and Albert Suttle (drums), followed a loose formula over the three night run. The 29th focused on material written mostly around the time of their first release, Sweet Oblivious Antidote, while the 30th concentrated on tunes from 2004’s All This Everything. New Year’s Eve treated fans to a plethora of new material from their upcoming album, LiveLoveDie, tentatively scheduled for release on March 6th.
Opening NYE with the combo of “No Decorations,” and “Teakwood Betz,” PGroove showed that they have one foot firmly planted in the roots of their past, but are most certainly ready to tackle 2007 and the future beyond.
The second set, which began shortly before midnight, was an onslaught of newer material. McDonald filled “Two Shores” with patented Moog and synthesizer sounds, while Butler reminded a New Yorker such as myself that in a town like Charleston, “The water’s so nice.” PGroove put 2006 to bed with a nod from their themed Halloween show, in which they covered many of the songs from “A Life Aquatic.” The “Glock” jam, which heard repeated yells of “Esteban!” segued nicely into a NYE countdown.
As Butler smoothly rode along the riffs to “Auld Lang Syne,” The Music Farm erupted in cheers, champagne baths at the bars, confetti, and midnight kisses. And as quickly as ’06 went, ’07 was ushered in by two first-timers for the band, “Save for One” and “Mayday.” Both are unique, with “Mayday” supplying dark images of a robot marching into the ocean to battle with a gigantic octopus until eventually both are buried somewhere at the bottom of the sea.
“Crapshoot” was led by Perry’s bass line, and was nothing short of a boa constrictor that slowly crawls up your leg and torso, until it eventually wraps itself around your neck and squeezes the dear life out of you.
“Decepticon Structure,” “Out Here,” and “Speed Queen” rounded out the second set. The encore of “Only Always” again showcased Butler’s sentimental lyrics, which allowed the audience to establish an immediate connection with him.
Just when you think the shows over, the band reminded us it was in fact New Year’s Eve — the biggest, baddest party of them all. So, they returned for a second encore of Rage Against the Machine’s “Bulls on Parade,” with McDonald on guitar, and the aforementioned Butler on lead freestyle vocals.
Perpetual Groove : 12.31.06 :: The Music Farm :: Charleston, SC
Set I: No Decorations, Teakwood Betz, So Much As Goodbye, Legends Of Preston, Get Down Tonight
Set II: Two Shores, Glock Jam* > Auld Lang Syne > Save For One**, Mayday**, Three Weeks, The March Of Gibbles Army, Crapshoot, Decepticon Structure, Out Here, Speed Queen
E1: Only Always
E2: Bulls On Parade
* with Wilco-Spiders (Kidsmoke) tease
**First Time Played
12.31.06 :: Higher Ground :: Burlington, VT
Words & Images by: Trevor Pour
As 10:30 rolled around, the Nocturnals took the stage and ripped into Neil Young’s “Tonight’s the Night,” revving the energy in the room way up with the impressive guitar work of Scott Tournet. After only 15-minutes, the Nocturnals swapped out their electric guitars for mandolins, squeezeboxes, and lap steels. Jokingly offering to bribe the audience to keep quiet for an acoustic set, the quartet settled down for a few slower songs that strangely didn’t interrupt the flow of the show. The crowd’s enthusiasm carried into the quieter set. The 45-minute first set ended with the beautiful vocals of Grace Potter on the title track from the band’s recent studio album Nothing But The Water.
By the time the band left the stage after the second set, over half the audience had left but the band still brought themselves back for an encore though there was virtually no call for one. An odd, kazoo-accompanied sing-along of “Join the Band,” followed by a decent cover of Young’s “Cortez the Killer” closed out the night. Potter’s first set gave hope that this year was the mere tip of the iceberg for her future, but her second set scared many of what might become without a solid foundation. The road ahead is still shining bright for Potter, and we are certainly not letting half a bad night convince music fans otherwise.
12.31.06 :: Tipitina’s :: New Orleans, LA
Words by: John-Ryan Hevron :: Images by: Cara Schembri
We stood in the back and listened to the end of Papa Mali‘s opening set. His trio was rounded out by Kevin O’Day on drums and Scott Nelson on bass. What we heard was good, but it didn’t kick start our evening. Galactic drummer Stanton Moore sat in on drums and Big Chief Monk Boudreaux on vocals for “Fire Water” and “Carnival Time.”
As Papa Mali finished, the crowd arrived all at once. We snaked our way to the front while we still had a chance. The stage had the feel of a band rehearsal space decorated with Mardi Gras leftovers. A metallic silver sheet, like the space blankets they hand out at marathons, hung from the back wall. Two different sized disco balls hung like giant mirrored grapes on either end of the stage and a blingtastic three-foot-tall, silver mirrored “G” sat on a pedestal in the middle. As always Professor Longhair’s painted portrait, dressed up with a hat and clock, looked down on the proceedings from above.
While introducing the band, the Tipitina’s MC announced, “Last year was a year of survival, but this year is our year to kick ass!” The audience on the rail crowded in as guitarist Jeff Raines, dressed in a light blue tuxedo jacket, ripped into the opening of “Fema.” This would be an “on night” for him. The funk continued with “Go Go” and “Garbage Truck” and before we knew it, the Soul Rebels Brass Band was onstage, bringing the head count to 13. After a couple jams it was time for the countdown. Though it might have been a few minutes past midnight by Professor Longhair’s clock, the Soul Rebels’ trombone player assured us that it was 11:59. We celebrated with plastic cups of champagne as the horns played “Auld Lang Syne.” The Soul Rebels then left the stage and Galactic reclaimed the show with a fiery take on the JB’s “Hot Pants Road,” which included some Beastie Boys “Sabotage” style soloing from bass player Rob Mercurio.
Papa Mali then voodooed his way onto the stage and impressed right away with an Allmans’ “Whipping Post-esque” version of John Lee Hooker’s “Bottle Up and Go.” His guitar playing and singing were inspired, but his midnight-blue pimp hat with a big yellow feather stuck in the side was ridiculous. He followed up with a solid take on Aaron Neville’s funk classic, “Hercules.” After “the Moil,” Galactic continued the Zep theme with an instrumental “Immigrant Song.” I simultaneously pumped my fist to the music and tried to get the bartender’s attention for a last plastic cup of champagne.
For Galactic’s second set, we relocated to the balcony. As usual, the floor was slick from spilled drinks and the condensation from a couple hundred moving bodies. Galactic started up with a version of “Black Eyed Pea” that included a terrific solo by Stanton Moore. They segued into even more Zeppelin with new regular “Trampled Under Foot.” What followed was darker and more intense than the first set and eventually found Annie Clemons on bass for a lively take on the Meter’s “Little Ole Money Maker.”
Papa Mali then returned for Al Green’s “I’m a Ram.” He sang well, but it’s hard to beat versions performed by their former singer at earlier Tip’s shows. They followed with a brooding “Walk on Guilded Splinters” that was one of the highlights of the night. The band was lit with a muddy mix of yellow and blue, the murky light reflected in the silver backdrop providing an underwater effect. Papa Mali and Chief Monk Boudreaux handled vocals, channeling everything spooky and preaching to the crowd while Anders Osborne banged away on a cowbell in the back.
I wasn’t the only one who felt that the show ended a little early. Last year’s three-set marathon had raised our expectations high. Though I suspect that the early ending had something to do with the band wanting to get in a little more family time before heading off to Jam Cruise the next day, it might have been the energy of the evening as well. As I wrote earlier, the vibe in the room lacked some of the urgency of last year’s Katrina catharsis show. But maybe that’s not such a bad thing. It could be a sign that New Orleans is finally settling down and heading back to normalcy.
Galactic :: 12.31.06 :: Tipitina’s :: New Orleans, LA
Set I: Fema, Go Go, Garbage Truck, Soul Rebels tune (Soul Rebels), Auld Lang Syne (Soul Rebels), Hot Pants, Bottle up & go (Papa Mali), Hercules (Papa Mali), Moil, Immigrant Song, Blackbird Special (Soul Rebels)
Soul Rebels Set: I Want You Back, Raise the Roof, Crazy, Give It Up, Who Dat?, When the Saints Go Marching In > Blister in the Sun > When the Saint Go Marching In, Crazy In Love
SET II: Black eyed Pea > Trampled under foot, Sunday Araq, Black Talk, Lil ole’ Money Maker (Annie Clemens, Bass), Tiger Roll > Bounce Baby > Space Headz, I’m A Ram (Papa Mali), Walk on Guilded Splinters (Papa Mali, Monk Boudroux, Anders Osbourne), Shibuya
E: Poison Pussy, Bongo the Dog
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