Show Review

I may be speculating a bit here, but it seems to me that it’s been a long time since Warren Haynes must have had any real feeling of consistency in his professional life. I don’t mean his performances – the man is a living legend, a god of the guitar. I mean consistency from month to month, year to year – that feeling of security in knowing what tomorrow will bring to himself and his organization. Sure, there have been tours and moments on stage where it felt like the “Mule mojo” was back, but since the untimely death of Gov’t Mule bassist Allen Woody in August of 2000, Haynes and percussionist extraordinaire Matt Abts have shuffled around bass players like a poker dealer in an all-night casino in Atlantic City. Whether hitting the road with David Schools from the crunchy Georgia rock outfit Widespread Panic, Jason Newstead of Metallica and Ozzy Osborne head-banging fame, or George Porter from New Orleans own phenomenal Funky Meters (and seemingly everyone in between), Gov’t Mule has taken on many temporary forms lately, but none have truly felt like “home” again.

Now, finally, a permanent lineup has been announced with Haynes and Abts welcoming new bassist Andy Hess and recent addition (as of February, 2002) keyboardist Danny Louis to become the new incarnation of Gov’t Mule – not a power trio, but a power quartet. Whereas the previous rotating bass players all brought something special to the table, Haynes and Abts emotionally came across much like a blue collar worker dressed up in a tuxedo – sure it looked and felt nice for a while, but it wasn’t something to wear everyday. The true soul of Gov’t Mule isn’t flashy and has no frills – its straight ahead, knock your socks off “comfort rock.” Well, things have apparently evolved back to where it all began. On a chilly Thursday in October “The Rebirth of the Mule” tour rolled into the newly re-opened Phantasy Theater with both Louis and Hess flawlessly blending their spectacular talents into the mix, adding a foundation so solid it seemed the sound could be taken anywhere and everywhere the group envisioned. Warren Haynes once again proved why he is perhaps the most talented guitarist on the planet, as the new and old melted together under his musical spell, all flowing like a raging river, “chasing those blues away.”

Chris Robinson’s New Earth Mud opened the show with a short set of some down-home grooves and a dash of funkiness thrown in for extra flavor. The set was a good appetizer for Gov’t Mule’s soulful multi-course main dish. Robinson’s band was fun to listen to, but really didn’t explore enough in their improvisation – the growing crowd would have to wait for Haynes and company for that. As the anticipation built before Gov’t Mule took the stage, this was one of those nights where, when you really stopped and took a look around, it was hard to believe that an event like this was happening in Lakewood, OH. The band emerged to a roaring response from the crowd and went straight to work. The first set of the evening started out of the gates running, with a top-notch version of “Rockin’ Horse.” That set the stage for a double shot by The Deep End Volume 1favorites, “The Banks of the Deep End” and “Sco-Mule.” A deep and well explored version of “Fools Moon” followed, with Hess laying down licks very reminiscent of Jack Bruce’s lines on the studio version of the song (also from the The Deep End Volume 1” album).

All through the first set, Hess held his own and did so on his terms - instantly embracing the soul of the songs he played while adding his own sometimes light and jazzy, sometimes powerful touches. To the discerning Gov’t Mule fan, Hess did a seemingly impossible task – he brought his signature to the mix even when playing the exact same notes which temporary bassists before had performed. A very special treat came up next in the set – a brief first verse of Dobie Gray’s classic “Drift Away” into “I Shall Return.” Now, “I Shall Return” is one of my favorite songs in the world – not favorite Mule song, favorite song period. It sounded so amazing this night – Haynes’ sultry rasp weaved around the backdrop of soulful beats. “What good is my wisdom, when there are no words to say,” he crooned, as faces in the crowd lit up and cell phone calls were made. The band wrapped up that number and shifted away from the ballads, laying down a razor sharp “32/20 Blues” before someone in the crowd pleaded for a request. Haynes relayed the plea to the rest of audience - “Someone in the crowd just said he has the blues. We'll do everything we can to help chase those blues away.” The group finished up the set with “Slow Happy Boys” and invited Chris Robinson and Paul Stacey of New Earth Mud on for the seminal Crosby, Stills, Nash and Young favorite “Almost Cut my Hair,” followed by the debut of a crowd pleaser called “Snatch it Back and Hold it” with the refrain “I can’t help myself.” The set left no one in the crowd wondering how comfortable Haynes and Abts felt with their new band mates – the only question anyone pondered was what treats the second set had in store.

The answer arrived quickly as the second set of the evening began after a short intermission, and Haynes immediately dug out a gem for the already satiated crowd. “30 Days in the Hole” was just what he needed to draw the crowd back under his spell and within 2 minutes, the whole building thundered with the chant of the refrain of the Humble Pie classic. Another Mule take on a cover came with their signature twist on Prince’s “When Doves Cry.” It’s always a treat to see this arrangement (which evolved with George Porter Jr.) because of the smiles on the faces of the first timers when they realize the melody just in time for the most flawless segue in rock and roll today. “When Doves Cry> Beautifully Broken” suite was perfect this night, and Haynes smiled, knowing full well that he held the audience in the palm of his hand. “Trouble Every Day” came up next and was a treat – this was my first time hearing Mule cover this song and it seemed to be the one that had the most set list scribblers scrambling, apparently not quite as schooled in their Frank Zappa as they should have been. Next, it was time for some funk – “Third Stone from the Sun Jam” hit the spot quite nicely and showcased the interplay between Hess and Haynes. I can’t wait to see how their musical relationship develops over the next few tours, because they have a way of creating a beautiful dance between their notes that sounds absolutely exquisite.

As the jam wound down, Matt Abts had his time in the spotlight and laid down a drum solo that had jaws dropping all around the theater. Certainly the most under-appreciated drummer in the world, Abts demonstrated his adeptness on the kit by literally blasting his way through ten minutes of percussive paradise. This wound down into a bluesy chug as “Trane” left the station and began to roll down the line. This was a poignant version, perfectly displaying the smoothness of Hess’ bass and the punctuation that Louis brings to the table. After giving the crowd a second to catch their breath, Haynes said (in a playfully appreciative tone) “Thank you, Cleveland, you've got great taste here tonight.” And with a laugh, he continued, “sorry if we're playing all this weird shit, but we haven't been here in a while, so what do you expect." He took a step back and nodded at Abts before launching into the Van Morrison classic “Into the Mystic.” “I want to rock your gypsy soul…just like way back in the days of old,” Haynes smoothly delivered the goods with his eyes shut but his soul bare for the room to see. After this beautiful version finished, he and Louis took some time to entertain the crowd with their deceptively anti-political banter. Haynes stated "There will be no fuck George Bush comments tonight. I just don't think it’s the place to say fuck George Bush" to which Louis replied "Yeah, fuck 'fuck George Bush' comments.” Without another word, the band’s anthem, “Mule” burst out of the gate. Haynes has stated in interviews that this song has never been played the same way twice – well, it has seldom been played with the spirit it was this night. The set ended with a display of power and finesse that few musical acts have ever been able to couple in an entire performance, let alone in one song.

When the first notes of the encore started, I literally fell over. There I was, probably soaking in spilled beer and cigarette butts, but I didn’t mind. Warren Haynes was finally playing “Wish You Were Here” and I was indeed knocked over. But I had no clue about the special twists this once-in-a-lifetime gift would take on (this was only the third time Gov’t Mule had ever played the Floyd ultra-classic). Haynes encouraged the audience to sing, and the room was filled with 800 voices, carrying on in unison about a “lead role in a cage.” When it came time for the refrain, the band kicked in and segued perfectly into “Soulshine” – quite possibly the mantra of Haynes spirit. This was a great version too – often a song looses its impact the more it’s played, but I have yet to see anything but magic surrounding this lyrically luscious lullaby. Haynes took the time to flash the “peace” sign to those in the audience and really seemed to be going out of his way to make a connection with each and every person in the room. All I can say is, Warren, you don’t have to try – one note from your guitar and we are yours. “Soulshine” was woven back into “Wish You Were Here” and Haynes took the lyrical lead for the second verse and refrain. The night ended on a magical note and nothing but praise was heard from the slow to depart crowd as the cold evening welcomed them back to reality.

You know as well as I do that only Warren Haynes himself could tell you how the new Gov’t Mule feels. But if someone asked me to take a gander, I would postulate that there is no doubt he feels like he is once again playing with his musical soul mates. No one will ever replace Allen Woody, but that’s not the point - no one is trying to recreate the past. This group of superb musicians is focused on the future. Indeed, Gov’t Mule has been born again, and, if you give them a night to show you the way, they will indubitably chase your blues away.

SETLIST

Set 1: Rockin’ Horse, The Banks of the Deep End, Sco-Mule, Fools Moon, Drift Away (first verse)> I Shall Return, 32-20 Blues, Slow Happy boys, Almost cut My Hair*, Snatch It Back and Hold It *

Set 2: 30 Days in the Hole, When Doves Cry> Beautifully Broken> When Doves Cry > Beautifully Broken, Trouble Every Day, Third Stone Jam > Drums >Trane, Into the Mystic, Mule

Encore: Wish You Were Here >Soulshine> Wish You Were Here

*w/ Chris Robinson on vocals/harp and Paul Stacey on guitar (from New Earth Mud)

Photographs by Robert Massie. For more of his work, please visit jampics.com.