Widespread Panic feat. The Dirty Dozen Brass Band
Another Joyous Occasion

THE REVIEW

Widespread Panic is the quintessential band out of their time, with no ambitions to be stars, no presumption of appealing to the masses, but with the undeniable ability to build a solid fanbase around the world thanks to their excellent albums with a retro flavor. In short, all steak and no sizzle.

The driving force of this live performance is the continuous jam. An engaging continuity that makes the record feel like one single track, where the jam is taken to the extreme. The band plays as one in the truest sense of the word, powerful and precise, supported by the energetic, colorful, and vibrant brass section of the legendary Dirty Dozen Brass Band. The performance kicks off with "Fishwater", a track reminiscent of the most inspired jamming glory of the Allman Brothers Band. John Bell's rough R&B seasoned singer's voice, along with the Dirty Dozen's blasts - permeating the track and the entire album with typical R&B and Funky tones - magically enrich the rhythmic groove created by the rest of the band, accompanied by an entourage of percussionists. The second track is "Superstition", the great classic by Stevie Wonder, also covered by Stevie Ray Vaughan and Jeff Beck. A brilliant execution, impossible to stand still. I believe it's no coincidence that "Superstition" is the second track, as it masterfully keeps the thread of the narrative, acting as a glue, creating a bridge to the reprise of "Fishwater" which will arrive soon in all its final freedom. In fourth place, we find the fantastic "Christmas Katie", a very engaging ballad at a gentle trot, featuring many sounds and colors typical of the States: from New Orleans Soul to Motown Funky, with trombones engaged in a captivating martial accompaniment typical of American bands and old orchestras; meanwhile, everything quickly escalates into a subsequent acceleration where the late Michael Houser's guitar, who passed away in 2002, embarks on an astonishing energetic solo. A stunning sound, somewhere between Dickey Betts and Carlos Santana, warm and rich.

Another round, another chance:"Beehive Jam" manages to lay down a starting jam, mix it into psychedelic and Latin territories, then lay it in a dreamy bed... A true sonic experience. "Big Chief" by Earl King, thanks to John Hermann's piano, recalls a sound that is very smooth and very intriguing, with the ever-reliable Dirty Dozen supporting, now with a trumpet blast, now with a saxophone stroke, now all together. "Drums" speaks for itself, a long solo where Todd Nance and the percussion ensemble indulge in a well-established rhythm. "Weight of the World" is a product of the album, same conversation: a Funky mood that is impossible to resist. "I Walk On Guilded Splinters" is a robust R&B by Dr. John set into this magnificent record. "Coconut" and "Arleen" are the album’s summary: it's as if the credits start rolling by, with the band thanking the listeners for the shared journey.

A live performance that is the perfect synthesis of a certain Southern Rock Jam from the early days but carried by the hand, after much wandering, to the brink of the new millennium (it’s from 2000), thus an out-of-time live performance. In the long run, it might become exhausting, given the rhythmic obsessiveness typical of jam bands, but the nuances of the band and the Dirty Dozen will skillfully face this risk.