What a Difference a Day Makes: Widespread Panic in St. Augustine
Alright, all you Spreadheads. Get your flamethowers and phasers out, set to immolate. Ready? Here goes:
I liked the Friday Widespread Panic show at St. Augustine Amphitheatre (September 23) more than the Saturday show.
YIKES! OK. Here is the short version: these were the last two nights of the 13-date September run, and I was expecting the heat — both nights. The heat was unquestionable Friday, not even counting the encore sit-in Derek Trucks and Miss Susan Tedeschi.
Saturday night had plenty of heat — but also plenty of cooling off. You may call me a fair-weather Panic fan if you like, but the “slower” songs are of less interest to me, and there six on Saturday, compared to two on Friday. And yes, the six-headed monster played straight through for three hours on Saturday (minus two minutes before the encore), but I still felt like I was on a roller coaster.
Donna heard her first two Panic shows, and her comment as we left Saturday was, “It was a completely different vibe tonight.” For what it’s worth, I’ll bet my opinion is in the distinct minority, but I thought it was worth discussing.
FRIDAY
There were still lots of people outside when Panic walked on stage about 7:15. “Tell your friends out in the parking lot: Come on in. We’re gonna have a party!” said John Bell.
They chose the perfect tune to start the show given the state of the nation and the world of late: Pop Staples’ “Hope in a Hopeless World.” This was absolutely Jimmy Herring night (aren’t they all?), and he stepped out twice on “Glory,” with a fine solo from JoJo Hermann in between. He switched to clavinet at some point during “Worry” and gave that thing a real workout.
“Cotton Was King” worked the crowd into a frenzy, Hermann this time with some fine electric piano. After an unexpected “C. Brown,” Hermann drove very slowly through the first part of “1×1” before picking up the pace.
As they launched into the bounciness of “Christmas Katie,” with a lovely long intro by David Schools on bass, it seemed inevitable that a jam was about to commence. More great New Orleans piano from Hermann led to the second half of the tune, and the boys were off to the races. Herring had a tremendous solo. As the jam began to slow, Duane Trucks kicked the band into “Radio Child,” as inspired a version as I’ve ever heard.
Trucks was simply spectacular at the drum kit both nights, and Sonny Ortiz was all over his entire array of percussive toys. Along with Schools, they provided incredible backbone in support of JB, Herring and Hermann. The first set closed with a wicked “Taildragger.” Just plain nasty.
What a delight it was to hear “Postcard” open set two! “Impossible” was incredible, rolling into a deep spacey jam that continued on for almost five minutes before JB confirmed “Slippin’ Into Darkness,” 15 minutes of pure heaven: JB’s vocals, Herring’s guitar, Hermann on organ, the percussion twins perfect, and Schools first teasing “Set the Controls…” (I swear), then leading everyone into a brief “Get Up, Stand Up” section before returning to “Slippin’.” And tour manager Steve Lopez joined Ortiz on percussion!
“St. Louis” was great choice to set up a jammed-out “Rock,” and that yielded to a deep, dark “Proving Ground,” Schools, Herring and Hermann again standing out. “Proving Ground” settled down into “Jack,” which got really jammed out and led into “Chilly Water.” First time I’ve experienced the Rocky Horror Picture Show-type audience participation.
“Chilly” was superb, yielding to a short “Drums.” Schools and then Hermann eventually joined in, and the second half of “Chilly” was mind-blowing.
But not half as mind-blowing as watching a roadie set up an extra mic stand during the break and imagining the possibilities. The last time Panic graced St. Augustine (10.05.14), Duane Trucks had just taken over the drum chair, and it was natural for his brother to come check it out.
His brother was there for this show, too. Out walked Derek Trucks and Susan Tedeschi to a huge roar of approval from the crowd. JB said, “We found this sweet little buttercup out on the street!” There was more, but it was in JB speak and difficult at best to decipher.
I’ve seen the king and queen of Florida jam sit in with the Panic boys before, but this was by far the best. “Good Morning Little Schoolgirl,” with Herring and Derek trading solos and JB and Tedeschi trading stanzas. Tedeschi was absolutely on fire vocally and ripped a fine guitar solo as well. Another 15 minutes of brilliance, and they followed that up with a monster version of Joe Cocker’s “High Time We Went.”
BAD ASS. What a fabulous night. That’s the heat!
SATURDAY
Everyone was primed and ready for night two and the last night of the September run. Speculation about openers and tunes we would get rippled through the crowd as we swizzled up to the security gates. One dude did get it right: “Let’s Get the Show On the Road” seemed appropriate. “Contentment Blues” was hot, and “Love Tractor” was hotter. The heat!
Immediately, they took the foot off the pedal and coasted into “Gradle.” The intensity rekindled with “Thought Sausage,” then flickered again during “The Last Straw.” “Hatfield” was solid, and “Angels Don’t Sing the Blues” sounded great. Schools had a blast with “Flat Foot Flewzy,” and it seemed the heat was back on high.
“Action Man” seemed to confirm that, but then we got “Don’t Be Denied,” “Last Dance” and “Pilgrims.” Please don’t misunderstand: those are three fine songs, but back to back to back took some of the wind out of the sails — for me. Hermann fired up the stove for “Red Beans” at a frantic pace, his electric piano amazing. “Machine” had two ways to go. I prefer “Travelin’ Light,” but I suspected correctly: “Barstools and Dreamers.” My favorite version ever, totally jammed out. And the only real jam of the night.
Then “City of Dreams” put us back on simmer, waiting for “Goin’ Out West,” a wonderfully nasty version of a nasty tune. A slightly longer “Drums” turned into “Saint Ex,” yet another “slower” song. Thank heavens for “North” to close the one-set show.
There was a very brief pause before the six came back on stage for the encore. I wish I could say I liked “Expiration Day,” but no. It always leaves me flat. Unlike “Dear Mr. Fantasy,” a wonderful way to end an up-and-down evening of music by the best damn band on the planet. And show 42 for me.
Your mileage may vary.
[WSP 09.23.16 SET 1: Hope in a Hopeless World, Glory, Worry, Cotton Was King, C. Brown, 1×1, Christmas Katie > Jam > Radio Child, Taildragger; SET 2: Postcard > Impossible > spacey jam > Slippin’ into Darkness* with Get Up, Stand Up tease, St. Louis > Rock > huge jam > Rock, Proving Ground > Jack > Chilly Water > short drums > Chilly Water; E: Good Morning Little Schoolgirl > High Time We Went (w/ Susan Tedeschi and Derek Trucks)]
* Steve Lopez on shaker
Listen to or download the PanicStream audio here.
[WSP 09.24.16: Let’s Get The Show On The Road, Contentment Blues, Love Tractor, Gradle, Thought Sausage, The Last Straw, Hatfield, Angels Don’t Sing The Blues, Flat Foot Flewzy, Action Man, Don’t Be Denied, Last Dance, Pilgrims, Red Beans, Machine > Barstools and Dreamers, City of Dreams, Goin’ Out West > Drums > Saint Ex, North; E: Expiration Day, Dear Mr. Fantasy]
Listen to or download the PanicStream audio here.
Photographs by kind permission of Smilin’ Shell, Jeff Fernandez and Wes Crosby!
