Government Mule
1/28/04
Newport Music Hall
Columbus, Ohio

by Cory Tressler

The heavy jazz instrumental “Thelonious Beck” opened Government Mule’s Newport Music Hall performance. From the very start Warren Haynes was delivering a triumphant execution of guitar mastery. During the opening instrumental, Haynes displayed the musical brilliance that has put him at the forefront of the jamband scene. With new bass player Andy Hess providing some great low-end groove, Haynes was able to take his playing to incredible heights throughout the night. The Mule original “Game Face” and a cover of Steppenwolf’s “Don’t Step On The Grass, Sam” were Haynes’ first chance to let his voice deliver it’s raspy, yet precise and powerful, punch. Over the years, Haynes’ vocal talents have grown right along with his guitar playing and he has now reached a point were he can induce goose bumps with either talent.

A surprising cover of Al Green’s emotional R&B song “Take Me To The River” followed and acted as a perfect catalyst for Danny Louis to lay down some impressive keyboard work. Louis’ playing provided great energy to the rest of the band and the jam that ensued during “Take Me To The River” was very reminiscent of the Talking Head’s Top 40 version of the song. The choppy laid back guitar funk of “Time to Confess” and the rockin’ power of “Bad Little Doggie” highlighted the middle of the first set. Once again, Danny Louis provided excellent playing during “Time to Confess”, where his keyboard work fit perfectly with Haynes’ rhythmic guitar patterns and Hess’ steady bass playing. The forceful drumming of Matt Abts was prevalent throughout “Bad Little Doggie”. Abts is a great rock drummer that never misses a beat and there wasn’t a moment during the show that Abts did not provide the perfect musical support for the rest of the Mule. An inspired cover of Lynyrd Skynyrd’s “Simple Man” was a fitting end to Mule’s first set of bluesy rock.

Set two began right where set one left off with a torrid version of Led Zeppelin’s “Trampled Under Foot.” Danny Louis began the song with a soulful organ/keyboard intro and then the rest of the Mule jumped into the raucous song at full force. This Zeppelin cover was a great way for the band to set a high energy level for the rest of the show. Every song that was played during the second set sounded extremely together and rocking. Warren Haynes showcased his limitless ability while never overshadowing the other members of the band. Government Mule was able to create a sound that was full, while at the same time raw and passionate, with each member providing an integral portion to the mix. This was never more present than during John Fogerty’s “Effigy.” It was truly inspiring to hear, and watch, the Mule play with such emotion and dexterity. The band was hitting on all cylinders during “Effigy” and was really stretching the limits of the song. The jam during “Effigy” was an up-tempo flowing blues that developed into an instrumental arrangement of Johnny Cash’s “Folsom Prison Blues.” The improvised playing out of “Folsom Prison Blues” developed into a musical climax that landed the band right back into “Effigy.” This transition was the highpoint of the show and resulted in a thunderous roar of applause from the crowd.

A sentimental arrangement of The Rolling Stones’ “Wild Horses” and a raunchy version of the Mule classic “Thorazine Shuffle”, complete with female fans from the crowd dancing onstage, closed out the second set of the Mule’s three hour rock show. As Mule and dancers left the stage the crowd enthusiastically yelled, “Muuuule!”, which created a reverberating noise that sounded somewhat like a moaning cow. After reveling in the crowds cheers Government Mule returned to the stage and gave the herd of Cowlumbus fans an impassioned version of “Youngman Blues.” Warren Haynes began the song with some extraordinary acapella vocals. Haynes’ voice was extremely strong and poignant and the band played a jamming arrangement of “Youngman Blues” that contained many different themes: including “Good Morning Little Schoolgirl” and an impressive section that sounded similar to the crescendo in Led Zeppelin’s “Moby Dick.” Through playing a splendid selection of cover songs and original compositions, Government Mule left the audience captivated and satisfied.