You close out the year with two shows that will culminate with a New Year’s Eve performance. Some people were curious how you approach that night and whether that differs if at all from your approach to other gigs?
A lot of things go into it. You kind of have the liberty to play things you normally wouldn’t play. Certain covers would otherwise seem a little cliché or bar-bandy in a normal show, where on New Year’s, all bets are off.
Another part of it is with New Year’s, is you kind of assess where you are and what progress you made or didn’t make throughout the year. It’s kind of the great unwinding of the year and usually it’s a total celebration. You feel really good about where it is and where things are going and this year I think we’re really excited about that. It’s a new band, a new start. We’ll be coming out of 20 days in the studio recording, so the band should be pretty tight, there’ll be a lot of new material and we’ll have time to rehearse a few things. So I’m excited about it this year as much as ever.
What about tour plans for 2011?
As of now we’re thinking about doing some festivals in Australia and possibly Japan and then a pretty solid tour of the States. We’re definitely planning on working more next year than we did this year, with a solid line-up and a new album and new material. This year I felt like we were just getting our sea legs. There were some amazing shows, some amazing moments but a lot of it is a feeling out process and next year is really a launch. So between now and the first tour, there’s going to be a lot of rehearsal, a lot of writing, a lot of growing with the band.
In terms of global touring, what did you take away from your travels with Eric Clapton that may have opened your eyes?
One of the things you take from it is just how amazing it is to tour the world. You always love coming home but to be in Italy for a few days then France and a week later you’re in Japan. And the one thing you realize is that Eric is an international artist, he can play anywhere and the crowds are constant wherever he goes. A lot of bands in the States are pretty much stuck in the States and that’s not a bad thing but they can’t tour around Europe like they do at home. A lot of that is commitment because on the financial side at least at first, every time you go is a losing proposition. It’s really a matter of starting over. We’re trying to head over there early with the hope of becoming an international act. There’s something beautiful about it, visiting places around the globe but you do have to plan accordingly.
As for building an audience in Europe, have you found playing in front of smaller crowds energizing, a bit deflating or is that irrelevant because ultimately it’s just about creating music regardless of the audience size.
It’s extreme, some nights you’ll play and think you made zero headway: “I don’t know if we got anybody over to our side.” And then there are other nights when it’s just magic. With the DTB we had one of our greatest shows ever in Spain. It was a free show in the town square and about a half hour before there were about 20 people wandering around. But I guess everybody knows exactly what time to show up because by the third song it went from a few hundred people to a few thousand and it was just one of those great happenings. We played one of those true encores where they are just not going to let you not come back to the stage or something will be broken (laughs). It was a religious festival and there were fireworks after, so in those moments it really is like playing in front of completely virgin ears. You’re going to have to win people over on merit, there’s no preconceived notion. They don’t know who you are at all. They don’t know your back story and there’s something really nice about that because in the States with a new band, you’re not only dealing with people not knowing the material but they’re coming with expectations from another group.
Although in certain respects, that’s been true of your entire career.
Yeah and I enjoy it. The Allman Brothers connection has been an amazing thing for me but there are some people who just want to hear you play “Statesboro Blues.” That’s how it’s been from age 9…though age 31 (laughs). Certain people don’t want to hear anything else, so it it’s part of having to overcome people’s expectations. But I think it’s good for you, you need to little carry a little bit of a chip on your shoulder to keep slugging away. I think everybody works well when they’re trying to prove something.
Speaking of the ABB, a number of people asked about the possibility of another studio album and others were curious about 2011 tour plans.
As far as a studio record I’m not really sure. I think most of the Allman Brothers Band feels like it’s a real chore going to the studio. They don’t love it as much as touring. So I don’t know if that’s going to happen. That’s one of things where I listen to Eat A Peach or one of the early records and I’ll say, “You guys make great records, there’s nothing wrong with doing a record.” But they’d really prefer to just get out and play, so I don’t know if I see one in the near future. But with that band I wouldn’t count anything in or out.
The same with touring next year. I’m pretty certain the Beacon will happen. Beyond that I’m hearing rumors of tours all the time but nothing’s set in stone.
And as far as you know you’ll be part of them?
As far as I know (laughs).
I suppose that was phrased a bit akwardly.
I’ll be there.
Here’s a question on an altogether different topic: ”What was it like playing with Michael Houser from Widespread Panic?” Brent P
I was really young when I played with him. Those guys were always great to me but the interaction with him when I was 11,12,13 years old, I don’t remember a whole lot of it. But I always enjoyed playing with him, he’s a very melodic player which I always appreciate, where it’s not just about what they’re playing or how many notes they’re playing and there’s also a real focus on the melody and the song.
No Comments comments associated with this post