Photo by Dave Vann
Four years after a hurricane and its aftermath threatened to break the spirit of one of America’s most unique cities, the New Orleans football Saints started a journey that didn’t just end with a championship ring, but also opened up a new chapter of hope and restoration for their home turf. Then, in the form of another economic and ecological disaster, this time characterized by oil-soaked wildlife and corporate irresponsibility, another tragedy endangered years of incremental progress and refortified resolve. While the rest of the country may question the sense in rebuilding New Orleans after such seemingly regular turmoil – versus letting it rot like another black music Mecca, Motown’s Detroit – it’s a no-brainer to Gulf supporters who understand the geographic and cultural importance of the region. And much like the underdog Saints, Bonerama and the rest of NOLA’s musical community now tour not only to provide an evening of entertainment, but to drum up support as representatives of the hardworking folks back home.
Bonerama could’ve stayed in Louisiana and had a great September 9th watching football and hanging out, or playing a guaranteed sold-out show for local friends. Instead they chose to embark on a short West Coast run through southern and northern California, starting off with a post-game gig in Las Vegas on NFL Opening Night 2010. Literally, the sextet wouldn’t take the stage until after the Saints disposed of Minnesota, 14-9. And luckily, President of the Las Vegas Jam Band Society and diehard Vikings fan Greg Serensits still let them play.
The experience of not performing in Vegas for a number of years resembles playing the town for the first time, and the group spent much of the first set introducing an uniformed weeknight audience to their aggressive nontraditional brass band sound. “Spring Monkey” got the party started and displayed the tight interplay between the three featured trombones, followed by vocal numbers “Lost My House” (off their most recent EP, Hard Times, ) and “What You See.” But it wasn’t until a thundering rendition of Led Zeppelin’s “The Ocean” did the audience’s disposition start to shift from skeptic to believer. A harbinger of things to come, the guys would lean heavily on covers during the second set, whipping the crowd – as they had themselves – into a sweaty frenzy.
Perhaps a nod to the Jam Band Society’s dispersal of Furthur tickets during a setbreak Grateful Dead trivia contest, the band followed up the fast and funky instrumental “By Athenish” with an inventive stab at winding jam vehicle “The Other One.” Another classic open-ended scene staple, the Allman Brothers Band’s “Whipping Post,” appeared shortly thereafter. Slides slicing through air, lights bouncing off polished brass, Bonerama finally started to see the fruits of their labor transformed into a rabid, responsive crowd. The energy briefly quelled during an ill-timed “Redemption Song” reggae break, only to return during the powerful “War Pigs” set closer, replete with crowd sing-along. Instrumental funk, balls-out rockers, NOLA hallmarks – nothing is off limits when Bonerama has their mojo workin’. It may have taken a few more covers than usual to accomplish the job, but those who hung around for the latter of two hour-long sets left glad they did.
As trombonist Craig Klein struggled through handwritten lyrics warping “When The Saints Go Marching In” into a rallying sports anthem, it was guitarist Bert Cotton and lead singer/trombonist Mark Mullins’ peace signs that held a deeper meaning. “Two Dat!” they yelled; “Two Dat” signifying not just a run at a repeat Super Bowl title, but that it’s going to take more than one or two natural or unnatural disasters to keep the Crescent City down. Bring on the NFL, bring on Mother Nature, New Orleans will rise above. With another coastline regeneration ahead of them, anyone doubting how that venture will succeed need only follow the bouncing balls and bells of their hometown athletes and musicians to foresee the answer.
