Gov't Mule
Beacon Theater
New York, NY

By Tom Semioli
Photo © Alyssa Scheinson

Traditionally cynical New Yorkers learned a lesson on the eve of New Year's Eve 2005: not all mules are stubborn! Since the untimely death of Alan Woody in 2000 Gov't Mule has undergone a radical transformation. For the past few years founding members Warren Hayes and Matt Abts mourned the loss of their beloved bassist by employing a rotating cast of notable substitute players for select live dates including Roger Glover of Deep Purple, session ace Will Lee, Headhunter Paul Jackson, Metallica's Jason Newsted, Phish man Mike Gordon and Hot Tuna/Jefferson Airplane legend Jack Casady among many others. Now with ex- Black Crowe bass player Andy Hess and keyboard whiz Danny Louis officially on board as permanent members the Mule have morphed from a retrofitted power trio into a full-fledged modern blues rock juggernaut.

The band's two gig run at the Beacon Theater in support of their most recent release, Déjà Voodoo, was both a rebirth and an assurance to diehard fans that the Mule intend to stick around for a long, long time. Even the roadies received ovations and were called by name. Haynes' acapella rendition of the gospel dirge "My Oh My" slowly faded into the haze of marijuana smoke at the onset of the show as Abts, Hess and Louis slid into a deliberate mid-tempo swamp groove, introducing a new, funky composition "Slackjaw Jezebel" which featured all the players stretching their formidable instrumental skills.

Louis' legato B-3 and Rhodes textures, along with Hess' warm finger plucking tone, a stark contrast to Woody's high register flat-pick playing style, allowed Haynes ample opportunity to rest his fingers and belt out the blues sans the full-time burden of providing harmony and rhythm. Punctuating his vocal lines with B.B. King-like stops and starts on guitar, Haynes' raspy delivery cut through Abts jazzy cymbal fills and brisk tom-tom patterns. Spirited readings of time-tested Mule chestnuts such as "Thorazine Shuffle," "Bad Little Doggie" and a hysterical version of "Don't Step On The Grass Sam," with audience participation cue cards hoisted by a well-fed roadie, were the obvious crowd pleasers.

On a stage decorated with psychedelic logos and art-deco lamps suspended in air, the Mule gave props aplenty to their heroes by way of a heavy-handed cover of Neil Young's epic "Cortez The Killer" and Randy Newman's ragtime standard "You Can Leave Your Hat On." Support act James Blood Ulmer strolled out for an impromptu jam during "I Asked Her For Some Water And She Gave Me Gasoline," trading prickly solos with Louis and Haynes. The hymnal "Soulshine" closed out the evening on a positive, spiritual note as a majority of the faithful relished the fact that they had tickets to the following evening. The Mule rides on.