King used to say: "If I don't make 10 mistakes in a night, it wasn't a good night."
Warren accepts and embraces mistakes that he encounters as part of the music, and uses a quote that blues legend B.B. He talks about the album's influence in creating the Ashes & Dust album. The conversation picks up with Warren talking about Van Morrison's 1968 album, Astral Weeks, and how it's the best example of real music he could suggest to someone. They segue back into discussing Ashes & Dust, leading into an emotional performance of "Company Man" that Haynes dedicates to his father. His father listened to Bill Monroe, Doc Watson, and Ralph Stanley, and that led into Warren studying "storytelling" songs. He reveals that after he's done promoting Ashes & Dust, Gov't Mule will head into the studio to record another album.Īfter a heartfelt acoustic version of "Is It Me Or You," Warren talks about growing up with his brothers and all the different types of music that he was exposed to. He talks about his time with the Allman Brothers Band and how he wishes they could have made another album, but getting all the members together at the same time proved to be too difficult. The interview gets started with Haynes talking about his collaboration with Railroad Earth and the music on the album. His most recent endeavor features the bluegrass band Railroad Earth, who he recorded an album with titled Ashes & Dust.Ībove, you can watch an in-studio interview and performance Warren did for Kansas City, Missouri radio station The Bridge, 90.9FM.
Having been a former member of the Allman Brothers Band and various incarnations of The Dead and Phil & Friends, he's been fronting Gov't Mule since 1994, and is constantly busy performing. Warren Haynes is one of music's busiest and most beloved musicians. For tickets and more information click here.Warren Haynes at KCPT Studio setlist 01. They'll also headline the Isle Of Wight Festival on 14 June. Tonight though, the 20,000 people in the O2 Arena did, and that – as the band continue, in Buckingham’s words, "a poetic, a profound, and a prolific new chapter in the history of this band" – is a wonderful thing.īig Love (Lindsey Buckingham solo acoustic)įleetwood Mac's UK arena tour continues tonight once again at the O2 Arena, before continuing on to Birmingham, Manchester, Glasgow, and more (including four more nights at the O2). Stevie Nicks’ dog never got to witness Christine McVie’s return to Fleetwood Mac. Mick Fleetwood’s drum solo too does very little to rectify my aversion to them – but his sheer, childlike jubilation and frequent cries of 'Are you still with me?' are almost endearing enough to justify its existence. There are a few occasions where the set takes a turn for the self-indulgent – mostly at the hands of Lindsey Buckingham, whose many extensive guitar solos are largely welcome, but whose lengthy, rambling monologues lead to shouts of 'Just play the song' from the crowd. My little dog that I adore, the love of my life, you’ve missed her entire lifetime.'" Thankfully though, she didn’t miss the lifetime of Fleetwood Mac, and moments in which she takes centre-stage – on the ceaselessly heart-breaking 'Songbird', for example, and 'Everywhere' - are highlights. When McVie first rang to float the idea of returning, Nicks tells the rapt audience, "She says, 'What would you think if I decided to come back to the band?' And I’m like, ‘Well, you’ve been gone for 16 years Chris. In many ways though, tonight is about Christine McVie, who returned to the band last year after 16 years away. She doesn’t attempt to touch the moments of falsetto that made songs like ‘Dreams’ so special, which is a shame, but the physical limitations of age had to manifest themselves somewhere – because they’re nowhere to be seen in any other aspect of her performance. Her voice remains rich and textured, though with a little more gravel behind it now. Stevie Nicks, the band’s most enduringly iconic member, lives up to that title as she spins, bows and soars birdlike across the stage – just like the Rhiannon of whom she sings. What is truly remarkable is the passion and enthusiasm they pour into every single note – notes they have played literally thousands of times before. Even the screen behind them, the visuals of which are what I imagine an ambitious film student would produce if they were given a sizeable budget and a handful of Evanescence videos for inspiration, rarely attempts anything too grand.
There are no costume changes, no pyrotechnics and no surprise guests. Tonight, on the first of two nights at the endlessly huge O2 Arena, Fleetwood Mac follow pretty much the same formula they set out decades ago.
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