For four festivals, the charm of Crossroads has been the opportunity to see favorite musicians -- guitarists to be specific. But the best part about it is to have them play with and off each other. So if you're watching a set of someone who is not exactly a favorite (i.e., John Mayer), chances are he'll be joined by someone you do like (i.e., Keith Urban) within a half-hour or so.
It was really one choice matchup after another, starting during Eric Clapton's opening acoustic set with Vince Gill and Andy Fairweather-Low on "Lay Down Sally." Booker T., Steve Cropper, Matt "Guitar" Murphy" and Blake Mills tore it up on "Born Under a Bad Sign." Robert Randolph spent all of Buddy Guy's set with the Chicago bluesman and his teen protege Quinn Sullivan. And it's as much fun to watch them interact as listen to what they conjure up musically.
One-ons: When not on the main stage, the combos kept coming in the front corner enclaves on each side of the stage for "one-offs." The amazing Sonny Landreth with the spot-on Derek Trucks. Doyle Bramhall II and John Mayer paid tribute to Doyle's late dad with "Change It," a song written by his father with Stevie Ray Vaughan. Emcee Dan Aykroyd even got into the act -- with a big assist from Keb' Mo' -- on "Got My Mojo Working" the first night. The second night, Keb' tore it up with a bonafide bluesman, Taj Mahal.
Biggest surprise: Keith Fuckin' Richards! The lights go out. We think they're going to come back up on the final set of the festival -- E.C. and his band. But instead there's Keith, smirking away. Everyone's head explodes. Then he takes the lead on "Key to the Highway" and the Chuck Berry cover "Sweet Little Rock 'n' Roller." We tried as hard as we could, but no one was beaming more than Clapton.
Second biggest surprise: After providing the perfect capper Friday night, The Allman Brothers' Gregg Allman, Warren Haynes and Trucks reconvened in the one-off portion of the stage the second night. That was surprising in and of itself, but when they started the cover of Neil Young's "The Needle and the Damage Done," just wow. It really hit home considering the Crossroads drug treatment facility in Antigua is the reason the festival exists at all.
Least welcome surprise: Not really, but Mark and I were having a discussion about when we'd see Keith Urban. He prognosticated that maybe Keith would come out with John Mayer on Friday and I very quickly discounted that. So much laughter ensued when that was exactly what happened and it was a spiffy cover of "Don't Let Me Down" at that. Guess this is the one time you're right for 2013, Mark.
Clearing the decks: Intentional or not, the acoustic set that kicked off this year's Crossroads gave Eric Clapton a chance to get some chestnuts out of the way early. "Tears in Heaven," "Lay Down Sally," "Wonderful Tonight." Check, check, check. And Eric moves on.
Eternal show-stopper: Gary Clark Jr. He's an astonishing talent of staggering proportions which was fully realized during his own set the second night. His brand of music can't be easily classified, referenced or pigeon-holed. Maybe that's why he hasn't been the superstar that he has every right to be, but I'll bet you can sit any and ever aficionado of music down, and they'll come away with wide-eyed appreciation of his talents.
Second thoughts: I've never been the biggest Robert Cray fan in the world. I've seen him several times before and I've always thought he's very talented, vocally and musically, there wasn't that emotional element there for me. Definitely rethinking that after Crossroads. He's got it, he brought it, I'm sold. Robert Cray's a bluesman.
The courteous host: There was no gun slinging from Clapton. He brought tasty licks whenever he came out during a set, whether it was with B.B. King, Cray and Jimmie Vaughan or with jazzy Kurt Rosenwinkel. The best of the bunch was by far with The Allman Brothers on "Why Does Love Got to Be So Sad" on Friday. It's so in their wheelhouse for Eric to play with the Allmans and it sounds ever so sweet. I've been lucky enough to experience that a couple times, and I certainly hope that pattern holds in the future.
Hello, old friend: Coming into the festival, I was most excited about Robbie Robertson playing with Eric on the final set of the night. They started with "He Don't Live Here No More," a song Eric guested on from Robbie's latest album. Then the tribute to Levon Helm, strangely accomplished without Robbie saying his name via "I Will Be Released." And he came back for the grand finale, "High Time We Went," which was unfortunately beset by technical difficulties. It was deflating to not be able to hear many of the solos by all the guitarists.
Coping mechanism: It was all planned. Break time during Citizen Cope. Then that guy comes on with Doyle Bramhall II. Unfair business practice! And while that's a drawback (to me), Doyle -- who by the way was rockin' a serious younger Robbie Robertson vibe for me both nights -- did get to burn up the stage once again during that set with Clark Jr. on "She's Alright." II and Jr. should definitely form a band. How about the moniker "Seconds, Anyone?"
Best surprise: Albert Lee, Vince Gill and Keith Urban. They just barreled through a covers set that included Rodney Crowell's "Ain't Living Long Like This," Ray Charles' "Leave My Woman Alone," Dire Straits' "Setting Me Up" and The Rolling Stones' "Tumbling Dice." It just seemed to end way too soon.
Best non-guitar performance: It's tough, there was some great warbling going on. But for me, it started and ended with Gregg Allman. I always feel so blessed when I have the chance to take in the Allmans. The musicianship is just perfect across the board, and no matter what their nucleus has been through, hearing him sing is like an old friend coming up with a hug and saying (or in this case, singing) just what you need to hear at that very moment.
Living the theme: Everyone should have a theme song. This particular pearl of wisdom came to me via "Ally McBeal," but haters shouldn't hold that against it. It's true: You hear your theme song and it bucks your energy up immeasurably, doesn't matter if you were already "up there" or not. My theme song is "Got to Get Better in a Little While." And you better believe when Clapton and company started cranking that one out, thoughts of lethargy after sitting in the same spot for five hours quickly dissipated.
Ladies, anyone?: If there's anything to be dismayed about the weekend of wonder, it might be the lack of women on the Crossroads front. We got to hear Susan Tedeschi warble with Los Lobos and Beth Hart almost sang the house "down, down, down" during Jeff Beck's set. We know Susan can wield her axe. And lest someone believe that women can't get 'er done, there was Beck's bassist Tal Wilkenfeld scorching her solos as the sole and shining example that sends such a theory crashing out the closest window.
Postgame show: Mere footsteps away from the Garden, I got to tell Clark Jr.'s drummer Johnny Radelat that he has my dream job (and my dream hair with that fro' that was whipping around with every beat). Was brow-beaten into introducing myself to Keb' Mo' (OK, glad I did that.) And got to tell Albert Lee that he was awesome (some wordsmith I turned out to be). You can accomplish a lot in a 20-minute period after a show if you set your mind to it ... and follow the right people.
Final words: Don't know who is going to be tasked with putting the DVD together for this one, but I don't envy them that job for sure. How do you pick? Which one of Clark Jr.'s perfect numbers do you go with? Do you choose "Why Does Love Got to Be So Sad" for the Allmans' electric set at the expense of Taj Mahal with the Brothers on "Statesboro Blues?" And what about the one-offs? You gotta take "The Needle and the Damage Done," right? Well, what about the crowd-pleasing "Midnight Rider"? See what I mean, that's just a few of the impossible choices that will have to be made. Well, I'll be watching and waiting and then judging them on their decisions.
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