From a critical standpoint, Lynyrd Skynyrd never received an appropriate musical due like other bands of their era, until they finally earned induction into the Rock and Roll Hall of Fame in 2006. Sadly, their 2006 induction was emceed by Kid Rock, who (in this reviewer’s humble opinion represents the very things that kept them from getting in all those earlier years). Warren Haynes, on the other hand, has done a credible job of keeping the most influential things about Skynyrd going strong. He has never forgotten Skynyrd’s impact or abandoned their catalog and even brought out their old pre plane crash drummer Artimus Pyle out for “Simple Man” during both tribute concerts to the late Allen Woody in 2000 and 2010. Gov’t Mule also appeared on the Under The Influence Skynyrd tribute album playing the pre-mentioned song
Saturday’s show (7/13/19) as part of the Last of the Street Survivors Farewell Tour at the Constellation Brands–Marvin Sands Performing Arts Center: CMAC in Canandaigua, NY put the Mule into an opening slot for the first of five shows with the reconstituted Skynyrd, along with legendary bluesman Buddy Guy. The 82-year-old legend serves as one of the last of the great bluesmen alive. It’s a mixed blessing, I’m sure, but Guy has clearly embraced it. He played “Damn Right I’ve Got The Blues,” “Hoochie Coochie Man,” “I Just Want To Make Love To You,” and his cover of Cream’s “Strange Brew.”
Obviously, he can’t play like his younger self, but the other members of his band picked up whatever slack you can fault a legend his age. This also left Guy to the old school showmanship for which he’s also known. He cursed, he walked into the crowd and ripped on his six-string all the way. He played “Cognac,” which he recently recorded with Keith Richards and at the end of his set, he did a series of guitar impressions of Muddy Waters, BB King, John Lee Hooker, and Eric Clapton. All would have been fine with him still doing Buddy Guy, but he has every right to do whatever the hell he damn pleases on stage.
Gov’t Mule was overtly powerful in their opening slot, although it was clear they weren’t going to rage too long and hard. It was a truncated, opening set and the jams had just enough to remind you of why they are so musically muscular but were short enough to frustrate you. It was like a Mule sampler. If you liked what you heard, dive deeper—way deeper.
“Game Face” had its usually “Mountain Jam” in the middle. “Bad Little Doggie” was a treat and “Dreams” was excellent as always. But when it quickly segued into “Mule,” you knew the show was coming to an end. Rather than do their usual song in the middle of the tune (“What Is Hip?, I’ve Been Working, Who Do You Love?, etc), they moved into “Soulshine.” When you think about it, it’s the biggest “hit” they have and would certainly be appropriate for the Skynyrd audience. It was odd to hear Haynes thank the crowd so often and even throw a few guitar picks into the crowd. Maybe the showmanship of Buddy Guy rubbed off on him, although it felt like the band was shoehorned into their role as the opener.
It was shocking to hear the studio version of AC/DC’s “Thunderstruck” in its entirety before Lynyrd Skynyrd took the stage, especially considering how much they are honoring their own legacy on this farewell “Last Of The Street Survivors” tour. But they certainly delivered with “Working For The MCA” as the opener- as were most other of their song choices. Was it Ronnie Van Zant and company good? Of course not. In the excellent documentary If I Leave Here Tomorrow, Johnny Van Zant appears finally comfortable with singing his brother’s songs. He’s more of a motivational speaker than a frontman and his constant references to all things rah rah America, might be unsettling to those on the left. But they explored all the corners of the Skynyrd songbook and threw in “The Ballad Of Curtis Lowe,” from Second Helping for the diehards.
As the theme of most recent farewell tours – the gave the crowd exactly what they came for. There were many respectful video montages, and late guitarist Ed King was thanked before “Sweet Home Alabama” by way of the video screen. When it finally came time for “Free Bird,” there was even a section with Ronnie singing and the rest of the performers looking up at him. This segued back into his brother’s live vocals. It was as tactful a tribute you could have short of a hologram. It was a reminder of how great this band was and how much music they will leave behind.
