No two Gov’t Mule shows are alike so, even if the band release a live performance of a tour that you caught, the chances are that the set list will be completely unexpected. That edge; that sense of the unknown; is what keeps each and every Gov’t Mule show special and what keeps the band fresh and vital. It’s also the case that, whilst the band’s recorded output has never been less than impressive (especially recent album revolution come… revolution go, two tracks from which form the highlight of tonight’s set), the live environment is where the Mule truly shine.
Playing at Birmingham’s lovely, revitalised Town Hall venue (shrouded, for so long, in scaffolding that we never thought it would re-emerge), the band are delivering two full sets (just under three hours of music) to fans who have waited a long time for the band to return to their city. Such is the excitement that, even in the seated area, some fans cannot contain their joy, leaping from their seats to deliver bursts of air guitar at numerous points throughout the evening. The stage is bare of adornments, save for a black backdrop (sadly blanking out the pipes of the organ that sits at the far end of the hall) bearing the familiar Gov’t Mule dose logo. Of course, that’s the point, Gov’t Mule need no pyrotechnic distractions and it is the music that remains the focus of the night, the band delivering a powerful performance that touches upon blues, jazz, dub and hard rock in a scintillating display that was more than worth the wait.
Kicking off with World boss (from the epic double album, shout), The Mule are in fine form, as further evidenced by the extended, jazz-fuelled workout of rocking horse which builds to a truly stunning solo. Temporary saint is a remarkable track, veering from grungy opening riff to soul and back again, although it’s a pair of covers that sends the first half of the set into overdrive – dreams (Allman Brothers) and a stunning Red House (Hendrix), which sees Warren’s wah-pedal take some serious abuse. Another highlight is awesome revolution come, revolution go opener Stone Cold Rage, the riff of which belongs entirely in the live environment. Throughout it all, the band are surprisingly static, focusing on the music to the exclusion of all else, although the energy of the audience (who cheerfully heckle the band with song requests between tracks) more than makes up for it. It’s amazing how quickly an hour in the band’s company passes, and before we know it we’re into a break in which there’s just enough time to grab a beer from the bar before the band return to action.
With the first set having been somewhat more in the vein of rock and blues, the second set of the night has a looser, jazzier vibe. Kind of bird (the definitive version of which is arguably on Sco-Mule), sees the band stretching their wings whilst the awesome, tribal rhythm of larger than life thunders through the venue with real force. It also reminds us that Warren Haynes is one of the best guitarists out there today. With a glorious, spidery riff and a sound mix that does the band’s heavier material full justice, larger than life is phenomenal, as is its follow up, the elegiac pressure under fire, which provides another reminder of the strength of the band’s latest material. A longer set, the second half features a number of stand-out moments – a crunchy broke down on the Brazos, complete with grungy, elastic bassline and a cover of Robert Johnson’s 32-20 blues. For most band’s it would be sufficient to have played so wide-ranging a set, but Gov’t Mule have one last trick up their sleeve, paying tribute to Birmingham’s indisputable contribution to the world of music, and of heavy metal in particular, with a cover of Sabbath’s Hand of Doom. It’s a typically generous gesture from the band, and it leaves the audience fully aware of the esteem in which the band hold them.
Gov’t Mule are a band you could see a hundred times and never get bored. The musicianship is exquisite, the extended, open-ended nature of the songs mesmerising and the pacing of the set perfect in the way that it ebbs and flows, crossing genres at will. If one were to be super-picky, you could point out that the exquisite Thorazine shuffle was much missed, and that the vocals occasionally drifted out of focus (especially at the start of the first set) but, overall, Gov’t Mule delivered a majestic and hugely enjoyable set. They are one of the great live bands and cannot return soon enough.
