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Jamband Phish , trey
Dave Matthews Band/Allman Brothers Band, Piedmont Park, Atlanta, GA, 9/8/07 Print E-mail
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Written by Taylor Hill   
Tuesday, 18 September 2007

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Photo by:  Jeffrey Ufberg

Those who came to Piedmont Park on September 8 found themselves amid a sea of blankets, picnic baskets and oversized sunglasses. By all accounts, a normal day in a Southern park—except for the 55,000 people, Dave Matthews Band and The Allman Brothers Band, there to perform a benefit for a 53-acre expansion of the Piedmont Park Conservancy.

The Allman Brothers Band came onstage for their first concert in the park since March of 1969, and launched into “Trouble No More” after a short warm-up and an introduction by Dave Matthews. Gregg Allman swiveled his chair and hit the signature piano notes to “Ain’t Wastin’ Time No More,” and the swirling notes mixed with clear skies, beautiful treelines and the skyscrapers peeking overhead.

The Allmans played through a series of old and new hits before the slithering Egyptian groove of “In Memory of Elizabeth Reed” signaled the end to come. The song built in its signature, indescribable way until dropping into the fourth movement of “Mountain Jam” with its beautiful mid-tempo medicine bottle slidework. “It’s great to be back home. Long time,” Allman said, as they walked offstage for a few minutes before returning with a “Whipping Post” encore.

Matthews & Co. walked onstage 40 minutes later and launched into “One Sweet World.” Fenton Williams’ 70-foot, nine-video screen stage setup was switched on suddenly at the beginning of an unexpected early “Two Step,” whose patient crescendo and Biblical chorus brought everyone back to that first car, kiss and drink, and a world where everything was new. “This is one of my favorite, favorite, favorite songs ever in the world,” said Matthews halfway through. “I’m so happy I get to do this. Please welcome Gregg Allman.”

Allman and Matthews then traded verses on a violin-accentuated “Melissa” that I surely thought would be the high point of my day, until, before closing with “Stay,” Matthews began an almost inaudible strumming and singing, that evolved out of the quiet and into the first notes of “Warehouse,” as he bobbed and weaved across the stage, reminding us that “It’s not the colors that matter, but that they all fade away.”


Last Updated ( Tuesday, 18 September 2007 )
 
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