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.”
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