A Conversation with Sam Holt, Part 1
A Conversation with Sam Holt, Part 1
“Well, if I were you, I’d put it between Wrangler and Chilly.”
Exclusive interview by Ted Rockwell ~ July 17, 2018
Originally published on RockwellBoulder
Photo by Jim Mimna
Sam Holt is best known in the Panic community as Michael Houser’s guitar tech and for taking over on lead guitar for a two week period at the end of the 2006 summer tour. While he has spoken generally about his time with Widespread Panic, he hasn’t gone into detail about his experiences from the fateful 2006 summer tour. He was also tapped to choose the next multi-track archive release from Widespread Panic, “Knoxville 1995” (out July 20th – preorder here)
Recently, he sat down with Everyday Companion’s Ted Rockwell for a conversation about the 2006 summer tour, his experiences as a fan and as a taper, and to discuss his new band.
In part two of this conversation, Sam goes into detail about the forthcoming Widespread Panic vault release.
Question, Ted Rockwell:
Sam Holt, people know you as being the guitar tech for Michael Houser in his final years with Widespread Panic. How long had you been doing that prior to Mikey leaving?
Answer, Sam Holt:
I started in June of 2000, so about two years by the time he left. And then I was also JB’s tech as well but that sometimes gets… people don’t know that. But I was his tech also.
Q: So did that just continue? Were you continuing to be JB’s Tech after Mikey left?
A: Yeah, and then George. Then I did one tour with Jimmy.
Q: So you also performed as a guest artist with the band while George was still the lead guitarist and I’m curious about how that developed. There were times when both you and John Keane would trade off and come on stage and play with him. What was going on there?
A: I don’t know. It just kind of started happening. I know that the very first time I did it was at Fiddler’s Green (August 18, 2002) and those were literally the first shows after Mike passed away. JoJo and Sam Lanier came up to me at set break… there were two shows at Fiddler’s Green and they came up to me at setbreak the first night and said, “you want to play tomorrow night?” And I had no idea that was coming. No one had ever said or even talked about that. I was taken aback. I think I said “Yeah. I guess so. Why not?” JoJo also told me that it was Mike’s wish for that to happen.
It was pretty intense and a pretty heavy weekend for everyone considering that Mike literally passed away like five days before. So, that was the first time and the second time was at the end of fall 2005. They did four nights at the Fillmore in Denver and the last night… I think the night before that last night I can’t remember who… I think JB asked me if I wanted to play the next night. And we kind of talked about some songs and stuff.
Then the next time was in Raleigh in the spring of ’06. That run was two nights long and the night before… I can’t remember who, someone came up and asked me if I wanted to sit in the next night, somebody in the band.
Before summer tour of ’06 started, JoJo called me and said, “Hey, we want you to come out and start playing. You know songs that we don’t really play anymore.” So that’s how that started and I was coming out probably every other night for the first month on that tour.
The last two weeks of the 2006 summer tour, George left and I think it was ten shows where I played and John Keane played.
Q: My birthday is on July 22nd and I saw you guys when you played in Winter Park, Colorado (July 22 & July 3, 2006). That was just before George left. To me it felt like a natural progression to have multiple guitarists on stage. This may be a difficult subject, but George is on his way out and you and John Keane are getting on stage with him and playing. Are there any hints or wrinkles that give you a hint that there’s a storm coming?
A: Nothing concrete, only intuition and vibes. I was getting called into the rehearsal room a lot before shows to go over songs with George. No one knew what the right thing to do was. No one knew anything other than we should keep playing. I know Mike wanted everyone to keep going. I know he didn’t want any shows to be canceled because he wasn’t there. Which was pretty fucking amazing that they did what they did, so…
Q: That’s fairly common knowledge, that Mike basically said, “Don’t stop the train.” That’s the phrase a lot of people use. I wonder how much you would be willing to talk about how much pressure that might have been put on the people in the organization and whether that wish put undue pressure on the organization which may have contributed not make the most healthy decisions for how the band could continue.
A: That’s a hard question. There are people’s mortgages depending on it. There are people’s kids going to school depending on it. There’s car payments. There’s real life. It’s a business and many times I thought to myself ‘man, I wish they would just take some time off.’ They did have that year off in ’04. But they hit it so hard up until that. They worked harder in ’03 then I think they’d worked in many years. Toured their asses off doing all kinds of appearances, publicity and stuff. I often had wished they could have taken some time for themselves before that. But again, no one knew… there’s was no right answer. It was, do what you got to do. And music really is a healer.
Q: So the decision has been made and George has left the building, so to speak. How did how did you find out that had happened? What were those circumstances?
A: Well, George called me first. I was in Louisville. We had a night off the night before the first Palace show. There were two shows there. They’d had a meeting. The band had had a meeting. George called me and said, “hey man, I’m leaving tomorrow. I just want you to know everything that’s going on.” And I was pretty flabbergasted. I think at first I said, “Wow!” I even tried to talk him into… I think I even said, “man, I wish you would stay ’til the end of the tour. It’s only two more weeks.” But he did not want to. I can’t say who said what. I just don’t feel comfortable talking about that. It’s not my place.
Q: Of course.
A: Then the next morning at 7:00 a.m. JB called me and said that George wasn’t going to be there and I said, “do you want me to set up?” I had my rig out there (on the road) because I had been playing that summer. I said, “you want me to set my stuff up?” He said, “I would love that.” So that night, the first night in Louisville I did not play the first set and then I played the second set. I honestly felt like from the first notes of that second set, as soon as we started playing there was just a relief that kind of just spread out through everyone; like the band, management, crew, fans… it was like this weight was gone… I’m not trying to say I had anything to do with it, it was just the right situation at the right time and things got much more relaxed, more chill and I think everyone had a really great time the rest of that tour.
Q: I was very fortunate to have seen the three shows in Chicago (August 11, 12, & 13) that finished the tour. I had that same sense. Earlier that summer I saw Red Rocks (June 23, 24, & 25), the two shows in Winter Park (July 22–23). And I recall how the at the Chicago shows there was a palpable sense of… you’re describing relief, right?
A: Yeah, it’s almost like there was just this unseen tension that everybody knew something was weird, something wasn’t quite right. And I felt like there was a great amount of big collective “okay, cool.” And I do not want to knock George because he did a thankless job and really, the way he got treated by a lot of people… But I felt it… I literally felt it. I felt everyone kind of settle back in and be like “this is good.”
Q: Yeah, it’s weird. George gets short shrift. Even today on PanicStream there’s a lot of George shows missing. I think he doesn’t get as much credit as he deserves for the role that he played. Not only in keeping the touring mechanism moving. Obviously touring was really important to what this band was doing. But also to the recorded output. ‘Ball’ is a really strong album.
A: I like a lot of the songs on ‘Ball.’ I really do.
Q: ‘Fishing,’ in particular. So, prior to George’s departure, as the tour in 2006 developed the setlists are being created by the band, is that right?
A: Yeah. When Mike was still there they had a rule. You probably know this. I think it was three… they would have three people make a setlist. It didn’t matter, any three guys in the band. As long as three people did it, whoever, any three could do it. Mike most always was one of the three. It actually stayed intact for a little while after he left but when George got there, they had to be more careful about what he knew, what he didn’t know, what he was comfortable with, what they could and couldn’t play. I know a lot of times he was trying to see the setlist as it was being written so he could start going over songs and stuff. Then for those two nights in Louisville the whole band and myself made the setlist, which was awesome. After that Dave was pretty much like… I think I made a setlist at Merriweather and asked “what do you think about this?” and he said, “yeah, cool let’s go with it.” And then I pretty much made the setlists the rest of that tour. Some got through unscathed, some they would look at them and say “oh, let’s switch this,” or whatever. Then on August 10th in Cleveland, which was the anniversary of Mike’s passing, JB and I made the list. He wanted to make it with me because it was his hometown. So that was a lot of fun to make that list with him.
Q: Were you guys doing any rehearsals during this time? I know the band now rehearses quite a bit with Jimmy. Was that a part of the equation?
A: No. They would come in and say “Let me see the list you wrote.” We’d look at it and say “oh cool.” Somebody might sit down with me for a minute and play guitars or something… but not much.
Q: As the tour was developing, as you got beyond the Louisville’s of that particular tour, when you would step on stage, what were you feeling? What kinds of things were going through your head as you warmed your rig up and got yourself ready?
A: I was pretty nervous each night as we walk out there. But then it would subside pretty quickly. And, it was a lot of fun. Just connecting with those guys musically was pretty awesome. It felt really good. I always felt like an indicator of how the show was going was how much JB would get off. How much he would really just get into it and go off. There were some really good moments where I felt like, he would just let loose and let the music kind of carry him where ever he goes.
Q: Do you have any particular favorite moments that you remember?
A: There’s a few. There’s one that sticks out to me… I don’t remember which night it was… I think was the first night in Portsmouth. The encore was Heaven, and, man, it was just like I’m walking on air and it was easy, intense. I’ve listened to that Heaven just to replay it and just see what I think now. It’s really… I think we’re firing on all cylinders and it’s really, really a good moment where the music plays the band, so to speak.
And there’s a few more. The whole third night of Chicago I thought was a highlight. I remember the second set… I don’t even think we hardly stopped playing. I remember there were jams in between songs where Todd would just start a drumbeat and we would just start falling in trying to find the melody behind it. It was pretty cool.
Q: During that run of shows Widespread Panic played an original tune by your band Outformation, Tennessee Before Daylight, right?
A: Yeah. Actually, I’d been trying to get that one in there a couple shows and I had it written out to the side on the third night and JB looked at it and goes “Well, if I were you I’d put it between Wrangler and Chilly.”
And I was like, “Okay. Let’s do it!”
Q: (laughing) Sam, that’s gotta be a thrill!
A: Yeah, it was, man. Yeah, I feel very lucky. I think it was just one of those moments those two weeks were just kind of… I don’t know if it’s destiny or whatever but it was kind of cathartic for everyone in a way.
Q: Yeah, it felt that way to me too.
A: It just fell together. I mean there was definitely some negatives that led up to it but I think it was just kind of a good way to cleanse, if that’s not too negative.
Sam Holt and Ted Rockwell, telecommunicating
Q: Maybe it was meant to be like all beautiful, poetic things; at some point, it has to come to an end. So the tour finishes and at what point do you find out there’s another guitarist afoot? Did you have any sort of impression that somehow you would continue in that role into fall tour?
A: No. I knew that Jimmy was coming. I think that was part of the reason George left as well. They had secured Jimmy, so that was happening. So I knew that was going to be it.
I think I did sit in on the very last show the fall tour in Austin. And that was it
Q: Then you continue with the band for a while as the guitar tech. For how long?
A: Yeah, so the fall tour and then New Year’s. So Jimmy’s first tour and New Year’s and then I stuck around a little bit after New Year’s just kind of handing over equipment; going over stuff with Eric Pretto the new tech and Jimmy’s tech. He was gonna start working to JB as well. Just kind of transitioning a little bit.
Q: Part of it is that you were ramping up your next band, Outformation, right?
A: Yeah. Becoming full time. We were playing a lot in 2006. In 2005 JoJo had produced ‘Tennessee Before Daylight,’ that first record, and we were starting to tour more and play more. Then in 2006, I would pretty much go from… when I was done with Panic tour, I’d head out on Outformation tour. So in 2006, we were ramping up and those next three years we hit it pretty hard with Outformation
Q: I know JoJo supported ‘Tennessee Before Daylight’ but what kind of support did the band give you as things develop those next couple of years?
A: JoJo produced and basically paid for our first record, ‘Tennessee Before Daylight,’ so I am forever grateful to him. He really believed in me, we had some special moments when I was playing with Panic and he would come play with Outformation.
But beyond that, mostly moral support. It’s not like we talked all the time but we would text or we would open some shows for them. I think I sat in a couple more times and we would open. But mostly just moral support. I knew that they were probably in a place where they were supportive of me. It was supportive. It wasn’t like financial or anything but it was just moral support, like, “go out there and do it, man.”
JoJo did play on a couple of tracks on our next, our third, record called ‘Travelers Rest.’ He actually co-wrote that song with us; Travelers Rest.
Q: And your career has continued. You’re living in Georgia now and you’ve got a band that you’ve put together and you’re playing some shows. Why don’t we talk a little bit about those?
A: Yeah, that’s Sam Holt Band. I formed the first version of that band in Colorado with people you know. Spanky (McCluer) Andy (Clapp) and (Adam) Stern. So these guys down here I met through Adam Grace who is the keyboard player for Truth and Salvage Company and Jeremy Ward’s on drums and Ross Parker on bass and Adam Grace on keys. These two shows coming up (August 31 and September 1, 2018) we’re billing them as Sam Holt Band presents Remembering Mikey. So those will be a lot of Michael Houser songs and then some original stuff that I’ve written that’s kind of inspired by him and some original tunes of mine as well. The focus is on a lot of his tunes.
Q: So which of his songs are your favorite to play? I’ve noticed you like to throw out a few that I think Widespread Panic never actually played that were just recorded for Sandbox or for Doorharp.
A: Yeah. There’s ‘Can’t Change the Past’ that was a pretty big staple in the Outformation repertoire. There’s a few off of the Sandbox album… there’s one called ‘Solitude’ that I really like playing. ‘Bull Run.’ I think we’ve played every song off of Sandbox at some point and then I love to play in some of the instrumentals that he wrote like ‘E on a G,’ Earth Will Swallow You. Some of the ethereal instrumentals that he was so awesome at writing. And then some of the stuff like ‘Burned Faceless’ and ‘Sandbox.’ ‘It Was You,’ that tune. Do you remember that tune?
Q: Yeah, he co-wrote that one with Todd right?
A: ’It Was You?’ Maybe? I don’t know. I like to play ’Waker’ also. That’s a fun one.
Q: Earlier today you posted a photo of Michael Houser from 1991 and Dave Schools responded and asked you to describe a detail of Allen Woody’s outfit (the bassist for Gov’t Mule who was also at that show).
A: That was kind of a joke about Allen Woody. I hope you could tell.
Q: (laughing) Yes! But part of what I loved about the interaction was that Chris Rabold, the former sound engineer for Widespread Panic, he gets involved in that conversation. He called you out for being a geek and I just want to also call you out on that point. One of the things I think a lot of people don’t realize about you is that you were a huge fan of Widespread Panic before you even got involved as a guitar tech.
A: My favorite band ever, no doubt. The first time I saw them I didn’t get it. I was like, “Why are these people yelling ‘Barstools?’ What, do they need something to sit down on up there? I don’t get it.”
And then the second time I saw them was at the Center Stage in Atlanta with the Colonel and ARU opening (Dec. 1, 1989). I left that one going, “Oh, my God! I have seen the light.” It really led me down the path of music and wanting to be involved in music.
Luckily I got to do a lot of things inspired by that band, working for that band and working with that band. I feel really lucky to have discovered them when I did.
And I was a taper as well. Loved to tape. I was so into it, man. It was awesome. We bought some really nice mics in like ’91 and started recording, me and my friend, Ricky Supan. Yeah, WAY into it.
Q: When you were still back in Boulder you gave me an old Wilson tennis shoe box full of your old tapes. Some were your masters from when you were taping. Both analog and digital DAT tapes. I’ve been just in the past couple of months or so taking those and finally transferring them so that they’re in a digital format. And I just wanted to kind of take a moment thank you for that.
A: Oh yeah, man! I’m glad they’re making it out there. Are there any that people have commented on that they like?
Q: I want to say it’s the Ivory Tusk… that show is really a fantastic show but the levels are just pushed.
A: Yes! Yes, I think they sounded like that on that night.
Q: Okay, that’s good to hear. Someone gave me a hard time, “you transferred it with the levels to hot” and I was like “I know I didn’t.”
A: That’s what the PA sounded like. Is that 5/29/92?
Q: Yes.
A: Man, that show… first of all, it was so crowded that there was I saw like three fights in like the first 30 minutes of that show. After an hour they stop the show and they didn’t say anything. They turned all the lights on. The band left the stage and someone got up there and said, “everyone needs to leave. The fire marshals here. It’s overcrowded. Everyone get out.” And so they let like half the people leave and they shut the door and the band played another hour. But the PA was blown to shit that night so I’m pretty sure that’s why it sounds like that.
Q: There’s another show from the TEP house in Athens that I asked you about the other day and it sounds almost like someone’s beating on a drum the whole show. It sounds like there’s some kid beating on a trash can even after the band stops.
A: Oh man, that’s possible.
Q: Part of what I appreciate about what you bring to the community of Widespread Panic fans is back in those days it was just a bunch of kids going out to see a bunch of kids making music. And I think that gets lost in today’s hyperproduction of Widespread Panic. There probably was a kid playing his own damn drum inside that show and today that just is not gonna fly. That’s not gonna happen. Even if the kid brings the drum in you’re not going to hear it on the recording.
A: Supan and I, around 1990, we looked like weirdos. Real long-haired. Supan is Filipino and we would walk into these clubs, man, I’m not talking theaters. We would walk into a bar in Tuscaloosa and these people will be looking at us like “what the hell are these guys?” We’d set up our taping gear and they would look at us like we were from Mars. There’d be all these fraternity and sorority people there. They just came to see a show that night. It was just a different world back then. A different scene but some intense times in some of those bars. It wasn’t always like everyone’s happy and high-fiving. You had to work through some shit sometimes.
Q: Is Rick Supan still around?
A: Yeah, he lives in Chattanooga. I still text with him a lot.
Ricky Supan and Sam Holt
Q: You’ve talked about him a lot in the past but I have to be perfectly honest, I wasn’t sure if he was an alter ego or something like that.
A: No, he’s one of my oldest friends, Ricky Supan. We actually played in a couple bands together. We played in a band that opened for Panic at a fraternity party in Atlanta, February 27, 1992. It was after T. Lavitz left the band and before Jojo. There are two shows with no keyboard player. We opened one of those shows.
Q: What was the name of that band?
A: The Hoodwinks. We were pretty bad. JB was nice to us, I remember that.
Q: Let’s get back to your days as a taper. Taping can be a very particular thing to a band’s culture. Panic happens to have had a very fortunate culture of taping. And you’re one of the people who taped during a period that there wasn’t a lot of other recordings happening. So I wanted to ask you, what were some of your favorite shows that you taped?
A: Gosh, there’s a bunch. Halloween ’92 sticks out as an insane night. Musically it was great and the sound was great that night. Those are spectacular recordings. SuperJam II at the Athens Fairgrounds, that’s one of our best recordings, they sound like a board tape, that show, wow!
Halloween 1990 was very good. It was raw and intense and scary. They scared me pretty good that night. I remember they played the Pusher and it went way out and I was like “Oh my God, what is going on?!”
A couple that were favorite for me when I was working for them, when Mike was still around. I think it’s 11/8/2000, the Hult Center in Eugene. You should check that out. That’s a really good night. One of those nights where they just hardly stopped. I remember they did ‘Wish You Were Here’ sometime late in the second set and the blend on JB and Dave’s vocals… I could close my eyes and just see them as like 23-year-old kids. I can’t explain it but it was just transcendent. I don’t know what it was but it was something about that, their vocals together on ‘Wish You Were Here’ that night. It just made me think of them as young guys just trying to play music.
There’s a show from Knoxville in fall of ’95. 9/28/95. It sounds like that will be the next vault release. So when that comes out you’re gonna love that! It was a ripper. And the recordings that exist of it aren’t very good. I can probably go on for an hour talking about this!
Q: (Laughing) Well, Sam I really appreciate you taking the time to talk to me here this evening.
A: Thank you!
Q: Maybe we can talk again soon about that upcoming vault release.
A: Oh man, that would be great.
PART 2 NOW AVAILABLE
Be sure to check out Sam Holt Band when they play two Remembering Mikey shows at Nashville’s Exit / In on August 31 and September 1, 2018.
08/01/06 The Palace Theatre, Louisville, KY
1: Travelin’ Light, Surprise Valley > Climb To Safety, Crazy, Fishing > Diner > Heroes > Blackout Blues
2: Let’s Get The Show On The Road, Sometimes, I’m Not Alone, Chainsaw City, The Take Out > Porch Song > Drums > Jam > Gimme > Low Rider > Stop-Go > Makes Sense To Me
E: Can’t Find My Way Home
Entire show with John Keane on guitar/pedal steel, Second set and Encore with Sam Holt on guitar
[Without George; John Keane on pedal steel for ‘I’m Not Alone’, ‘Gimme’, and ‘Stop-Go’]
08/02/06 The Palace Theatre, Louisville, KY
1: A of D* > Hatfield** > Bear’s Gone Fishin’** > Give**, Genesis**, From The Cradle**, Maggot Brain** > Chilly Water** > Jack** > Chilly Water**
2: Conrad**, Coconut**, Pickin’ Up The Pieces**, Thought Sausage**, Down** > Rock** > Drums > Do What You Like** > Arleen** > Postcard**
E: May Your Glass Be Filled***, None of Us Are Free
* with Sam Holt on guitar
** with John Keane on guitar, Sam Holt on guitar
*** with John Keane on pedal steel
[‘Maggot Brain’ with spoken word introduction; ‘Mind Left Body Jam’ jam before ‘Jack’; Last ‘Do What You Like’ – 06/29/02, 276 shows]
08/04/06 Merriweather Post Pavilion, Columbia, MD
1: Disco* > Tall Boy** > When The Clowns Come Home***, Goin’ Out West**, You Got Yours**, Travelin’ Man** > Space Wrangler** > Walkin’ (For Your Love)**
2: Pigeons***, Machine* > Barstools and Dreamers*, Sleeping Man****, Time Zones**, It Ain’t No Use** > Drums > Jam** > Red Hot Mama** > Papa’s Home**, Love Tractor**
E: Solid Rock***, Ain’t Life Grand***
* with Sam Holt on guitar
** with John Keane on guitar/vocals, Sam Holt on guitar
*** with John Keane on guitar
**** with John Keane on guitar, Sam Holt on guitar, Vic Chesnutt on vocals
08/05/06 Harbor Center, Portsmouth, VA
1: Weight Of The World* > Walk On*, Little Lilly*, Weak Brain, Narrow Mind* > Dear Mr. Fantasy* > C. Brown** > Action Man*, Ribs And Whiskey* > Henry Parsons Died*
2: This Part Of Town** > Climb To Safety*, Second Skin** > Big Wooly Mammoth > Blight* > Driving Song* > Breathing Slow* > Drums > Ride Me High* > Pilgrims* > Fishwater*
E: Heaven**, All Time Low*
First and Second sets with Sam Holt on guitar
* with John Keane on guitar
** with John Keane on pedal steel
08/06/06 Harbor Center, Portsmouth, VA
1: Holden Oversoul* > One Arm Steve*, Wondering*, Goodpeople*, I Walk On Guilded Splinters*, Time Waits*, Don’t Wanna Lose You*, From The Cradle*, North*
2: Slippin’ Into Darkness**, Sleepy Monkey*, You Should Be Glad* > I’m Not Alone***, Impossible, Mercy***, Worry* > Drums**** > Life During Wartime*, Visiting Day, Bowlegged Woman*
E: Dream Song*, Mr. Soul*
First and Second sets with Sam Holt on guitar
* with John Keane on guitar
** with John Keane on guitar, Steve Lopez on percussion
*** with John Keane on pedal steel
**** with Brandon Goldstein on cowbell, Josh Treverro on cowbell, Paul Hoffman on drums, Preston Hoffman on percussion
[‘Drums’ without Todd; ‘Time Is Free’ tease during ‘You Should Be Glad’]
08/08/06 Lawn at White River, Indianapolis, IN
1: Pleas > Rebirtha > Can’t Get High, Rock, Christmas Katie > Are You Ready For The Country?, Surprise Valley > Heroes > Chilly Water
2: Space Wrangler > No Sugar Tonight/New Mother Nature, Chainsaw City, Time Zones > Bust It Big > Tie Your Shoes > Drums > Blackout Blues, Dirty Business > Love Tractor
E: Crazy, Dyin’ Man
Entire show with John Keane on guitar/pedal steel
First and Second sets with Sam Holt on guitar
[John Keane on pedal steel for ‘Christmas Katie’, ‘Time Zones’, and ‘Dirty Business’; Soundcheck: ‘Travelin’ Man’, ‘She Caught The Katy’]
08/10/06 Blossom Music Center, Cuyahoga Falls, OH
1: Old Neighborhood* > Greta* > Knocking ‘Round The Zoo*, Pickin’ Up The Pieces*, You Got Yours* > Diner* > Proving Ground*, Radio Child*, Ain’t Life Grand*
2: B of D, Second Skin, Travelin’ Man* > Traveler’s Rest* > Vacation* > Can’t Change The Past* > Drums > Astronomy Domine Jam* > This Part Of Town* > Makes Sense To Me* > Low Spark Of High Heeled Boys* > Imitation Leather Shoes*
E: From The Cradle*, The Take Out* > Porch Song*
Entire show with Sam Holt on guitar/vocals
* with John Keane on guitar
[Only ‘Can’t Change The Past’, Only ‘Traveler’s Rest’; Sam on vocals for ‘Can’t Change The Past’]
08/11/06 Chicago Theatre, Chicago, IL
1: Little Kin* > When The Clowns Come Home*, C. Brown**, Contentment Blues* > Junior*, Down*, Chunk Of Coal**, The Last Straw** > Cream Puff War***
2: Papa Legba* > Tall Boy* > Jam* > Goin’ Out West*, Ribs And Whiskey*, Let It Rock* > Pigeons**** > Drums > Thought Sausage* > Jack* > Climb To Safety*
E: May Your Glass Be Filled*****, None of Us Are Free*
* with John Keane on guitar/pedal steel, Sam Holt on guitar
** with John Keane on pedal steel, Sam Holt on guitar
*** with Sam Holt on guitar
**** with John Keane on guitar
***** with John Keane on pedal steel
08/12/06 Chicago Theatre, Chicago, IL
1: Travelin’ Light*, A of D > Sleeping Man*, Papa Johnny Road*, One Arm Steve*, Time Zones**, Trouble**, Give* > Maggot Brain* > Flat Foot Flewzy*
2: Machine > Barstools and Dreamers, I’m Not Alone**, Holden Oversoul* > Henry Parsons Died*, You Should Be Glad* > Drums > Blight* > Red Hot Mama*, Pilgrims* > Action Man*
E: City of Dreams**, Solid Rock*
First and Second sets with Sam Holt on guitar
* with John Keane on guitar
** with John Keane on pedal steel
[‘Thank You Falettinme Be Mice Elf Agin’ rap during ‘Barstools and Dreamers’]
08/13/06 Chicago Theatre, Chicago, IL
1: Pusherman > Hatfield > Rock, Weight Of The World > Nobody’s Loss > This Part Of Town > One Kind Favor, From The Cradle > Fishwater
2: Goodpeople, Driving Song > Disco > Don’t Be Denied > Surprise Valley > Jam > Driving Song > Impossible > Drums > Arleen > Papa’s Home > Space Wrangler, Tennessee Before Daylight > Chilly Water
E: End Of The Show > Last Dance
Entire show with John Keane on guitar/pedal steel, Sam Holt on guitar/vocals
[Only ‘Tennessee Before Daylight’]
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