Nov 13

Nov 13 Review: Drive-By Truckers at The Orange Peel

One day, I will probably see a Drive-By Truckers show without my close friend (and Stages photographer) Micah Rogers. But I’d prefer that day never arrive.

The insights he provides and the unbridled passion he exhibits in the presence of one of his favorite bands (whom he’s seen approximately 30 times) significantly enhance the overall experience, all without veering into Annoying Fan territory. Such has been the case with DBT shows at Rabbit Rabbit and The Orange Peel, plus a rare performance by Dimmer Twins (frontmen Patterson Hood and Mike Cooley’s acoustic duo) at The Grey Eagle. And yes, we have tentative plans to see Hood’s solo show at Asheville Music Hall in December.

With the full band back in town Nov. 7-8, performing their milestone album Southern Rock Opera in its entirety, Micah was concerned/curious that it was too insular an offering — one intended for longtime fans who’ve worn out multiple copies of the album. True to form, he didn’t express that concern until after surprise guests (and new local royalty) MJ Lenderman, Xandy Chelmis, and Landon George joined in on a cathartic encore of Neil Young’s “Rockin’ in the Free World.” But even in that post-finale euphoria, Micah and other DBT die-hards need not have worried — the set was about as accessible as they get.

Yes, casual fans like me might not have recognized half of the songs (Micah says ⅓ are rarely played live), but they're still a treat to witness in person and especially consider as part of a larger, intentional work; one intent on wrestling with the numerous dualities of the “Southern Thing” while bluntly calling out the region’s toxic components.

Yet another 9/11/01 release (joining resilient works by Jay-Z, Ben Folds, Bob Dylan, and others), Southern Rock Opera has only grown more prescient and poignant with time, and “Ronnie and Neil,” “Let There Be Rock,” “Women Without Whiskey” stand alongside 2016’s ”Surrender Under Protest” (which feels like a sequel to its similarly themed predecessors and seamlessly snuck into the middle of the Nov. 7 setlist) as the cornerstones of a great DBT show.

But, no, I didn't pick up on the new arrangement for “Plastic Flowers on the Highway” or the rarity of album- and usual set-closer “Angels and Fuselage” ending with multi-instrumentalist Jay Sanders alone on stage playing keys rather than drummer Brad Morgan being the last man sitting. However, I thankfully didn't have to clock such details for the performance to engage and entertain me.

A DBT show is the opposite of an esoteric night out, intended to keep folks at a distance. Easter eggs are there for the Micahs of the world, but they're bonus perks, not essential ingredients.

Among those latter components last Thursday night were the complementary, harmony-rich guitar solos on “Buttholeville” (from DBT’s 1998 debut, Gangstabilly) and “Let There Be Rock”; Hood’s stream-of-consciousness commentary during the still-potent history lesson “The Three Great Alabama Icons”; and the unmistakable sense that these five men (late shout out to Matt Patton’s smooth backing vocals and steady grooves on bass!) love playing together and love playing at the Peel.

Along with hearing so many rich, confidently rocking guitar riffs that seem more iconic than they probably are, the night unified those gathered through Hood’s defiant pleas to “Fuck fear” and love each other. Yet amidst the protest, the Hood-sung chorus of “Angels and Fuselage” — “And I'm scared shitless of what's coming next” — felt bracingly apt the day after U.S. voters validated a platform of hate, bigotry, sexism, and more ugly qualities that the Truckers had just systematically picked apart for 90-plus minutes.

But, of course, it wouldn't be the night’s final message. A cover of Wet Willie’s “Keep On Smilin’” set the stage for Lenderman & Co. to come out swinging on the Neil classic, gifting the DBT faithful with something close to a torch-passing — at least on a spiritual/inspirational level. Fortunately, DBT isn't going anywhere, and their music has never felt more vital.

(Nov. 7 photos by Justin Bowman; Nov. 8 photos by Micah Rogers)