THE SECOND WEEKEND

The weather gods were still with (and remained) as we fronted up for the traditional local Thursday that predominantly features Louisiana artists, and it usually provides some festival highlights: this year is no exception. We arrive early afternoon and the injuns are out in force, particularly the White Cloud Hunters who look mighty purdy and dance up a storm on the Heritage Stage.

But it's the Gentilly stage where the serious action is. I've never seen Old Crow Medicine Show before and expectations (and the crowd) are high. OCMS don't disappoint, handing in one of the standout shows of the whole festival, outrageously addictive, foot stomping, country bluegrass, the only drawback being an inebriated young wench constantly screaming out (as if they could hear her!) for 'Wagon Wheel' which, when ultimately played, she knew not the words of - go figure! Awesome show.

The team dispersed to various stages for the day's finales, some to see the Blind Boys Of Alabama (who obviously didn't see them!), some to Toots & The Maytals, and those who'd seen enough quality music for the day went to see Lionel Richie.

Beyond salvation!

The truly astute punters stayed put and were ultimately (given he came on 20 minutes late!) rewarded with the performance of Jazzfest 2018 by the incomparable Lyle Lovett & His Large Band. From their suits to the dexterity of the all-star band, everything was meticulous and he must surely be one of the most charismatic performers in popular music; truly memorable.

Smile if you've met Julia Roberts

Still smiling...

Is that Tony Bennett?

Rock God and I have never actually been at the festival for the start of play, but Friday morning is a first, and the early bird really did catch the worm. As he stands on stage in his silver cowboy boots and boxer shorts (he couldn't find his clothes following a big night on the town!), it's abundantly clear that CC. Adcock (+ The Lafayette Marquis) is not a morning person, but nonetheless he rips into a fabulously entertaining set of Louisiana tinged rock'n'roll.

CC Adcock draws a quality crowd

Ooooh, you've certainly got a big one

Tres chic

CC is immediately followed by fellow Lafayette native Zachary Richard who sings up a storm,

whilst the ever resplendent Little Freddie King strutted his stuff in the blues tent.

MC Taylor, head honcho of Hiss Golden Messenger (HGM) participates in an entertaining interview (despite the appalling interviewer - Holly Hobbs, you need a different career!),

and then it's over to the Fais-Do-Do to firstly watch Sunpie & The Louisiana Sunspots followed by a superb performance from HGM. 

What's wrong with being called Sunpie!

Jason Isbell pulled out of his interview but all is forgiven when he takes to the Acura stage with his band 400 Unit. After a shaky sounding start (not his fault, the mix was terrible) he lets rip through most of the songs from his outstanding 2017 album The Nashville Sound; great songwriter, singer and performer.

The smart people (i.e. moi) make their way early to the blues tent to get a seat for the day's headline act Ruthie Foster. She's good but not great, lacking the raw power to properly close out the day's entertainment.

The penultimate day turns out to be a low key day, with the earlier slots filled by artists Don Legsy has seen enough of in the past to not be too fussed. and so we head out for one principal reason, and that is to see the legendary rocker band Aerosmith.

Pablo has wandered off to watch a Kermit Ruffins performance (he was obviously impressed by the impromptu lunchtime show) and we madly try to get him back as Aerosmith come on 30 minutes EARLY! We lose Aimster in the huge crowd as she forges her way close to the front, and so we stand back and take in the performance.

Random face in the crowd

It's terrific rock'n'roll theatre but leaves a few questions hanging, like "why do men in their seventies find it necessary to wear women's clothes on stage?" and secondly, "if their body of work is so great (which actually it isn't) then why do they feel the need to play an old Fleetwood Mac song and borrow from Led Zeppelin?". Nonetheless, the crowd went bananas, it was good fun, and worth getting out of bed for!

And so the Jazzfest final curtain beckons. First off is to watch Steve Riley and his Mamou Playboys kicking up a Cajun riot 

before rushing to see the Master Of The Telecaster, Bill Kirchen, being interviewed by Tom Piazza.

It proves to be a festival highlight as Bill tells tall tales and true about his career, the plank of wood he plays and "the great '65 folk scare" - he's a very funny man and simply the best Telecaster player on the planet. No sooner does he finish the interview than he jumps on stage and rips out a snorting set of rockabilly, dieselbilly, anybilly you like really - a LegsyBoy favourite.

Susan Cowsill sings along with Bill

There's time to catch a bit the colourful Haitian combo Lakou Mizik and their heady concoction of Afro-Caribbean rhythms

before nipping over to the Congo Square stage for the most anticipated performance of the entire festival. The crowd was MASSIVE to see Motown legend Smokey Robinson (an all-time LegsyBoy music hero), and to say that large sections of the crowd - including moi - were left disappointed would be an understatement. Apart from interminably waffling on (designed, perhaps, to lessen the amount of singing he had to do?) he then proceeded to sing medleys of the classics he has written and performed with the Miracles and other Motown artists. And giving strength to the earlier query, when he did finally sing he struggled (that's no criticism, he is getting on after all).  LegsyBoy, and scores of others just gave up and walked elsewhere, and it will remain one of my most disappointing Jazzfest moments EVER.

Never mind, Tommy McLean in company with CC Adcock and Steve Riley provided a royally entertaining interview

before we headed off to watch Calexico's curtain call. There were tumbleweeds everywhere as they went through their Tex/Mex flavoured paces, they really are something special (even when the sound mix is terrible),

and there was still time to stick the head in to see Buddy Guy ripping the blues apart

followed by the Steve Miller Band soaring like a budgie - the sound was fabulous, but they were oh, so boring!!

Adios Jazzfest

Final night in New Orleans and time to go out with a bang, and so we all head to the Rock'n'Bowl for the annual Jazzfest curtain call show featuring hotshot slide guitarist Sonny Landreth and local favourite Tab Benoit (without his mum!).

They're both in scintillating form and it provides the perfect backdrop to our game of ten-pin bowling. After a slow start (he couldn't find a left-handed ball) and an epic battle, Rock God won the match (I would've won if the pins were located in the gutters!).

Departure day, and Tinno leaves early but not before a fond 'adios'.

Jacuzzi Jen, Pablo, Aimee and I decide upon a horse and carriage history tour of  the French Quarter

that takes in the fascinating St Louis #1 cemetery, and then it's time for JJ to depart.

A ride on the ferry across the mighty Mississippi is required and finally it's our turn to leave the Big Easy.

Jazzfest is a marathon, not for the faint-hearted. Seven days of music featuring over 70 acts per day is a serious music smorgasbord to devour. and the people, it's safe to say that if you think you're a bit different - well, you're not!

Then there's the Louisiana food, so different to anywhere else in the US, or indeed anywhere.

And then there's the experiences that come with sharing 12 days together that add to the occasion.

Next year is the 50th anniversary of Jazzfest, it will be huge - anybody up for it?