DRIVE-BY TRUCKERS
MOTHER JACKSON

February 28, 2004
Georgia Theatre - Athens, GA

 

Mother Jackson:

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So, is there anyone left in this area that doesn’t know that the Truckers are the best rock and roll band around? I’m beginning to think the answer is a resounding “no” because it felt like half of Athens showed up to the sold out Georgia Theatre to welcome home “the boys.” Funnily enough, that ain’t even an accurate term anymore since the recent departure from the band of bassist Earl Hicks has made way for the much prettier (and just as rockin’) Shonna Tucker. The Truckers usually start off their sets sloppy before tightening up but tonight was right on from the start. Maybe the injection of the blonde bassist (and wife of guitarist Jason Isbell) has added even more fuel to the already intense fire. “The Living Bubba” careened into “Sink Hole” and the place went ballistic. This was not a show for the non-partier. A cloud of smoke filled the air so thick that the room was a foggy haze. Of course, alcohol flowed and spilled throughout the venue. The mood was perfect for the devil-may-care-but-probably-doesn’t attitude of the band if not exactly conducive to breathing.

 

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Front man Patterson Hood and hotshot guitarist Jason Isbell drank straight from whiskey bottles in between lyrics about simple men gone bad. Mike “Stroker Ace” Cooley kept his beverage of choice in a discreet cup, but nonetheless took swigs from it liberally. Across the front of the balcony, a huge fan made banner proclaimed “The Boys Are Back In Town” and when that Thin Lizzy song was referenced in “Let There Be Rock”, Hood pointed out each word, drawing them out like nicotine as he grinned a mile wide smile.

Surprisingly, about half of the show was new material. Jason Isbell sang a couple, proving that “Decoration Day” and “Outfit” weren’t just beginner’s luck. Cooley showed off “Where The Devil Don’t Stay” and “Carl Perkins’s Cadillac,” which have already become live staples despite the fact that they haven’t been released yet. For Patterson’s part, he brought out some epic future DBT classics. Steeped just as heavily in North Alabama folklore as the best stuff from Southern Rock Opera, but even more concise and pointed, “The Boys From Alabama” had the crowd almost begging for the new record’s release even though the last one hasn’t even been out a year!

Even with all the new stuff, crowd favorites were the order of the night. “Marry Me” featured an appearance by Lona’s Clay Leverett who was clearly feeling no pain as he stole Hood’s mic to sing along. DBT’s cover of Warren Zevon’s “Play It All Night Long” was still better than the original, “Road Cases” stomped and “Lookout Mountain” was skull crushing. I wish I could capture the energy of this performance in words but I can’t. DBT in ATH at GATH is hard to beat.

(Chris McKay / concertshots.com)


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