Every once in a while, you see a figure that could build a castle with his own two hands. Warren Haynes has got the resume. He first cut his teeth with David Allan Coe before joining Dickey Betts and, in turn, The Allman Brothers, where he has been a key figure since his introduction in 1989. This was broken up in stints while he championed his own legendary southern bluesy outfit, Gov’t Mule. He even went on to perform with The Dead following the unfortunate departure of Jerry Garcia. Throughout this extensive combination of groups and touring, he has maintained releases of his solo act, and in November of this year, he is putting out Million Voices Whisper.
He will be playing The National on September 26th. “[In Richmond] I’ve played lots of great shows, in theaters, clubs, amphitheaters,” he tells me as he points out a particularly wild Gov’t Mule show at the Altria one Halloween.
Hailing from a quick jump over the southern border in Asheville, he explains that Richmonders and himself “share a bit of musical upbringing,” and that our DNA cannot be too different. His testimony, originating with “black gospel in the car at around 5 or 6,” is something that many RVA acoustics would resonate with. He goes on to tell me about his early love for soul, and how once he heard that, there was no going back. These factors, gospel and soul, are evident blocks in the structure that is his newest album, and can be seen in the explicitly southern first single, “This Life As We Know It.” It is the natural progression and culmination of the inspired music so many Richmonders have grown up on.
The new album has all of the classic feels and tropes you might expect from his impressive career, but he explains that “[he’s] been writing songs all [his] life, so it’s nice to take a turn down a dirt road and see where it leads you.” The album seems to pull all the hope and optimism of his life, put it on his shoulders, and journey into the future. The songs are fluid and living, each with a unique heartbeat and fingerprint, the guitar solos serving as digits that grab hold of the ambitious path ahead. The instruments on this album are so incredibly alive—the piano having a conversation with the bass, the drums and guitar scheming out a bank robbery. All this is said, but Haynes’ voice is the standout. James Brown was listed top among his earliest larger-than-life figures, and that honest drama in the vocals is more than apparent. It carries the attitude and earnestness of a sermon, an open-hearted plea to the listener, curated with a sense of welcoming and assurance.
One factor that he states has been pivotal and important in every step of his musical journey is live innovation and improvisation. Being able to change a tune, to take a new spin on an old tune, keeps him excited and fresh. It makes every show a unique one-of-a-kind experience. His upcoming National show will be unlike any other he has played in RVA for the simple reason that he refuses to play a show twice. His licks are living, and his chops are cut. He is backed by an assortment of seasoned players with the same attitude, all tuned to keeping each other fresh and fluid.
The new album is out November 1st, but you can get your preview on September 26th at The National.
