近距离内射合集

You can tell a lot about a musical group from the T-shirts their fans wear.

As I waded through the sea of tie-dye, straw hats and gray hair in the spacious leafy courtyard behind Santa Fe Brewing last Saturday, I spotted concert tees from jam bands Widespread Panic and the Grateful Dead, bluesy Southern rockers Creedence Clearwater Revival and Blues Traveler, alt-country hipsters Wilco, psychedelic pioneers Pink Floyd, math rockers Rush and even classic metal acts like Black Sabbath and Metallica, alongside, naturally, shirts for Gov鈥檛 Mule 鈥� the group we had all come to see 鈥� and Warren Haynes, their lead singer.

Even if the shirts were all classic rock or classic rock-adjacent, there鈥檚 still a world of difference between the Grateful Dead and Metallica. How does Gov鈥檛 Mule unite such disparate fandoms?

It鈥檚 largely a testament to North Carolina-born frontman Haynes鈥� sonic epicurianism. A master chef of sound, Haynes takes musical ideas from anywhere and everywhere and slow-cooks them into a Brunswick stew of alchemized expression that鈥檚 bursting with flavor yet still, somehow, harmonious.

Take, for example, the band鈥檚 covers of Bob Marley and the Wailers鈥� 鈥淟ively Up Yourself鈥� and The Police鈥檚 鈥淢essage in a Bottle,鈥� both of which they performed during their second set. Without completely jettisoning those songs鈥� reggae fundamentals, Gov鈥檛 Mule seamlessly transitioned from low-slung guitar grooves and dub-oriented drum fills into hard-driving rock and blues swagger. Haynes鈥� dark, sludgy playing on 鈥淟ively Up Yourself鈥� was totally unexpected 鈥� think 鈥�70s-era Tony Iommi of Black Sabbath standing in for the Wailers鈥� Al Anderson 鈥� but totally brilliant. On 鈥淢essage in a Bottle,鈥� Haynes鈥� note-bending solos recalled B.B. King at his most urgent and plaintive.

Gov鈥檛 Mule formed in 1994 as an Allman Brothers spin-off project. And while both groups are typically labeled 鈥淪outhern rock鈥� 鈥� The Allman Brothers practically invented the genre 鈥� neither group ever liked the term. In Paul Alan鈥檚 鈥淥ne Way Out: The Inside History of the Allman Brothers Band,鈥� Haynes said: 鈥淭he problem I have is a lot of people associate (Southern rock) with rednecks and rebel flags and backward mentality. That has never been representative of The Allman Brothers Band.鈥�

In fact, when The Allman Brothers formed in 1969, they were one of the few racially integrated rock bands around. (Their last surviving original member, Jai Johanny 鈥淛aimoe鈥� Johanson, is Black.) Even in 2026, American music remains largely segregated. So, it鈥檚 significant that Gov鈥檛 Mule is currently touring with a Black drummer 鈥� two-time Grammy-winning New Orleans native Terence Higgins 鈥� while founding member Matt Abts recovers from performance-related injuries.

Higgins is as versatile as Haynes, shuffling from rim-heavy Caribbean rhythms to swampy, blues-rock beats and heavy bass hits, all delivered with the silky-smooth strut of a Bernard Purdie or a Ziggy Modeliste. In other words, he does incredible stuff, rhythmically, and makes it look easy.

Another label Gov鈥檛 Mule gets slapped with, besides 鈥淪outhern rock,鈥� is 鈥渏am band.鈥� But if you think jam bands are lazy, spaced-out noodlers, that couldn鈥檛 be further from the case with them. The two most impressive things about Gov鈥檛 Mule are their stamina and their precision.

The band stepped onstage at precisely 7 p.m. 鈥� no opener 鈥� and, apart from a 15-minute intermission, played continuously until 9:45. There was no talking between songs, and they sometimes jumped straight from one song to the next, although 鈥� amazingly 鈥� they also went through more instrument changes than I鈥檝e seen at any concert.

Between bassist Kevin Scott, multi-instrumentalist Danny Louis and Haynes himself, I reckon there were close to two dozen instrument changes. I lost count after 15. But because their roadies were quick-change magicians, the flow was never interrupted. The band kept charging forward like an unstoppable train as pretuned guitars and basses were swapped from their shoulders. At one point, a crew member even removed a guitar slide from Haynes鈥� finger midsong so he could go from sliding to plucking without taking so much as a two-second break.

I felt a few raindrops toward the end of the band鈥檚 second set.

鈥淭his is the time we would normally walk offstage, then come back on and do an encore,鈥� Haynes said. 鈥淏ut because there鈥檚 lightning in the distance, we鈥檙e just gonna do it now before they kick us out.鈥�

They immediately launched into a blazing rendition of Haynes鈥� most iconic song, 鈥淪oulshine,鈥� and the crowd of nearly 1,200 sang along.

Whatever you may think of Southern rock, blues-rock or jam bands, I assure you, Gov鈥檛 Mule transcends all that. For two-and-a-half hours they rocked with spellbinding intensity, never losing momentum or skipping a beat. Don鈥檛 sleep on Gov鈥檛 Mule. They just might be the most underrated rock band touring today.

Logan Royce Beitmen is an arts writer for the 近距离内射合集. He covers visual art, music, fashion, theater and more. Reach him at lbeitmen@abqjournal.com or on Instagram at .