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September 5-8, Oak Ridge Estate in Arrington, Virginia played host to 20,000-25,000 fans each day for the inaugural
Lockn’ Music Festival.

Saturday, Sept. 7, 2013

The day opened with the crowd trickling in to Love Canon, who entertained us with bluegrass renditions of hits such
as ZZ Top’s “Legs” and “She Blinded Me With Science” for a fitting early day set. The London Souls came next,
providing some balls-out rock from the young duo and keeping much of the crowd moving, while many people
(myself included) drifted from shady spot to shady spot in an attempt to beat the aggressive sun.

The Punch Brothers came out dressed in collared shirts, ties, and jackets, making me wonder about their sanity.
The set opened with a Bill Monroe cover ("Brakeman’s Blues") providing for a more traditional bluegrass set than
Love Canon and they continued honoring the Country/Bluegrass theme with covers from Josh Ritter (“Another New
World”), Tex Ritter (“Rye Whiskey”), The Seldom Scene (“Through the Bottom of the Glass”) and Gillian Welch
(“Wayside/Back In Time”). The set also featured a cover of Radiohead’s “Kid A,” because this wouldn’t have been
a Lockn' set had they stuck strictly to their genre.

With the Punch Brothers' departure, the entire crowd seemed to migrate over to where the Black Crowes were about
to pick up with a balls-out take-no-prisoners rock set – more or less where the London Souls had left us. The Black
Crowes’ solid rock set was rounded out by covers of Traffic’s “Medicated Goo,” Rolling Stones’ “Jumpin’ Jack Flash”
and Otis Redding’s “Hard to Handle,” which has been a staple of Black Crowes sets since the band’s early years.

The Trey Anastasio Band took a few moments to appear on stage – this was actually a welcome relief after the
jammed-out rock throttling that the Black Crowes had just dished out. TAB played a well-timed sunset set with many
familiar Phish and Trey horn-laden funk grooves (“Cayman Review,” “Ocelot,” “Sand,” “Magilla”) interlaced with
Trey’s more contemplative pieces (“Valentine” “Dark and Down” “Wherever You Find It” “Architect”). A late-set cover
of the Gorillaz “Clint Eastwood” showed the real versatility of Trey’s band, featuring Jen Hartswick’s singing, trumpet
playing and rhyme-spitting. The “Black Dog” encore was another of Lockn’s set closers that left the crowd’s collective
face melted: again, Jen Hartswick shines through in a band of expert players.

After Trey, the night featured two more highly-anticipated sets: first, Widespread Panic with special guest
John Fogerty; second, Furthur playing
Workingman’s Dead and more.

Widespread played near a full set (featuring staple Widespread covers BloodKin’s “Henry Parsons Died,” J.J. Cale’s
“Travelin’ Light”) before introducing John Fogerty after playing a segued jam of “Bust It Big” > “Surprise Valley” >
"Blue Indian." With Widespread’s final song sans-guest “Ain’t Life Grand,” the theme for the rest of the night seemed
to revolve around the working man.

Fogerty joined Widespread for Creedence classics “Born on the Bayou” and “Bad Moon Rising” before the collective
dove into Fogerty’s new tune “Mystic Highway.” A mid-set Suzy Q let the band romp in familiar territory to all.
The combination of Fogerty and Widespread was so natural with John Bell and Fogerty’s vocals perfectly
complementing each other and Fogerty’s high-energy stage presence perfectly complementing Widespread’s high-
impact sound. The set ended with a short “Fortunate Son," a fitting lead into Furthur’s
Workingman’s Dead set.

Most of Furthur came out on time again, laying down the familiar intro jam to “Uncle John’s Band” and the audience
waited for the song to unfold as the band grooved patiently, waiting for Phil Lesh to appear and pick up the bass line.
When Phil surfaced, he bowed apologetically, seeming to understand that 20,000 fans were waiting on him so that the
show could go on.

The band played deftly through
Workingman’s Dead: vocals, changes, the whole she-bang seemed in order.
I spent much of the time wondering whether we were getting the whole album and I know I am not alone in confusing
Workingman’s Dead with the Dead’s other 1970 album, American Beauty. The segues between “New Speedway
Boogie,” “Cumberland Blues,” “Black Peter,” and “Easy Wind” were played with enough familiarity to avoid a
trainwreck, but nonetheless maintained edginess and life that made a strong argument for the timelessness of
Workingman’s Dead.

Before playing the final track from the album, Bobby introduced Trey Anastasio to the stage. The excitement is
palpable: Trey has played with nearly every person in the band before and has played a number of hot sets with
Phil and Friends in the last 15 years, but never has he appeared with both Bobby and Phil and John Kadlecik
channeling Garcia. What potential!

I’ve heard a few complaints about this set: Trey was too laid back – the jams didn’t get to the level of previous Phil-
Trey collaborations (Cf: Phil and “Phriends” in April 1999 at the Warfield and Phil and Friends with Trey in February
2006 at the Beacon). I see it differently.

This set featured a mature and considerate Trey incorporating himself into Furthur’s chemistry and pushing in new
directions without hi-jacking the band. While I was disappointed that there was no Trey solo in “Bertha,” the “Truckin’”
> “Other One” > “Viola Lee Blues” was exploratory with subtle pushes and pulls between all of the players.
This collaboration, more than any of the others in the weekend, gave the greatest potential for exploration and the
marriage of two sometimes at-war fan bases who believe on the one side that Trey plays too much, too loud,
too aggressively and on the other side: that Furthur is too old to rock. This set showed that none of that is inherently
true. Trey laid back and supported, Furthur pushed and rocked. A closing “Scarlet”>”Fire” seemed to be a dream,
since Phish’s very first gig in the cafeteria at University of Vermont, come true. No Michael Jackson recordings to
shut the band up here.
PHOTOS (click images for photo galleries)
LOCKN' Festival 2013 Day Three: Review & Photos
Local & National Entertainment Coverage Since 2001. For The Fans, By The Fans.
Words By TROY MILLER  |  Images By  ZANE A. MILLER
Love Canon
The London Souls
Punch Brothers
The Black Crowes
Trey Anastasio Band
Widespread Panic with John Fogerty
Further with Trey Anastasio