As for the rest of the band, Susan Tedeschi makes a fine visual focus at the front, that semi-demure school librarian appearance contrasting nicely with a vocal intensity that would have satisfied most Janis Joplin fans.
But where, in Joplin's case, there was a tendency to screech when she headed for the heights, Susan's voice is smoothly melismatic as she heads for the upper register, and, as stated, the intensity when she really gets into it, as she did on That Did It (at least I think it was That Did It, based on a single hearing during the Allman Brothers' Beacon Theatre run last month) contrasts nicely with the librarian next door appearance.
Oteil Burbridge pinned things down nicely on the bass, contributed a vocal on Manic Depression and delivered a visual counterpoint on stage left, while brother Kofi's keyboard contributions, largely delivered from the darkness on the edge of stage left, contributed light and shade, filling in any holes in the sonic spectrum.
Throw in some interesting percussive interplay between drummers Tyler Greenwell and J.J. Johnson and the vocal harmonies from Mike Mattison and Mark Rivers and you’ve got a combo with plenty of sonic variables to play around with. It’s early days yet, but I’m sure there’s a lot to be revealed as things knit together in an outfit that’s stunningly good already and is only going to get better.
Suggestions that Robert Randolph would be joining the band come encore time failed to materialise, though that may have been due to an unannounced or unexpected visit from Warren Haynes, also in the country for Bluesfest, who came out to contribute to an energetic reading of the old Delaney & Bonnie Comin' Home.
With Revelator out in early June, I’m looking forward to further revelations...