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and you gotta find which way to go to blend in with them.” Etienne tunes his drums low. At the Feed & Seed show, that subtle change, along with his unique complementary cardboardbox stickwork, brought a bottom-heavy and swampier sound to The band. “There’s more an element of intensity as opposed to loudness and raucousness,” says Egan from the road in New Mexico. “At once, it’s darker, spookier and more mysterious. It makes us all rethink our approach. Not so much flailing away with wild abandon, but rather thinking, ‘How do we tighten the focus to this picture and make it more three-dimensional?’” This new chapter is a testament to the core and brotherhood of the band. Ever since Adcock and Riley cooked up The band’s blueprint over a Maison Creole pork chop sandwich, the band’s sound has survived the logistical challenges of multiple members juggling solo careers and other side projects. (For example, Riley’s Courtbouillon, his trio with Wayne Toups and Wilson Savoy, won this year’s Grammy Award for Best Regional Roots Album, and Egan just released a knockout eponymous album.) “I think everyone in this band needs other outlets to satisfy their urge to play music,” says elder statesman Landry. “It’s also a vehicle for songwriters. I credit CC and Steve for keeping this band alive.” Landry and Adcock have long lived in adjoining apartments in downtown Lafayette, hence their complex’s moniker “DisGraceland.” For Adcock, the The band bandmembers’ distinct, sometimes outsized personalities feed into the music. “We’ve always said we’ve got nine or 10 members, about 25 egos — and only a few livers left among us,” he says. “So sometimes shit goes down and gets sideways and you wonder if it’s all worth it and if we should keep booking it. But all that bitching and humbug, that’s also the tension that causes us to rock and gives an edge — keeps us a bit menacing — the way real rock ’n’ roll should be, behind all those sweetheart ballads.”
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GAMBIT > BESTOFNEWORLEANS.COM > JUNE 18 > 2013
Plant showed his love and command of 1950s R&B and rock ’n’ roll with his early 1980s Honeydrippers project; how could he not appreciate an Acadiana band whose members grew up on Phil Phillips’ “Sea of Love” and for whom “Good Rockin’ at Midnight” is practically a mission statement? Plant was so taken with The band after the Fats Domino tribute sessions that he joined the band at Tipitina’s for a surprise 30-minute set where he led the band through swamp pop, blues, and some teases of “Black Dog” and “Whole Lotta Love.” The vocalist has stayed in touch with the band since then, even as he navigated the massive pressure and expectations of the one-off Led Zeppelin reunion concert in London, and mainstream success with his Alison Krauss collaboration. (The two performed at the New Orleans Jazz & Heritage Festival together in 2008.) When Lil’ Band o’ Gold played Austin’s Continental Club last December, Plant was in the audience. “He’s always bringing up old records we could do well together and maybe getting back in [the studio] to cut a few — he’s such a band flirt!” jokes Adcock. Lil’ Band o’ Gold landed worthy deals for three of its recent projects: a full Fats Domino tribute album, The Lil’ Band o’ Gold Plays Fats, and its latest album, The Promised Land, with its accompanying documentary film on the band. (The albums are currently available only at shows and as Australian imports.) The The band film is unreleased, but evokes Les Blank’s groundbreaking regional music documentaries. It’s a tribute to southwest Louisiana culture and the band’s talent and resilience, as Adcock soldiered on to complete the film in the aftermath of executive producer Tarka Cordell’s 2008 suicide. That came on the heels of the band’s triumphant time with Plant — and perhaps the upcoming tour will help bring The Promised Land full circle. “I’m used to playing folk music and traditional music with my band [The Mamou Playboys],” Riley says. “It’s much more of an even-keeled ride. Lil’ Band o’ Gold is rock ’n’ roll, and rock ’n’ roll has different rules. This is a roller coaster, and with all the personalities, you just gotta hold on. The lows are lower and the highs are higher, and you just gotta ride it out and keep going.”
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