ZZ Top strolled into town, bringing with them their special southern Texas sound of boogie, blues and rock ‘n roll to Harrah’s Rincon. It was a sold-out crowd and many in the audience were dressed accordingly, with cowboy boots and hats.
ZZ Top, “That Lil’ Ol’ Band from Texas,” has had a long and lucrative career, recording more than 26 hit albums and releasing several singles over the last fifty-five years.
Formed in Houston in 1969 by lead guitarist and vocalist Billy Gibbons, the original members were Dusty Hill on bass and vocals, and Frank Beard on drums, who, incidentally, is the only member WITHOUT a beard. Throughout the years, they have toured extensively worldwide until Hill’s death in 2021. Hill had said that if he were ever late to the stage, just hand his bass to Elwood Francis, his longtime guitar tech. When Hill passed away, the band was in the middle of a tour and, hardly skipping a beat, added Elwood to the lineup. Thus, Hill’s final request was honored and Gibbons explained that Hill had wanted them to continue performing. Gibbons has remarked that Elwood brings with him a new enthusiasm and energy to the band. He wryly admitted that he has seen Frank smile for the first time in thirty years.
Mike “The Drifter” Flanigin
Billy Gibbons is one of the best guitarists in the land, and was inducted into the Hall of Fame in 2004. His signature 1959 Gibson Les Paul guitar is named “Pearly Gates” and is strictly stock. His extensive collection of guitars include Bo Diddley’s Gretsch Jupiter Thunderbird guitar set and a guitar from his great, late friend, Jeff Beck.
The Top’s opening trio was Mike “The Drifter” Flanigin’s band, bringing more Texas and Tennessee heat. Flanigin is a legendary Hammond B3 organ player, having been on the Austin blues scene since 1991. The other members are the phenomenal players Jason Smay on drums and guitarist McKinley James. This band was all about the blues, and many in the crowd got up to dance.
After a short break, the loudspeakers played a recording of the late Freddy Fender’s hit, “Hey Baby, Que Paso,” to add to the TexMex southern flavor of the blues music to come. Without missing a beat, the drum intro to “Under Pressure,” began ZZ’s blistering set, and the trio appeared, trademark beards and black sunglasses intact.
Next up was a cover of the Sam and Dave hit, “I Thank You,” all rhythm and bluesy, then the hit “Waitin’ for the Bus.” Billy and Elwood played in sync, seriously and methodically adding ZZ’s signature stroll to their grinding chops. The effect was mesmerizing and hypnotic. Next up, “Jesus Just Left Chicago,” “Gimme All Your Lovin’,” followed by “Pearl Necklace.”
The crowd went wild as they launched into their hit, “I’m Bad, I’m Nationwide,” a sultry tune that turned into a sing-along. “I Gotsa Get Paid,” My Head’s in Mississippi,” then the memorable tune, “Sixteen Tons.” Followed. For this, Gibbons brought out his friend Jeff Beck’s guitar. The opening riff of the song was Jeff Beck’s famous “I Ain’t Superstitious,” a Willie Dixon tune made popular by Howlin’ Wolf. “Sixteen Tons” was a song written by Merle Travis and reached gold in 1947.
The next songs were their mega hits, “Just Got Paid,” and “Sharp Dressed Man.” During “Sharp Dressed Man,” Gibbons held out the mic to the audience, who shouted the lyrics, “every girl’s crazy ‘bout a sharp dressed man.” Gibbons’ guitar playing and vocals were tantalizing; his sound has not changed, even after fifty-five years.
The band’s final song was their monster hit, “Legs,” and brought the audience to its feet. ZZ Top’s performance of the Texas boogie, blues,and rock ‘n roll did not disappoint. They are a class act, and the essence of cool.
Their encore had the crowd in a frenzy, as they closed with “Brown Sugar,” “Tube Snake Boogie,” and “La Grange,” the latter being one of their most recognizable tunes.
ZZ Top, thanks for an incredible evening.
BackStage360.com would like to graciously thank Harrah’s Rincon Casino for their gracious hospitality.
Carol Mazzetti / Staff Writer / BackStage360.com
Images: BrianTierney.Photography
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