There’s no day like release day. On Friday August t28th, the Alabama Shakes celebrated the release of their long awaited third album I Must Be Dreaming with a the First of Two very packed shows at Surly’s expansive festival field. The shows, the band’s first headlining gigs in the Twin Cities in over a decade (they played the yacht club festival last year) were some of the most anticipated of the year. During Friday’s triumphant return, The Shakes proved as strong as ever.
Though I must be dreaming may be labeled by some a “comeback record,” in the sense that it arrives eleven years after their last release, the landmark Sound & Color, it in many ways feels like a natural continuation from where they left off. Many of the funkier rhythms and psychedelic textures explored on Sound & Color return and are amplified on I Must Be Dreaming, often in compelling and innovative ways. Much it also echoes territory explored by dynamic frontwoman Brittany Howard on the two solo albums she made in the interim (The acclaimed Jamie and What Now). Accordingly, the new material felt right at home in the set.
Of course, the other records were well represented as well, with most of Sound & Color appearing in the setlist, along with some highlights from 2012’s comparatively straightforward (but no less potent) Boys & Girls. The varied sounds between the songs from the different records made for an interesting dynamic, with the more retro-leaning rock’n’soul numbers from Boys & Girls (“Hold On,” “Hang Loose”) serving as nice palette cleansers from their more psychedelic fare.
Throughout, the band sounded excellent. For the current run, the band has expanded to include several additional musical voices, including keyboards and three background singers. The large ensemble helped bring the textured material to life. Even when working with a big band, however, The dynamic Howard stole the show. An incredible singer, as well as a highly skilled (and somewhat underrated) guitarist, Howard has a rare ability to own any stage she steps foot on. Though the show at times felt restrained (perhaps too much for some fans), there were a number of jaw-dropping cathartic moments that lesser artists and bands simply could not achieve. Whether channeling the great rock and soul singers, or shredding her guitar like Eddie Hazel (as she did on “Gemini”), Howard’s Prescence is a sight to behold.
It’s impossible to know what a record’s legacy will be in the immediate aftermath of its release, and there’s no telling if I Must Be Dreaming will reach the stature of it’s predecessors, but the impression it left on the audience at Surly was undoubtedly positive. Some bands and shows are worth the wait, and this was absolutely one of them.
