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HAVE MERCY

Rocks City National Grove of Anaheim

November 7, 2024 Review by Joey Clark

In my high school days, I was a punk rock kid through and through (and still very much am). My record collection contained Misfits, Rancid, and Rise Against, but there were a few outliers that I allowed into the fold – and may have liberated from my parents’ collection. Among those acquisitions was ZZ Top’s “Eliminator.”

There was something special about their particular flavor of blues-rock that swept me off my feet, and inspired me as a young musician. I think it’s fair to say many young guitarists are enamored with Billy Gibbons’ unique playing style, and long to know how to get that distinct sound to come out of their own amplifiers.

Last week, I found myself outside of City National Grove of Anaheim, waiting to see the legends of ZZ Top in person. Fans showed up in droves, donning western wear and ZZ Top shirts from the many eras of the band’s career. The line buzzed with excitement as fans old and new shared concert tales of ZZ Top, Billy Gibbons, and Frank Beard.

Opening the show for ZZ Top was long-time friend and collaborator, Mike “The Drifter” Flanigin. The well-respected blues artist opened the show with his patented style of Texas blues accompanied by his three-piece band – Joe Sublett on saxophone, Jason Corbiere behind the drum kit, and Flanigin on keys.

Flanigin led the trio through a moving, six-song setlist that ensnared the crowd from the first note. I witnessed an audience get swept up in the heart of those notes and connect to music in its purest form. It’s easy to see why Gibbons has collaborated with Flanigin over the years— there’s a shared reverence and respect given for the genre as Flanigin leads his trio on stage. Every note has intent and purpose, which guides the audience through a beautiful soundscape.

After Flanigin and the band wrapped their set, they thanked the audience and left the stage to a hefty round of applause.

The house lights went on and the anticipation for that “little ol’ band from Texas” began to set in. Having been a longtime fan of the group, I was excited — I had never seen them perform live. I was also curious about this incarnation of ZZ Top. Late, great bassist Dusty Hill passed away in 2021, and in accordance with his wishes had ZZ Top’s guitar tech, Elwood Francis, take up the mantle… and the beard.

The house lights went dark and the crowd went insane. Frank Beard took his position behind the kit, then Gibbons and Francis emerged with their glorious chin whiskers. The band opened with “Got Me Under Pressure,” and in an instant, the opening guitar lick drove the audience’s excitement even higher.

As they concluded the first song, Gibbons said, “We figured out we’ve been coming around with you for about five decades.”

The audience erupted into applause and Gibbons introduced the band as “Frank ‘No Beard’ Beard and my main man on the Fender bass, who just got out of prison, Elwood.” This was only the beginning of the fun quips the good Reverend would interject throughout the night.

ZZ Top continued to keep the energy up by playing fan favorites “Gimme All Your Lovin,’” “Pearl Necklace,” “I Gotsta Get Paid,” and “My Head’s in Mississippi.” As they wrapped up the latter, Gibbons looked out to the crowd and took them in. He began singing the opening lines of Merle Travis’ “Sixteen Tons,” and the audience sang along. “Y’all know that song?” he asked, and a cheer echoed through the Grove. Cheekily the bearded legend said, “I wish we did,” and started the classic song.

After “Just Got Paid,” “Sharp Dressed Man,” and “Legs,” ZZ Top exited and the stage went dark. Minutes had passed and the audience was questioning the possibility of no encore, but… the stage lights flashed back on and it was an encore!

Gibbons and Francis changed their matching suits during the break and Gibbons joked, “I know the train station’s not far away, but we gotta show off our new jackets.” They closed out the show with a three-song encore of “Brown Sugar,” “Tube Snake Boogie,” and “La Grange.”

This era of the band is a spectacle to behold. Billy Gibbons remains one the most renowned musicians out there and he lives up his reputation. Elwood Francis has proven himself to be a phenomenal bass player and an integral part to the band; there was truly no one better to carry on Dusty Hill’s legacy.

Frank Beard has been the backbone of the band sonically for decades and lays out a canvas for Gibbons and Francis to paint upon.

In moments when Gibbons deviated from the setlist to jam out, Beard, without hesitation, indulged his bandmate with conviction and performed with precision.

You’d have thought these jam sessions were well-rehearsed deep cuts but Gibbons tossed away notion after one of these impromptu moments stating, “Don’t get too excited we’re just making this shit up.”

That “little ol’ band from Texas” sure made a big sound in Anaheim. I would highly recommend catching them when they stop off next time around.

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