The Allman Betts Family Revival (formerly the Allman Family Revival) has officially evolved from a humble tribute to a full-blown traveling circus of Southern Rock royalty. As the 8th annual iteration of this traveling roadshow, the tour felt less like a standard tribute and more like a living, breathing continuation of the Allman Brothers Band’s “Big House” spirit.
Led by Devon Allman (son of Gregg) and Duane Betts (son of Dickey), the concert is less a standard gig and more a three-hour “Last Waltz” style celebration. Here’s a breakdown of the experience:
The Atmosphere: A Soulful Family Reunion
The vibe of the Revival is uniquely warm. It’s a “big tent” event where the stage is constantly rotating with guests, yet it never feels disjointed. The production was bolstered by the Brotherhood of Light, the legendary liquid light show that provided the psychedelic backdrop for the original Allman Brothers for decades. Seeing those swirling oils and animated mushrooms behind the band makes the experience feel authentically 1971.
The core band—consisting of the Allman Betts Band—acted as the foundation for a staggering array of guests.
The Standouts: Robert Randolph on pedal steel was, as usual, a force of nature. His work on “Dreams” stretched into an 18-minute masterclass of slide guitar that left crowds breathless.
The Vocal Powerhouses: Judith Hill and Jimmy Hall (of Wet Willie) provided the grit. Hall, even at 75, sang “Statesboro Blues” with a visceral energy that put younger rockers to shame.
Sierra Hull: The mandolin virtuoso’s presence added a bluegrass-tinted texture to songs like “Seven Turns,” showing the acoustic side of the ABB catalog.
Jimmy Hall: At 75, the former Wet Willie frontman remains a force of nature, especially on a blistering “Whipping Post” that usually closed the second set.
The “Next Gen”: The inclusion of the Dickinson brothers (Cody and Luther of North Mississippi Allstars) and Alex Orbison (son of Roy Orbison) on drums added a heavy, swampy rhythm section that honored the Allmans’ iconic dual-drummer attack.
The show typically divides into two high-octane sets:
- The Soulful Opening: “Hot ‘Lanta” usually kicks things off, immediately establishing the technical precision of the band.
- The Acoustic Interlude: A new addition was a semi-acoustic section featuring “Seven Turns” and “Melissa.” This allowed for a moment of reflection, often accompanied by vintage photos of Gregg and Dickey on the screens.
- The Heavy Hitters: The second set climaxed with “In Memory of Elizabeth Reed” and a scorching “Whipping Post.” While some fans noted that Amanda Shires’ violin-heavy take on “Whipping Post” was a departure from the original vocal power, her fiery fiddle soloing was a highlight for many.
- The Finale: The night always ends with “Midnight Rider,” featuring every guest on stage for a massive, gospel-tinged singalong.
