Grit, Grease, and Texas Blues: Billy F. Gibbons Brings Texas Heat to the Lobero

Billy Gibbons & BFG Band | Santa Barbara, CA | January 24th, 2026 – photos by L. Paul Mann

The historic Lobero Theatre has seen its share of legends, from flamenco masters to jazz royalty and rock icons passing through California’s coastal jewel box. Few, however, carry a gravitational pull quite like Billy F. Gibbons. This past Saturday night, the ZZ Top frontman traded the arena-sized spectacle of “That Little Ol’ Band from Texas” for something leaner, rawer, and far more combustible: the BFG Band.

On a crisp Santa Barbara evening, Billy F. Gibbons didn’t simply perform — he held court. The Lobero’s intimate Spanish-revival room felt tailor-made for his brand of low-and-slow swagger, where a single bent note can say more than a stadium’s worth of pyrotechnics. Backing him was a powerhouse duo: drummer Chris “Whipper” Layton (of Stevie Ray Vaughan & Double Trouble fame) and the soulful Mike “The Drifter” Flanigin, commanding the Hammond B3 while also covering the low end. Together, the trio delivered a masterclass in Texas blues tradition — stripped down, road-worn, and shockingly alive.

If ZZ Top is a chrome-plated Cadillac built for the highway, the BFG Band is a hot rod tuned for back-alley burnouts. From the first note, the evening’s true protagonist was tone. Gibbons’ signature growl — both vocal and instrumental — filled the room with an immediacy that felt almost confrontational in the best possible way.

His screaming-hot Magnatone stacks gave the guitar a pulsing, almost vocal quality, bending notes until they shimmered and snarled. In a venue like the Lobero, there’s nowhere to hide — and no need to. This was the kind of sound that lands in your chest first, then works its way into your bones.

The setlist moved like a calculated blur: solo cuts, deep blues covers, and the inevitable classics, reimagined with grit instead of gloss. Highlights included:

“My Lucky Card”: A swampy, rhythmic shuffle that showcased the locked-in chemistry between Layton and Flanigin.

“Sharp Dressed Man”: Rebuilt on a grittier, Hammond-heavy foundation that stripped away the 80s sheen and brought the groove back to the pavement.

“Blue Jean Blues”: A slow-burn centerpiece where Gibbons reminded everyone why he remains one of the most expressive guitarists alive, stretching notes until they practically bled.

While the man in the trench coat and Stetson was the draw, the BFG Band is far from a one-man show. Chris “Whipper” Layton provided a backbeat so steady you could set your watch to it, swinging with that unmistakable Austin shuffle. If you’ve spent any time with the rhythm engine behind Stevie Ray Vaughan & Double Trouble, you know that kind of groove doesn’t come from technique alone — it comes from years of letting the blues do the talking.

Mike “The Drifter” Flanigin managed the near-impossible task of covering the low end on the B3 organ while adding technicolor flourishes on keys, then reinforcing the bottom with thundering bass when the moment called for it. He didn’t just support the songs; he colored the air around them.

Gibbons was in high spirits, punctuating songs with dry wit and Spina-fex wisdom. At one point, he told the crowd, “Ya’ can’t lose with the blues, especially when the dirt is this good.” The room answered with the kind of laughter that doubles as agreement.

The Verdict

The Lobero’s intimate acoustics and old-world charm were a perfect match for this low-and-slow blues. It was more than a concert; it felt like a reminder of why rock and roll still matters when it’s played with real grease under the fingernails.

The trio’s blistering encore left ozone and tube-amp heat lingering in the rafters. No doubt remained: the Reverend still leads the congregation — and business is booming.

Based on the grit and grease of the January 24 performance at the Lobero Theatre, here is the setlist as reported from the night. Across roughly 90 minutes, the trio moved through deep Texas blues, choice solo cuts, and reimagined classics from the ZZ Top songbook.