The second Thursday of Jazz Fest was hot and humid despite forecasts of possible rain. The Fair Grounds buzzed with even more visitors than the previous week, and by midafternoon, lines for food and drinks dotted the vast venue. The heat felt more intense under a cloudless sky that replaced last week’s breezy, pleasant weather. Still, the humidity remained manageable and never threatened to become the sweltering NOLA heat lurking on the horizon.
Despite the crowds and the rising temperatures, spirits remained high. Folks navigated the grounds with good humor, and the festival retained its signature warmth and camaraderie. Mayor LaToya Cantrell made a familiar appearance and was spotted grooving to Shamar Allen on the Congo Square big screen.
The smaller tents proved to be a refuge for many, offering cooler spaces and a chance to discover up‑and‑coming artists. In the Blues Tent, R&B singer Sierra Green and her band, The Giants, delivered an exuberant set. A native who grew up singing in church and cut her teeth as a busker on Frenchmen Street, Green showcased her rising star power with soulful originals from her 2024 album Here We Are. The crowd responded enthusiastically, recognizing her talent and soulful depth.
Seeking relief from the relentless sun, many headed to the Gospel Tent, where they were treated to an amazing performance by McDonogh 35—the first high school choir ever to perform in the Gospel Tent, a tradition they began in the 1970s. Decades later, they’re still lifting voices and making history.
On the main stages, songwriting icon and guitar virtuoso Anders Osborne—joined by Dumpstaphunk—once again held a coveted slot just before the headliners. Osborne and his seasoned New Orleans crew opened with “Back on Dumaine,” a post‑Katrina nod that set a reflective yet energetic tone. They then tore into the 2024 powerhouse jam “Real Good Dirt,” channeling the raw wattage of Crazy Horse. Local sax legend Brad Walker and guitarist Eric McFadden traded fiery solos with Osborne, adding layers of intensity.
True to form, Osborne shared a vivid anecdote about his early days living on Decatur Street. He recalled begging the owner of Checkpoint Charlie’s for a Tuesday slot in exchange for 20% of the bar’s takings—despite earning just $0.16 that night. This led into a heartfelt rendition of “Dark Decatur Love” from his 2024 LP Picasso’s Villa, capturing the gritty, soulful spirit of those days.
Across the grounds at the Fais Do Do Stage, La Santa Cecilia brought a different flavor. Though they’ve collaborated with Elvis Costello and Los Lobos, their roots lie firmly in Mexican music. Their set blended cumbia, rancheras, and acoustic tunes driven by accordion and the powerhouse vocals of Marisol “La Marisoul” Hernandez. One standout moment was their cumbia‑style take on “Strawberry Fields Forever,” an unexpected highlight showcasing their eclectic versatility. Later, Chubby Carrier and the Bayou Swamp Band kept the zydeco spirit alive with a lively “My Toot Toot,” encouraging dancing everywhere.
At the Congo Square Stage, Damon Batiste’s NOSACONN All‑Stars injected infectious energy into the festival. Featuring David, Jamal, Ryan Batiste, Chantz Powell, and others, the band paid homage to the late Russell and Paul Batiste, with Naimah and Big Chief Shaka Zulu joining for a celebratory number. Stilt dancers added to the festive atmosphere, creating an authentic sense of community and cultural pride.
Anticipation built around the legendary Carlos Santana, who had been hospitalized the previous week with COVID. Thankfully, he appeared in good form—though seated for part of the set, he rose and radiated his commanding presence. Between extended guitar solos, he delivered a mini‑sermon on positivity and unity. His performance of “Incident at Neshabur” soared during its floaty second half, showcasing guitar work as vital and fiery as ever. Although Ravi Coltrane’s guest appearance didn’t materialize, the absence did nothing to diminish the impact.
Santana frontloaded hits like “Soul Sacrifice,” “Black Magic Woman,” “Evil Ways,” and “Oye Como Va,” rewarding early arrivers. Deep‑cut fans were treated to “Hope You’re Feeling Better,” a powerful rocker from Abraxas that rarely appears in his live sets—a welcome surprise and testament to Santana’s diverse catalog.
Drummer Cindy Blackman, a powerhouse addition, revitalized Santana’s sound. She maintained full‑throttle intensity for nearly 90 minutes and delivered a commanding solo in the encore—arguably the best drummer Santana has had in its 50‑year history.
Cage the Elephant closed the day at the Gentilly Stage, marking their Jazz Fest debut. Known for alternative rock hits like “Ain’t No Rest for the Wicked,” the band tapped into nostalgia and pure energy. Frontman Matt Shultz’s crowd‑pleasing antics—raising the mic stand high and tossing his guitar into the audience during “Come a Little Closer”—underscored their lasting appeal.
Meanwhile, the Jazz Tent hosted jazz fusion legends The Yellowjackets. Their masterful blend of complex rhythms and accessible melodies was both a technical showcase and pure joy for casual listeners.
Finally, Morris Day & The Time closed out the Congo Stage, bringing old‑school funk to the Forefront. Jellybean Johnson’s mirror gag for Morris Day was classic showmanship. Opening with “Cool” and delivering hits like “777‑9311” and “Jungle Love,” the band had the entire crowd dancing—inviting fans onstage for “The Bird” and cementing the night as a celebration of funk’s roots.
Thursday’s opener of the second week offered a rich tapestry—from Santana’s legendary guitar to vibrant Mexican rhythms, soulful gospel, and classic funk. Despite weather fears, the day stayed warm and lively, setting a high bar for the days ahead. The mix of renowned artists and emerging talents showcased Jazz Fest’s enduring appeal: where diverse sounds and shared community create unforgettable moments.
