Article Contributed by Jake Cudek
Published on 2026-08-13
Welcome back, Susan! - photos by Jake Cudek
Last month, the critically acclaimed Tedeschi Trucks Band made their annual return to the beloved Red Rocks Amphitheater and did everything within their supernatural powers to turn sandstone into spirit and unify two nights of sold out audiences in the way that only they can.
This run made for the band’s 22nd and 23rd shows since 2012 at the world famous location and marked the ninth year that they would occupy the spot at the end of July with this standing run. Performing to a sold out crowd for both events, night one would also be the band’s first performance in almost six weeks, as Susan Tedeschi underwent an emergent appendectomy, causing the cancellation of a handful of shows, including some headlining festival gigs. Although one might think that the need for surgery would impair the delivery of Tedeschi, nothing could have been farther from the truth as the lead lady and the whole of The Tedeschi Trucks band delivered on their good name and gave back-to-back audiences everything they expected and more.
Arriving to the venue in the early afternoon on Friday, the temperature was already approaching ninety degrees with intermittent cloud cover. The forecast had called for a twenty to thirty percent chance of rain, which in terms of Red Rocks, could spell relief or run-for-your-cars events, causing many waiting in the multiple lines crossing their fingers that it was the former not the latter. As the time for doors approached, a sizable thunderhead climbed slowly over Creation Rock, giving pause and concern, many hoping it would just pass without incident. As the minutes ticked by, Lukas Nelson and his band finished their soundcheck and with that, venue staff got the green light to let fans in. As the steeplechase let out, lightning struck almost immediately and here came the rain, quickly causing security to halt the stampede, forbidding anyone from entering the bowl. Like animals at the bit, fans continued to press their luck, many having to be reminded repeatedly to stay behind the treeline. Although most of these atmospheric events move through quickly, this one lasted nearly half an hour and once the venue gave the all clear, the race was back on to seats, merch, and the general good time that has gone on in this spectacular sandstone venue for 120 years.
With the sun still lighting the way, the night got rolling with a solid opening set from the aforementioned Lukas Nelson and his band. Although this was not Nelson’s first time at the historic venue, when he came on, he bounced like so many have when getting to play between the towering iconic walls of this special place. Supported by both new faces and old, including members of The Promise of the Real (POTR) and multi-instrumentalist Jake Simpson, the group got right to work giving over everything they had to the many attendees who had turned out early to catch their slot.
Walking out with a wave and a smile, Nelson got things going with the POTR tune “Fool Me Once”. WIth some sweet pedal steel, this honky tonk number got those who were there to dance up on their feet early. Picking up the pace and pulling from the POTR cast once again, “Every Time I Drink” was next. This one really showed how strong Nelson’s vocals are, belting it to the back row with memorable emphasis and confident vibrato. Not only did this one get more fans to the dance floor, but the band themselves were bouncing in their respective spaces.
Pausing for a bit of schtick, Nelson addressed the crowd, “Thank you very, very much. You know, I was looking back to see what I have learned throughout the days and I realized I have learned a whole lot of nothin’ and I know a whole lot more of nothin’ and I wrote a song about it so here it is.” The appropriately titled “Whole Lotta Nothin’” was a fun tune filled with retrospection and comedy, referencing the rearview mirror in all of us.
Dialing up his last studio creation American Romance, “Pretty Much” was on board next. An emotional number about life and death, this one showed that Nelson’s talent to capture feeling and depth is equatable to that big sound that he often presents that lights up the moment. With great organ work from keyboardist Eli Kleiner balanced against the pedal steel of Dakota Holden, this piece was moving and touching from the start.
Moving on with the blues, the meanderings of “Simple Life” got more people to their feet and dancing, especially the couples in the stands. This one threw the spotlight on bassist Corey McCormick, who laid out multiple minutes of beautiful low end, setting off a considerable applause at the close of his delivery.
Written about the Yampa River, the last undammed river in the U.S., “The Last Wild River” flowed like its namesake: wild and turbulent at times, calm and steady at others. With the introduction of this one, the audience cheered with familiarity as the Yampa begins where else but the state of Colorado. Jake Simpson got busy with some hot fiddle runs, drawing Nelson to his side of the stage, where the two went at each other at blinding speed, setting off the crowd.
Hitting American Romance again, “Born Runnin’ Outta Time” this rock tune with a hint of pop pulsated with energy, brightened the dance party that was underway as the sun set on the darkening venue. In perfect balance, the softness of “Just Outside of Austin” turned shaking bones to warming hearts as many swayed under the tones and lyric of this sweet, sweet ballad.
The final section of the set had the band hitting tune after tune without pause and pulling the final five songs from the POTR catalog. Swinging country Texas style, POTR staple “Carolina” was up first and showcased great playing by Holden on the pedal steel once again. Kleiner also laid out some great ragtime digitation adding to the overall appeal of the number. The high tempo of “Ladder of Love” descended and climbed repeatedly and for those trying to dance, keeping up with the speed of the piece ended with laughter and an effort in futility.
Gritty rocker “Die Alone” thundered and spurred a shout out from Nelson to Maxwell Flanders on the drums for his solid efforts. This one ramped up to the degree that Nelson could not contain his own energy, resulting in his jumping up and down at the climax alongside bassist McCormick.
For fans of POTR, “Find Yourself” is certainly one of the most memorable. With breaks that have the band dipping at their microphone stands and Nelson belting out the refrain with such power and conviction, this choice spawns goosebumps thinking about the moment even now. Nelson also asked the crowd to sing along which only made this one even more special, a call that was heeded by everyone on their feet. To close the set, Nelson introduced the band as The Love Handles and lifted fans one final time with the profound “Set Me Down on a Cloud”.
One can certainly hear the voicings and phrasings of Willie when Lukas is on stage and although there are similarities, I mean how can there not be, Lukas delivers on his own good name as well as the family crest. He is a strong performer and his talent is genuine and is something to see no matter who his father is. Nelson is a stand alone performer and for anyone who has seen him headline, those in the know can attest that he brings it every time.
When it was time for the main event at a bit past eight, as expected, the band strolled on wearing smiles and were met with an emphatic and deafening roar, the audience calling out their love and adoration. Among the joyous cacophony, many cries clearly directed specifically to Tedeschi and her return, a moment that caused her to pause as she looked out over the well wishers. As the minutes passed and the audience settled, everyone in position and ready to get down to business, Tedeschi strapped on her Caribbean Mist Telecaster and queued the crowd to quiet with a simple but energetic “Alright, good evening”. Wasting no time and with everyone on the same page, the set got started with a cover of Sly and The Family Stone’s “You Can Make It If You Try”. Widely welcomed around the bowl not only as a classic soul starter, but also as proclamation to Tedeschi’s return, the songstress led and belted out the lyrics, demonstrating that her recovery seemed a distant notion and she was back and ready to do the thing she was made to do. Supported by the titanic trio of Mark Rivers, Mike Mattison, and Alecia Chakour on backing vocals, this opening tune got everyone up on the good foot to start the evening. The tailend of the pick had the brass shine of trombonist Elizabeth Lea and trumpeter Emmanuel Echem lighting up the place before a vocal vamp that would give way to the band’s usual pairing of Sly’s “Everyday People”. For the subsequent song, Tedeschi would set aside her stick and focus solely on singing the verses, throwing hand gestures and facial grimaces as she turned it on from the inside out. From a setlist perspective, this would mark the first time that the combo would serve as a show opener, further reflecting the intentionality of its placement and Tedeschi’s as well as the band’s return.
With smiles abounding in every corner of the amphitheater, Tedeschi picked up her six string again and dialed up “Don’t Let Me Slide” from the band’s first album Revelator. Punchy, gritty, ballsy, tight, this one had Derek Trucks grinning at multiple points. Tedeschi got first dibs at the solo space and got fierce on that Fender as bassist Brandon Boone rolled deep on the P-Bass. This would be only the third version of the year and the first since April.
Coming out of the final choral refrain, the band stopped on a dime as they do so effortlessly and pulled out the first Future Soul track of the evening with “Crazy Cryin’”. This one has been getting a lot of air time as of late and for good reason. With strong “Cissy Strut” overtones, this one has it all: the warmth of a great horn arrangement, the heat of Gabe Dixon’s Hammond, Tedeschi’s great soul singing, and overall cohesiveness and musicianship from the band. This funky tune is infectious and got many holdouts to their feet to shake their hips. The fact that this one was written by Mattison and Trucks and yet they were not showcased seems to reflect that this band is about bringing the quality out in the music rather than being self serving.
Keeping with Future Soul, “Who Am I?” was the next track. With Tedeschi leading the way once again, this shift down in tempo and mood was a beautiful reprieve thus far into the set. Soft and supple, this one poured out of the band and flowed over the crowd, tantalizing the senses and hearts of those with their ears wide open. Mike Mattison’s donning of the acoustic guitar for this certainly added to the overall emotion. Derek Trucks got an extended solo towards the end and Boone’s bass playing pushed him on into the climax, a strong build that echoed with hints of Dickie Betts’ “Blue Sky” as Trucks wielded his magic tone and frenetically fanned at the Gibson, all the while Tedeschi looked on at her talented husband with a smile as wide as any one out in the audience. Drawing heavy applause from the house at the close, this piece is an easy win for everyone and shows once again that this band can do it all.
Keeping it all moving and certainly getting back to some serious business, powerhouse poets of the percussive persuasion Isaac Eady and Tyler Greenwell started off the next choice with several measures of showing off what they do best as individuals as well as synchronized syncopators. Slipping on the glass slide, Trucks slid out the intro to the familiar renderings of the band’s well covered selection of Dr John’s “ I Walk on Gilded Splinters” with Mattison leaving the backup singer riser and stepping center stage to deliver his raspy testimony with an attitude you could feel in your gut. Although Trucks swung for the fences at the first solo, Tedeschi was certainly no second place when she got her turn, jumping on the wah wah in heels no less and ripped at the strings in a pure Hendrixonian style, putting the Red Rocks passengers into full hyperspace. By the end, not only was the house up and moving, but the entirety of the band was shaking their groove thang and with a big finish close, huge beams were lit everywhere you looked.
Heading back to Future Soul, the group gave over two tunes from the album. First up was “What in the World”. Another emotive piece led by Tedeschi, Mattison returned to the acoustic guitar for this one. Barely hitting the three minute mark, this one was the epitome of short and sweet. Moving on, the band fired up the King of the Keys Gabe Dixon’s penned original “Devil Be Gone”. Written as an antidote to the depression of the winter blues in Nashville, this mantra turned tune definitely had enough of the good spirit to exorcise any bad mojo rolling around the mountain. This one saw Tedeschi and Trucks trading playful riffs, smiles, and winks at the first musical interlude showing that these two love not only the totality of the band but playing with each other night after night. The second solo space, Trucks took over with the slide once again and delivered a short but searing execution of fretted frenzy.
With Tedeschi turning the spotlight to the piano place before exiting stage right, Dixon kept the frame moving with a great take on The Allman Brothers’ “Come and Go Blues”. Emulating the sound and feel of Gregg Allman himself, not only did Dixon do justice to the lyrics as well as the rollicking piano phrasing, but watching him bounce in his seat and contort his face with feeling was inspiring and demonstrated a sincere reverence to the tune and its history. For the ending, Trucks got the place high on the fret board and bent notes in all the right ways. A relative rarity, this one would be only one of two versions of 2026 and only the second one since November of 2024.
With a smiling Tedeschi returning to the stage, the band took the place celestial and began a trifecta of tunes from the 2022 album I Am the Moon. Starting the first phase with the title track of the album and also another piece from Dixon, a powerful delivery of “I Am the Moon” ensued between Tedeschi and the man on the bench, the two locking eyes, exchanging lines and accompanying each other on the chorus. Bold and yet fragile, this piece reads with love at its core but hauntingly lonely and finishes with a reprieve that elevates the listener, especially when Trucks took over and scorched the earth. This one is yet another great example of this band’s attention to the quality of composition and musicianship through and through. Of note, as the band began this choice, the nearly full moon crept over the horizon with perfect timing making this yet another one of those magical moments found between the twin towers of Ship and Creation Rocks.
With a crowd check in from Tedeschi and a warm thanks to Lukas Nelson and his band for opening the night, the queen T introduced phase two of the lunar selections as “one that Falcon wrote”, the bird of prey referencing drummer Tyler Greenwell’s nickname. Just like the tracklist from the album, “Circles ‘Round the Sun” followed next and man, did this one deliver. The middle had all the things that these ears love: driving groove, guitar wizardry weirdness, unrelenting energy, and plenty of the unexpected. Midpoint, sax god Kebbi Williams drew the full attention of the ten thousand and channeled every jazz spirit of chaos, cajoling to and fro, blowing hard and heavy, akin to some tribal incantation. Drummers Eady and Greenwell shuffled, snapped, and swung heavy into the backbeat and spun unsettled into the structure that just continued to fray. Measures passing, Lea’s ‘bone and Escham’s brass buzzed, built, and bayed in a barrage of bombastic bliss that put the crowd in a feral frenzy. Boone’s bass was unrelenting, driven, and locked in, affording the reliable pulse to the full body musical seizure breaking loose on that stage.
“Circles ‘Round the Sun” lasted roughly for eleven amazing minutes and when all of its flaming fanfare dwindled into ashes and embers, Trucks began the comforting chords of the third phase with the brilliant beam of “Pasaquan”. An homage to an art compound in Georgia, the term pasaquan means “a place where the past and future come together” and this musical form of the term certainly scratches that jam composition itch so many in the fanbase seek out. Dissolving from the preceding piece, the formation went from a twelve piece to a quintet composed of Trucks, Boone, Dixon, Eady, and Greenwell. For this twenty minute monster, Trucks moved from the SG and strapped into the Gibson Hollowbody for most of the ride. The drummers were non-stop and Bassman Boone was just as relentless. There were several cycles of interchange between Trucks and Dixon, the Leslie spinning ‘round and ‘round the blurred fingers of the band leader. From pauses and quiet to voluminous overloads of ecstasy, this five piece let loose all they had within them and acted as the conduit for all that is right in the world. Contained within the overflowing cup, the audience was also treated to a two minute reading of “Mountain Jam”, sending many hands to the sky in thanks. Eady and Greenwell also got a full five minutes to lock eyes and rhythms before the multitude and pound out all they had to say, their kits rocking back and forth atop the riser as their own smiles grew wider and wider.
As the timekeepers finished their session, the rest of the band returned and with a subtle countdown, the whole outfit dove back into it with a take on “I Want More” from their 2016 album Let Me Get By. For this one, Tedeschi opted for her sunburst Telecaster and at the five minute mark, she put that thing to work, ripping through some solid call and response with her beloved counterpart. The drummers even got another breakdown before the exuberant and triumphant ending that was three solid minutes of Jeff Beck’s “Beck’s Bolero” that left the Rockies quaking with celebration.
Just when one thought it couldn’t get any better, the band shifted gears for a collective breath and brought the incredible voicing of Alecia Chakour to center stage and set her up for success with an incomparable version of the Ben E. King cover “It Ain’t Fair”. With Williams’ sax supporting the soul of the singing siren, this was more than soul, more than perfection. This was divinity through and through. When one considers the altitude and the pulmonary power needed to belt this tune and the range in which Chakour delivered, this one was nothing short of miracle. At one point, Trucks was high up on the neck of the Gibson, delivering those almost ‘dog-only’ notes and Chakour was matching him note for note. Statistically speaking, this choice has become increasingly rare over the last two years and this one marked only the third version of the year.
Following that seven minutes of wonder, the band slid in unison into the well known Allman Brother’s cover of “Dreams”. Dixon once again delivered on his own good name as well as that of Gregg’s, channeling that familiar southern spirit once again. For the second stanza, Tedeschi would give over her talent accompanied by Dixon, the stringed lady gesturing out her power and intent with her hands and grimaced face as she belted the beloved words out over the full house. The space between the lyrics was filled to the brim with instrumentation that was passionate and anything but rehashed, Trucks’ eyes shut tight as he took the riders to the top over and over again, finishing with a huge smile and wide eyed expression of his own, a rarity for this player who often appears more like a sphinx that an easily ready script. Coming in at ten minutes, this version was the fifth for the year and only the seventh version since November of 2024.
Hitting up the Let Me Get By album once again, “Anyhow” was up next. This one is like what would happen if The Rolling Stones’ “Heartbreaker” and a Bonnie Raitt tune had a love child. Even with that in mind, it certainly does NOT detract from the moving groove of this piece. The horns arrangements just makes one want more and the back-up vocals are just gospel. Tedeschi employed her Gibson here and she certainly didn’t hold back. Trucks was seen often gazing at his lovely lady smiling as she shredded the sound.
At the close of “Anyhow”, Tedeschi paused and thanked the crowd again and introduced a surprise for the audience. Although most thought this would be the part where Lukas Nelson came out to join the band, instead the crowd received a curve ball of a treat with the introduction of not one but two guests: Black Crowes’ founding member Chris Robinson and the Crowes current auxiliary guitarist Nico Bereciartua. Sending the crowd into an exuberant applause with the appearance of the well known frontman, the final choice of the set was a hot take on the Matthew Moore original “ Space Captain”. Made famous by Joe Cocker’s inclusion on the Mad Dogs and Englishmen album, this one was yet another church service for the masses. Robinson’s flare and talent alongside Tedeschi’s soulful possession had everyone on their feet with hands in the air. From the intro lick rolled out by Dixon to the final notes, this felt more like Spiritual Sunday than Friday Funday. With Tedeschi and Robinson taking turns at the mic as well as coming together to belt out the refrain learning to live together, this celebration was evident from one end of the stage to the other. Of course the revelry was not only contained to the vocal exchange by Tedeschi and Robinson, but was seen popping off from the git-box side of things, Trucks and Bereciartua going at each other in heavy exchange. Bringing it all down, Trucks eventually made his way to the horn section and the onlookers were treated to a round of call-and-response between the guitar wizard and Ms Lea on the trombone, something most can safely say that probably haven’t seen outside of this configuration. At nine minutes from start to finish, no amount of words could do justice to the freeing and explosive experience that closed out a spectacular singular set that rang in at two hours and four minutes.
Returning for the encore, the more than satisfied constituents welcomed the band back with all that they had and although they would have been happy to get anything in the encore slot, no one at the infamous Red Rocks Amphitheater had any idea of what would come next. For the closing frame, the band not only returned with Robinson and Bereciartua, but towed Crowes’ keyboardist Erik Deutsch as well as Black Crowes’ songbirds MacKenzie Adams and Lesley Grant. With a feverish crowd and smiles for miles, the party going down on stage hit like a triple header mini-set. Kicking it off, the trio of Mattison, Robinson, and Tedeschi belted out the cover of The Rolling Stones’ “Lovin’ Cup” and as one would expect with the crossover from the Phish camp, there were more than a few thousand singing the song in the band from Vermont’s regular rotation. As a newcomer in 2026 to the Tedeschi Trucks Band canon, this one has had heavy air play and this version would mark the fourteenth time it has been performed this year. From there and without a break, the supergroup shifted seamlessly into the usual pairing of covers “Leaving Trunk” and “Volunteered Slavery" by Sleepy John Estes and Rahsaan Roland Kirk, respectively. During “Leaving Trunk”, Deutsch got busy standing at the organ letting out his sermon followed by Dixon responding on the piano sound before the two hit the head simultaneously. Tedeschi got the first guitar solo and the place blew its top. Robinson and Mattison followed with some grade A scatting that just kept things rising. Mr. Trucks stepped to the plate next and transitioned the group into the very freeing “Volunteered Slavery”. Following the delivery of the lyrical content by the seven headed gospel choir, Eschem got a chance to blow and did so with his heavenly horn! The final few minutes went from rejoice to revival as the seventeen people on stage took the tune from its steady cadence into double time and eventually pushed their way to triple time, calling the night complete with a big finish that left everyone awashed with elation, exaltation, and the purest celebration.
Walking out on night one of the Colorado run, and even now a week later, fans of the band are still reporting that this opening show might be the best Tedeschi Trucks Band show ever. From the performance and surprise sit-ins to the incredible fidelity and dynamic lighting to nearly perfect weather and the rising moon, for those who were there, this one won’t soon be forgotten and if one had to bet, probably not soon lost to time by the band either. The Tedeschi Trucks Band continues to stand the tests of time and keeps foraging on into new territory and when one is in the presence of their performance, everything but the moment at hand is easily dismissed. Of note, within a week of this latest round of Red Rocks magic, Tedeschi Trucks Band sent out an invitation to save the date for next year, but this time instead of two opportunities to catch the lightning in a bottle that is their calling, friends, family, and fans will have three chances to witness some of the best music in the land.
