A near-capacity crowd at Tannahill's Tavern in Fort Worth on Friday couldn't get enough of The Mavericks.
The Mavericks had temporarily departed the stage — a quick breather before the two-song encore — and the ecstatic howl from the crowd crystallized the night in a single word, repeated at high volume: “More! More! MORE!” The near-capacity crowd tucked into Tannahill’s Tavern and Music Hall, a cozy space within the sleek Mule Alley addition to Fort Worth’s venerable Stockyards, was rowdy and ready for all the Mavericks had to give it, fiending for more, even though Raul Malo and his bandmates had just spent about 80 minutes delivering one of their trademark performances packed with fire, feeling and funkiness.
Malo, alongside guitarist Eddie Perez, drummer Paul Deakin, pianist Jerry Dale McFadden, percussionist and trumpeter Lorenzo Molina, accordion player Percy Cardona, saxophonist Max Abrams and trumpeter Julio Diaz, seemed content to let the music do the talking Friday, for the band’s first of two nights in Fort Worth. A band conversant in country, jazz, pop and Latin-flavored rhythms, finely honed by its relentless dedication to touring, the Miami-formed Mavericks breezed through all phases of its eclectic catalog Friday. The night, which ultimately ran about 95 minutes in all, began by pulling from the octet’s masterful 2020 LP— a potent one-two punch of “Poder vivir” and “Recuerdos” — and reached back to the early 1990s, showcasing “There Goes My Heart” and “O What a Thrill” from 1993’s, the release of which kicked off the band’s current era of activity, which has endured for 11 years thus far. Throughout, the Mavericks were reliably kinetic and locked tighter than a bank vault, although Friday’s set did have one unusual sight, at least on stage: Malo playing bass, alongside his typical lead vocal duties. While the band has featured a few different bassists throughout its existence — Robert Reynolds held the role until 2014, followed by Ed Friedland, who parted ways with the group last year — Malo is no stranger to the low end. In addition to singing, playing guitar and writing songs, he also played bass on the first two Mavericks LPs , the nearly full room often seemed to move as one, following the shifts in spirit accordingly — pairing off for gentle, shuffling dances during the down-tempo moments and losing its collective mind in ecstasy during the climactic “Dance in the Moonlight” or the encore’s “Come Unto Me” and “All You Ever Do is Bring Me Down.” The Mavericks have now been recording and touring for longer than they did during their first iteration. Some of that renewed longevity is likely attributable to the fact that the potent, polyglot blend of styles was ahead of its time in the 1990s, especially at a moment when country music, the genre through which The Mavericks entered the musical mainstream, was so enamored of slick, pop-glossed fiddle tunes. The collapse of firm borders between genres has served the Mavericks well, further aided by the fact that even the band’s 30-year-old material has aged like fine wine. But beyond that, there’s a sense the band is simply having too good a time to contemplate stepping away again for any extended period. The Mavericks understand it as well as the audiences do: The only true disappointment about any Mavericks gig is that it has to end at some point. After all, if you can sustain such pleasure indefinitely, why stop? Or, as the wise, possibly tipsy man screaming from somewhere in the darkness behind me Friday night succinctly put it: More!
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