Brett Milano, John Radanovich and Michael Allen Zell reviews from Jazz Fest Day 5, Thursday, April 30, 2026.

Thursday was frankly a bit of a mess, but rainy days at Jazz Fest never ran smoothly. The problem with this one was that a lot of schedule changes were made that much of the crowd didn’t know about—so unless you thought to open the cubes page online, you wouldn’t know that your favorite act had been cancelled or rescheduled, or that the whole fest would be shut down at 4 p.m. (I learned about it from my friends in Boston, who were listening on WWOZ). For that matter, the audience could have been informed of the planned shutdown before the day even started (as many of the artists were), so they could choose to save their ticket for another day. The word “refund” is not in the Jazz Fest vocabulary, so the scrambling to make something of a Fest day happen was shall we say, a mixed success.

Widespread Panic. Photo by Joshua Timmermans.

You had the least cause for complaint if you were there for Widespread Panic, since the Festival Stage lineup was reworked so the Georgia band could get a full set (though a relatively short one for them, at an hour and 45 minutes). Always a fan-friendly band, Panic worked to keep the mood upbeat, opening with a joyful “Ain’t Life Grand” and closing with “Fishwater,” an ode to intoxication in New Orleans that got some Dirty Dozen help. Less happy, but equally fun was “Knocking Round the Zoo,” James Taylor’s dark-humored number about his stay in a mental hospital. Having weathered some losses and personnel changes, Panic still specializes in organic-sounding jams that extend the flow of a song; no stand-alone instrumentals or jazz odysseys for them. Their most interesting soloist, lead guitarist Jimmy Herring is away on medical leave, but stand-in guitarist Nick Johnson soloed with comparable fluency (and soloed a whole lot). And you can add Panic to the list of bands who made a political; statement onstage this year, even if they had to sneak it in sideways: Their song “Bust it Big” has been around for 20 years, but they didn’t use to stop playing to accent the line “Beware of the man who builds monuments to himself.”

One of the day’s many casualties was Meters drummer Zigaboo Modeliste’s set on the Festival Stage, but you could get your funk fix (and a Meters song, “It Ain’t No Use”) from John “Papa” Gros at the Blues Stage. He too worked hard to give the set an upbeat vibe, including one of the most cheering songs in the funk canon, Rare Earth’s “I Just Want to Celebrate.” Much of the set came from his recent covers album, Giants, which salutes the likes of Toussaint, Dr. John and Levon Helm (and onstage, Marcia Ball as well)—they became occasion for some spirited stretching out, with his regular band now matching the synchrony of the old Papa Grows Funk lineup. And he did find space for one original: I’d put Gros’ “Cocaine and Chicken Fricassee” on the same pinnacle with Anders Osborne’s “Stoned, Drunk & Naked”: If you read the lyrics neither is anything like a party song, but they make a perfect soundtrack for misadventure just the same
—Brett Milano

Any fans of the great Fred Wesley who expected to arrive at the weather-shortened fest for his set leading the New JBs closing out the jazz tent the second Thursday would have been sorely disappointed. With the threatening storms approaching, James Brown’s longtime trombone player and bandleader—and member of Parliament Funkadelic and collaborator with the equally great Maceo Parker—Wesley’s set was moved into a much earlier spot, replacing Steve Masakowski‘s band.

Those who were lucky enough to get hip to the change in show time were treated to the youthful 83-year-old Wesley and band’s tight as it gets funked-up jazz on “Back at the Chicken Shack,” a slow blues of “Trick Bag” and a selection of songs from the band’s extensive playbook.

Yet the biggest surprise for many fans may have been the sight of a very svelte Wesley who dropped at least 70 pounds since he adopted an all-plant diet in 2021. He looks to be in excellent health and is such a fan of healthy living that he was a guest of honor at the HAPPY Meal Experience at Long Vue Gardens on the between Tuesday. Wesley owes his regained health to his own daughter (also his manager), Joya Wesley, who herself successfully battled obesity and wrote The Easy Breezy Whole Foodie: Opt Out of the Standard American Diet in Seven Steps to help others do the same. The music world owes Joya a great debt for what certainly must be adding years to the great trombonist’s life, and our continued listening enjoyment.

Wesley’s fascinating autobiography Hit Me, Fred: Recollections of a Sideman is still in print and belongs in every fan of funk’s library, right next to his compatriot Maceo Parker’s 98 percent Funky Stuff: My Life in Music.
—John Radanovich

Jazz Fest has a precarious relationship with nature. An outside festival, even one with several tented stages, is at the mercy of the weather. The second Thursday was one for a wise festival goer to check the Doppler radar. For those who didn’t, the fest made the decision to pull the plug due to imminent heavy storms with enough time for people to make it onward. Make sure to follow the Jazz Fest app for any Friday updates.

Grilled Shrimp Pikliz. Photo by Michael Allen Zell

In keeping with my strategy not to wait in line for food, and tactic to get my top dish of the day the minute the gates open, I started with Fritai. Chef Charly Pierre, three times James Beard nominated and Chopped winner, has a gem of a Haitian spot on Basin Street a block from Claiborne Avenue, and I love how he’s always conscious to tell the story of place and people with a key role in colonial New Orleans. I had my eye on the Grilled Shrimp Pikliz, and it helped to start the day perfectly. Fresh plantain chips served to scoop up the mix that hit right. For those who are unfamiliar with pikliz, think of it as a Haitian kimchi, minus all the fermentation.

As much as Jazz Fest is about catching favorites, it’s also about the joy of discovery. First stop was the WWOZ Jazz Tent for the Delgado Community College Jazz Band. Here’s why—under the guide of Director Jesse Boyd, they put on a great show while featuring two up-and-coming vocalists. Once the multi-generational band settled in, Faith Collins kicked off “Besame Mucho” with a husky lower register reminiscent of Nina Simone, Buika, and Cesaria Evora (who also sang the song). We need an album of Collins doing torch songs. Soon.

Not long after, the band performed an unexpected faster-paced version of the classic “Summertime.” It was a beautiful arrangement and Mallay Blessing elevated it even more so. With a great touch, she didn’t show her hand to reveal her full talent at first, feeling the song, until a powerful yet nuanced conclusion had the crowd thrilled. If you see Mallay Blessing and Faith Collins on the bill, that is a show you don’t want to miss. Expect their careers to rise.

As the rain began to fall, the Comanche Hunters Mardi Gras Indians performed “Shallow Water” at the Jazz & Heritage Stage. It’s a song with tradition and depth of the lyrics, but it hit on an elemental level too.

Before Thursday, I was unfamiliar that Corina Hernandez of Los Guiros and also behind Los Baches Flamenco Project. With guest dancer Melissa Cruz, the passion of the music and performance suited perfectly with the rain showers as backdrop. Los Baches is a great addition to the New Orleans scene.

I love what Cedric Watson et Bijou Creole does. He’s grounded but also clearly possesses a strong curious nature that comes out in his choices. Over at the Fais Do Do Stage, he and the band brought music straight out of the 337 but also with a deep cultural and historical range. A version of Clifton Chenier’s “I’m On The Wonder,” compete with a trumpet solo, was the textural epitome of just that.

Alexey Marti and Robin Barnes. Photo by Michael Allen Zell

The progression of cellist Helen Gillet’s music has been something abundantly special to witness. As typified by her mostly solo set at the Lagniappe stage and song “Skin,” Gillet creates her own chamber quartet (or more!) by looping various parts both musical and textural. Her style is broad-ranging, from classical resonance to avant-garde, and it all comes together perfectly like clock gears in sync. If this sounds like nectar for music lovers, believe me, it is. The occasional vortex created was enough to keep the storm at bay and briefly welcome the sun.

Only at Jazz Fest can you hear the legendary Fred Wesley and his New J.B.’s (bumped from headliner spot to earlier in the day due to the storm) while on the outskirts of standing-room-only WWOZ Jazz Tent and turn to see Robin Barnes and Alexey Marti, two of my favorite people and musicians in town. Both will play the fest this weekend (Sunday and Saturday, respectively), while Barnes is also celebrating her first album release. There was also a Jazz Fest fashion moment when I noticed a man wearing Emline and Spy Boy, while he saw my Loyalty Club gear. We both did a double take at seeing a bird of similar feather. All local brands, and it was great to meet Compton III, the artist behind the Spy Boy toys and much more.

Next, it was off to the Congo Square Stage for a show celebrating 50 years of the Batiste Brothers Band. There are now new fans due to Jon Batiste (son of Batiste Brother Michael) reaching the next galaxy of stardom, but make no mistake, this is a group of soulful funky veterans as high-level as it gets. The set began with a Freeze-heavy trio of “Dancin’ Shoes,” “Can’t Get You Off My Mind,” and “Hooked On You,” apropos for the 1982 collector’s album, before continuing on as only some of the key originators of New Orleans funk can do. The only shame is that there isn’t more recorded output by this family supergroup, but that makes each performance a unique treasure in its own right.
—Michael Allen Zell