The moment I walked into Xfinity Center tonight, I knew I was about to witness something special. There’s an energy in the air when Gov’t Mule takes the stage—something intangible that sets you on edge, gets your pulse racing, and tells you to expect the unexpected. And this September night in 2025 was no exception. From the very first notes, it was clear that Warren Haynes was on fire, and the rest of the band matched his intensity every step of the way.
The show opened with “Bad Little Doggie,” and right away the crowd erupted. That opening riff hit like a jolt, pulling everyone into the groove instantly. Warren’s guitar tone was sharp but warm, his signature sustain cutting through the massive venue without ever feeling overbearing. Matt Abts’ drumming felt precise yet fluid, each beat complementing Warren’s improvisations rather than merely keeping time. Jorgen Carlsson’s bass anchored the song with a confidence that allowed the rest of the band to stretch out freely. There was a raw energy to the performance that reminded me why Gov’t Mule has such a devoted following—the music doesn’t just play; it communicates.
As “About to Rage” followed, the intensity only ramped up. This is one of those tracks that feels like it’s teetering on the edge of explosion, and the band rode that edge flawlessly. Warren’s solos were not only technically stunning but emotionally charged, each note telling a story of its own. He’s a guitarist who makes you feel the music in your bones, not just your ears. And Matt and Jorgen weren’t just supporting him—they were part of a conversation, each responding to cues and improvisations in real time. By the end of the song, the entire arena was buzzing with energy, feeding off the band and feeding the band right back in return.
Next up was “Rocking Horse,” a track that perfectly showcased the band’s ability to combine groove with power. It was almost hypnotic watching Warren maneuver through the riffs while Matt’s drums created these intricate rhythmic textures beneath him. Jorgen’s bass lines were deceptively complex, subtly driving the song forward and creating tension that kept everyone on the edge of their seats. The way the crowd moved, clapping along and singing quietly under their breath, was a testament to how immersive Gov’t Mule’s live performances can be.
Then came “Game Face,” which seamlessly transitioned into “Mountain Jam,” the Allman Brothers classic. This was the kind of moment that reminds you why you fell in love with live music in the first place. “Mountain Jam” isn’t just a song; it’s an experience—a sprawling, improvisational journey that gives the band the freedom to explore every corner of their musical imagination. And Warren, of course, was in complete command. His guitar lines twisted and turned, at times tender, at times scorching, and the Norwegian Wood tease was a cheeky, delightful surprise that had the crowd grinning ear to ear. By the time they returned to the “Game Face” reprise, the energy in the arena had reached a near-fever pitch.
“Stoop So Low” provided a brief moment of grounding after the expansive jam. It’s the kind of song that lets the audience catch their breath while still maintaining a hypnotic pull. Warren’s vocals were raw and soulful, filled with the kind of grit that only comes from decades of experience. Matt and Jorgen locked in tightly, creating a groove so infectious that you couldn’t help but move along. There was a subtle tension in the way the song was played, a push and pull that made every beat feel significant.
By the time “Revolution Come, Revolution Go” started, the intensity was back at full force. This song felt like a call to action, a surge of adrenaline that the audience couldn’t resist. Warren’s solos were blistering, bending notes with precision and power, while Matt’s drums punctuated every phrase with a combination of finesse and brute strength. Jorgen’s bass pulsed beneath it all, a steady heartbeat guiding the band through the sonic storm. It’s rare to see a band this tight yet so willing to let the music breathe, and Gov’t Mule does it with effortless grace.
“Banks of the Deep End” was a highlight of the night for me. The song has a certain weight to it, a kind of slow-building intensity that makes the eventual payoff even more satisfying. Warren’s guitar work was impeccable—he shifted from delicate, almost whispered phrases to explosive bursts of sound without missing a beat. Matt’s drums were both grounding and expressive, adding layers to the song’s narrative rather than just marking time. Jorgen’s bass was the unsung hero, weaving through the melody with subtle flair. By the time the song reached its climax, the crowd was fully invested, swaying and cheering in unison.
Then came one of the most unforgettable moments of the night: “Blind Man in the Dark,” featuring guest musician Kebbi Williams on saxophone. This was a transformative performance. Kebbi’s sax added a new dimension to the song, creating a smoky, soulful texture that made every note feel like it was vibrating through the air. Warren’s vocals, already commanding, took on a new depth in dialogue with the saxophone lines. The interplay between the instruments felt spontaneous yet perfectly balanced, as if the band and guest had been playing together for years. It was one of those rare moments in a concert where time seems to slow down and every detail matters.
“Mule” followed, kicking the energy back into high gear. This is the kind of track where Gov’t Mule’s power as a rock band really shines. Warren’s solos were scorching, each note delivered with intention and flair. Matt’s drumming was precise and aggressive, perfectly complementing the fire coming from Warren’s guitar. Jorgen’s bass added a punch that gave the song its drive. It’s easy to get lost in the technical brilliance of a song like this, but what’s even more impressive is the emotional resonance. You could feel the sweat, the effort, the sheer passion radiating from the stage.
And finally, the encore: “Soulshine,” a beloved Allman Brothers cover that Gov’t Mule has made its own. From the first chord, you could feel the entire audience singing along, everyone fully absorbed in the performance. Warren’s voice was warm and emotive, conveying both vulnerability and strength. The solos were heartfelt, each one a miniature story, weaving together with Matt and Jorgen’s rhythms to create a tapestry of sound that felt both familiar and new. There’s a reason “Soulshine” is a staple in their live shows—it has the power to unite everyone in the arena, to turn tens of thousands of individuals into a single collective heartbeat.
What really struck me about this show was the band’s ability to balance structure and improvisation. Every song had a clear framework, but within that framework, the music was alive, unpredictable, and thrilling. There’s a level of trust and communication between Warren, Matt, and Jorgen that allows them to explore freely without ever losing cohesion. It’s this kind of musical dialogue that makes Gov’t Mule shows so compelling—you never know exactly where they’ll go, but you know it will be worth the journey.
Watching Warren Haynes play live is a masterclass in guitar performance. He’s technically brilliant, yes, but what sets him apart is the emotion he pours into every note. There’s a storytelling quality to his solos, a way of making the guitar speak in ways words cannot. And it’s not just him—the entire band is in perfect sync. Matt Abts’ drumming is a study in balance: powerful yet nuanced, commanding yet responsive. Jorgen Carlsson’s bass provides the foundation while adding his own inventive flair. Together, they create a musical ecosystem that feels alive and dynamic.
The crowd at Xfinity Center was just as much a part of the experience as the band. From the front row to the upper tiers, the energy was electric. People cheered, sang, clapped, and swayed together, feeding off the music and each other. There were moments when the roar of the audience became another instrument, enhancing the performance rather than distracting from it. Gov’t Mule has a way of making you feel included, like you’re part of something bigger, and that sense of shared connection made the night even more memorable.
One of the standout aspects of the evening was the band’s use of covers, particularly their Allman Brothers interpretations. They pay homage without ever feeling derivative. “Mountain Jam” and “Soulshine” were both transformed into Gov’t Mule experiences, full of improvisation and unique phrasing that highlighted the band’s strengths while honoring the originals. The Norwegian Wood tease during “Mountain Jam” was a playful nod to musical history, showing that the band has both reverence and a sense of fun.
The pacing of the night was masterful. There were peaks and valleys, moments of high-energy rock followed by introspective jams. It kept the audience engaged from the first note to the final chord. By the time the last notes of “Soulshine” rang out, it was clear that the crowd had been taken on a journey—a journey full of passion, skill, and sheer musical joy.
After the Mule set tonight waiting for headliners Tedeschi Trucks Band, I felt exhilarated. My ears were ringing, my heart was full, and my mind kept replaying the solos, the grooves, and the energy of the night. Gov’t Mule reminded everyone why they remain one of the premier jam bands in the world. They don’t just play songs; they create experiences. Warren Haynes was on fire, yes, but the magic comes from the chemistry of the entire band. Every note, every beat, every interaction was part of something bigger.
This was not just a concert; it was an event. One of those nights where music transcends the stage and becomes something larger than life. Gov’t Mule has a rare ability to connect with their audience, to make a massive arena feel intimate, to make every song feel like it’s being played just for you. That’s the hallmark of a truly great live band, and on this September night in 2025, Gov’t Mule proved once again that they are in a league of their own.
The setlist was a perfect balance of classics, deep cuts, and covers, showcasing the band’s versatility, creativity, and mastery of their craft. Every song had its moment, every solo its purpose, and every audience reaction its place in the narrative of the night. From the explosive energy of “Bad Little Doggie” to the soul-stirring encore of “Soulshine,” the night was a reminder of why we go to concerts—to be moved, to be amazed, to feel part of something greater than ourselves.
Walking to concessions to get beer before Tedeschi Trucks Band, I felt lucky to have witnessed it. Gov’t Mule delivered a performance that was technically brilliant, emotionally charged, and deeply satisfying. Warren Haynes, Matt Abts, Jorgen Carlsson, and guest Kebbi Williams left everything on that stage, and in return, the audience gave them an energy that kept the fire burning from start to finish. Nights like this are rare, and they leave a lasting impression. The Xfinity Center crowd was part of history that night, and I will remember every note, every solo, and every roar of the audience for years to come.
Setlist – Gov’t Mule, Xfinity Center, Mansfield, MA, September 2025
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Bad Little Doggie
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About to Rage
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Rocking Horse
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Game Face
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Mountain Jam (The Allman Brothers Band cover) (Norwegian Wood tease)
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Game Face (Reprise)
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Stoop So Low
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Revolution Come, Revolution Go
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Banks of the Deep End
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Blind Man in the Dark (with Kebbi Williams)
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Mule
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Soulshine (The Allman Brothers Band cover)