By Night Three of Panic en la Playa, Widespread Panic had fully settled into the pocket. The crowd was sun-warmed and loose, the band was clearly comfortable, and the destination-show magic—that rare mix of vacation haze and musical focus—was fully activated. This is often the night when Panic gets weird, stretches the edges, and trusts the long game. In Riviera Maya, Night Three delivered exactly that: a show built on grit, patience, and some of the deepest improvisation of the run.
Where Night Two leaned into groove and flow, Night Three carried more muscle and mystery. It was less about instant payoff and more about the slow burn.
Set One: Grit, Blues, and Momentum
The opening notes of “Pigeons” immediately set a darker, heavier tone. It’s a song that thrives on tension, and Panic leaned into that from the jump, letting the groove simmer rather than explode. From there, “Action Man” kicked things up a notch, injecting urgency and swagger into the early moments of the night.
“Good Morning, School Girl” followed, and the band wasted no time stretching it out. The Sonny Boy Williamson blues staple fit perfectly into the humid Riviera air, gritty and loose, with John Bell leaning into the vocal delivery like he was fronting a late-night juke joint rather than a beachside stage. The jam bled seamlessly into “Pleas,” creating the first true extended segment of the night. This was Panic in storyteller mode, letting the songs blur together naturally instead of treating them as separate entities.
“Don’t Wanna Lose You” provided a brief emotional pivot, pulling the energy inward before the band launched into “Chainsaw City.” The Little Women cover brought a welcome jolt of weirdness, its angular edges and uneasy feel giving the set a left turn just when it needed one.
The back half of the set tightened up with “The Last Straw” and “You Got Yours.” Both songs hit with confidence and bite, the band locked in and pushing forward without overextending. By the time the first set wrapped, it was clear Panic wasn’t interested in easing anyone through the night. This was a show meant to be leaned into.
Set Two: Deep Water Panic
The second set opened with “Little Kin,” a choice that immediately raised the emotional stakes. It’s a song that can feel intimate even in large settings, and here it landed beautifully—tender without losing strength. “Makes Sense to Me” followed, keeping the reflective mood intact while gradually widening the sonic space.
That space cracked open fully when “Space Wrangler” dropped. The groove was elastic, playful, and full of room to roam. Panic didn’t rush it. They let the rhythm breathe, the guitars circle, and the keys color around the edges until the jam felt weightless.
From there, the band descended into something darker with “I Walk on Gilded Splinters.” The Dr. John cover was slow, swampy, and ominous, pulling the crowd into a hypnotic trance. This wasn’t a quick nod—it was a full immersion. The song dissolved into a jam that felt unmoored from time, drifting and reshaping itself before quietly morphing into “Diner.”
The transition into “Diner” was one of the most compelling moments of the entire run. Subtle at first, then unmistakable, it locked into a groove that was tense, funky, and deeply satisfying. Without ever fully stopping, Panic pivoted again into “Ride Me High.” The J.J. Cale cover lifted the room instantly, a ray of light cutting through the murk. The jam extended, playful and loose, before circling back into a “Ride Me High” reprise via “Tie Your Shoes.”
This entire sequence—Gilded Splinters > Jam > Diner > Ride Me High > Tie Your Shoes > Ride Me High reprise—was Night Three’s defining statement. It was long-form Panic at its most confident, trusting the audience to follow them wherever they decided to go.
The set closed with “Love Tractor,” its familiar pulse and soaring release bringing the room back together after a deep, winding journey. It felt like a collective exhale.
Encore: Release and Joy
The encore opened with “I’m Not Alone,” a song that always carries a sense of reassurance. After the exploratory depths of the second set, it landed as a reminder of connection and community—core themes that run through Panic en la Playa every year.
To close the night, the band tore into “I’m So Glad.” The Skip James cover was joyous, raw, and celebratory, sending the crowd off with smiles, dancing feet, and just enough energy to spill into the late-night Riviera conversations that followed.
Final Thoughts
Night Three of Panic en la Playa wasn’t built for casual listening. It was a show that rewarded attention, patience, and trust. The band leaned into blues, darkness, and long-form improvisation, crafting a performance that felt intentional from start to finish.
There were no gimmicks here. Just a veteran band fully comfortable taking risks in front of a crowd that understands and appreciates the journey. By the time the final notes rang out into the warm Mexican night, it was clear that this was the kind of show Panic fans talk about long after the tans fade.
Night Three didn’t just deepen the run—it gave it its spine.
Setlist – Night Three
Set 1:
Pigeons
Action Man
Good Morning, School Girl (Sonny Boy Williamson cover) >
Pleas >
Don’t Wanna Lose You
Chainsaw City (Little Women cover)
The Last Straw
You Got Yours
Set 2:
Little Kin
Makes Sense to Me
Space Wrangler
I Walk on Gilded Splinters (Dr. John cover) >
Jam >
Diner >
Ride Me High (J.J. Cale cover) >
Tie Your Shoes >
Ride Me High (reprise)
Love Tractor
Encore:
I’m Not Alone
I’m So Glad (Skip James cover)