Uncle Lucius Live in ’25
2025 is almost over now, and I was really hoping to see Uncle Lucius on this tour. They were coming to Missoula and Bozeman, and I was going to make one of those shows. Then my dad had a medical emergency, and I missed it. But, this Friday, Nov. 21, Live in ’25 dropped, providing an opportunity to hear what I missed out on, and have it to savor forever.
When I heard the live album was out there, I couldn’t wait to get a chance to review it. If it was anything like what I witnessed in Helena in July of 2023, it was something special. That night at Lewis & Clark Brewing, Uncle Lucius was on fire—the kind of show that stays with you, that transforms something inside you. I know firsthand how captivating and soul-transformative their shows can be. You can hear that same power on this record.
Live in ‘25, recorded over two sold-out nights at Gruene Hall in New Braunfels, Texas, in March, captures Uncle Lucius back home, at the peak of their resurgence. Engineer Chris Bell—a heavyweight in audio production whose credits span decades—loaded up Gruene Hall with a recording studio’s worth of gear and (as Uncle Lucius band member Jon Grossman said) “mixed the hell out of it.” And he did this, Grossman added, “with the able assistance of Ky Williams.”
In the mix, Bell and Williams capture a band that called it quits five years ago, struggled to fill rooms, and watched from the sidelines as critical acclaim didn’t translate to ticket sales. Then “Keep the Wolves Away” landed on “Yellowstone,” changed everything, and suddenly this six-headed beast from Austin had a second chance.
They’re not wasting it.
What makes this live album special—and what elevates Uncle Lucius above the pack—is how they’ve brought Southern charm back to the jam scene. This is contemporary Allman Brothers and Lynyrd Skynyrd, with lyrics that resonate deep into your bones. It’s spiritual yet catchy as hell, and the guitar work will leave you breathless.
Take “Holy Roller,” the epic jam that doesn’t just take you to church—it takes you to heaven. Mike Carpenter and Doug Strahan trade solos that would make Duane Allman proud, while Grossman transports the whole thing on organ. But here’s what makes it resonate: the song basks in glory while simultaneously understanding the dark side of religion. That’s the Uncle Lucius magic—they can make you dance and think at the same time.
Speaking of Grossman, he really shines on “Got Some Coming.” He’s evolved within this group, always a prolific performer but now feeling inspired as Uncle Lucius continues to rise – his vocals standing out with conviction and passion.
The album features 18 songs total, including four new Uncle Lucius originals and covers of the Rolling Stones (the underrated “Slave”) and Bobby Charles (the prescient and playful “Save Me Jesus”). The new material shows a band still pushing forward creatively. There’s “Pocket Full of Misery,” “Ouroboros,” and “All the Angelinos” (tongue-in-cheek fun about California transplants). Then there’s their new single, “Let Me Get a Lengua Plate,” which (“speaking of tongues”) is literally about beef tongue—one of Galloway’s favorite dishes. Grossman switches to accordion on this one, and they channel Clifton Chenier with a zydeco feel that’s irresistible. Drummer Josh Greco and bassist Drew Scherger lock into the groove perfectly.
Then there’s “Somewhere Else,” another epic jam that encapsulates everything that makes Uncle Lucius special. The guitar harmonies between Carpenter and Strahan soar, weaving around each other in ways that send shivers down your spine. Galloway’s vocals are commanding, but what makes this song transcendent is how the whole band comes alive—Grossman chiming in with his soulful backing vocals, other band members adding layers of harmony. It’s a collective moment of musical communion, the kind that reminds you why you fell in love with live music in the first place. This is Uncle Lucius at their most powerful.
Late in the set, during “Windshield Time,” Kevin Galloway pauses to tell a story. He takes the crowd back to a Mississippi dive bar where tensions were high and people were bickering. Then he shares the set list he put on the jukebox— playing Merle Haggard, George Jones, Otis Redding, songs that changed the trajectory of the evening, ended the discord, and created connection. That’s what music can do. That’s what an Uncle Lucius live show does, too.
There’s another beautiful moment during “Keep the Wolves Away” when Galloway addresses the elephant in the room. He mentions the Gulf of Mexico—the one he grew up on—and makes it clear he’s not changing his lyrics to the Gulf of America. No political theater here. He handles the situation with tact – not wanting to draw much attention to it – only sharing it as a disclaimer. “Let’s move on to bigger things,” he says. And they do.
Carpenter takes lead vocals on “End of 118,” which has a Skynyrd feel that’ll make you nostalgic for a time you might not have even lived through. “Rosalia” features more stellar work from Grossman. “Ain’t in the Same” brings the blues. And they close with the aforementioned “Save Me Jesus,” gospel blues that takes the crowd to church one final time.
That’s the thing about Uncle Lucius—the band understands the power of music to transcend division and angst. They haven’t allowed themselves to get discouraged by what’s happening in this country. Instead, they’re playing shows all over the world – and selling many of them out – reminding us all why we need live music.
And if you were fortunate enough to see Uncle Lucius live this year, Live in ‘25 is here for you – giving you the chance to relive the euphoric experience. For those like me, it gives us a damn good idea of what it was like. Turn it up loud!
Highlights: “Holy Roller,” “Somewhere Else,” “Got Some Coming,” “Slave”
Find more information here on their website: https://www.yourunclelucius.com/
Check out our previous coverage here: REVIEW: Uncle Lucius “Like It’s the Last One Left”