Rebirth Brass Band is more than just a high-energy, virtuoso-level brass band. First and foremost, as it’s been said hundreds of times, they’re a New Orleans institution.  Seeing Rebirth play at Maple Leaf on a Tuesday, or at a festival like French Quarter Fest, is an initiative rite for many visitors to the city and a reliable fact-of-life for residents.  Their particular blend of New Orleans second line tradition infused with funk, soul, and jazz has been responsible for the shaking of thousands of booties over the past three decades.  The current members of Rebirth include: Phil Frazier on tuba, Keith Frazier on bass drum, Derek Shezbie on trumpet, Glen Andrews on trumpet, Stafford Agee on trombone, Corey Henry on trombone, Derrick Tabb on snare drum, Vincent Broussard on saxophone, and Chaderick Honroe on trumpet.  Not only are each of the bands members masters of their respective instruments, but their collaborative ability to make each of their stage performances feel like the best block party ever (and you’re invited) has made their name synonymous with New Orleans music and nightlife for much, much longer than I’ve been alive.
So, keeping in mind that A) every Rebirth show is a huge party and B) you’re freakin’ invited, I went to see them at the Howlin’ Wolf last Saturday, the 24^th. Before we get to their act, let’s take a minute to discuss the opening act — a situation that called themselves “rumpleSTEELskin.”  Maybe I’m biased, but there’s only so much southern, steel guitar rock (pronounced: raaAAWK, AC/DC style) that I can stomach in one night. Or one month. My entire life? I digress. So, in short, we had a few thirty-something white dudes, fairly proficient at their respective instruments, playing Led Zeppeling covers and original tracks with names like “Slow Jam” for roughly an hour of my life.  A drunken frat boy passionately screams out for “Free Bird”; the lead singer/steel-guitar-wizard unironically responds that they played that with their last set, and they’re just not feeling it tonight. Okay.
Finally, after begging the audience to “act like it’s a Saturday night! It’s not a Tuesday night! Really, you guys it’s Saturday! Not Tuesday! Saturday!!!! Still not Tuesday!!,” RumpleSTEELskin managed to coax a few middle-aged couples and youths-in-North-Face jackets to arrhythmically sway back and forth, clinging dearly to their Miller High Lifes and not-so-much to their dignity.  Then, finally, sweet release.  And in comes Rebirth.
The nine-piece ensemble knows how to play a crowd as skillfully as they play their instruments so, immediately, the crowd erupts into dance.  And by dance, I mean the 95% white crowd all began bending their knees in some semblance of celebration.  Some women were even swaying their hips WHILE bending their knees! While standing up!  Advanced white-lady dance moves made possible only by the healing powers of Rebirth.  Moving past the penguin mating rituals performed by the audience, it’s necessary to recognize the energy Rebirth creates in any space, large or small, venue or street festival, is undeniably compelling.  It’s just special.  Even to the most skeptical cynic, or those with chronic brass-allergies, it’s truly undeniable that the energy created on stage, and the emergent relationship between the band and the audience is something vibrant, alive, almost an entity unto itself.  There’s a definite reason why Rebirth keeps drawing massive crowds after thirty years.  Personally, I’d recommend seeing Rebirth in a setting other than a straightforward venue such as Howlin’ Wolf, like at the first weekend of Jazz Fest this year, where you can get down how you wanna get down to the mastergrooves of New Orleans’ finest, Rebirth Brass Band.