We live only a few blocks away from the New Orleans Fairgrounds where the Jazz & Heritage Festival is staged every year. This means the festival is automatically a part of our annual social calendar, if not only because our house effectively becomes a cab stand for the occasion (which makes for some excellent front porch people-watching, I tell you what). In that way, we’re already a part of the Jazz Fest experience every day of the two-week ritual no matter what, but we also usually manage to attend at least a couple performances at the festival each year in-person for good measure. 2019 is the first year since we purchased a house in the Jaz Fest orbit that we weren’t able to actually attend the fest on-the-grounds – due to a lack of funds, comped tickets, and free time. We still got in some good people-watching on the periphery of the festivities, but the closest we got to attending a performance was hearing a voice just clear enough from our porch to tell that it was Alanis Morrissette’s but not clear enough to actually tell what she was singing. Thanks to a couple well-timed concert film releases over the past few weeks, however, I was more or less able to achieve the general Jazz Fest experience in the air-conditioned darkness of my living room & a nearby movie theater. It may not have been quite as pure of a concert-going experience as witnessing a Jazz Fest performance in person, but at least it saved me from my annual Jazz Fest sunburn – a ritual I was happy to skip.
For the outdoor, mainstage Jazz Fest experience, the recent Netflix release of the Beyoncé concert documentary Homecoming was extremely well-timed. Documenting her two instantly historic performances at last year’s Coachella, the film’s obviously imbued with a larger stage production, a harsher climate, and more massively overpacked crowds than anything you’ll ever experience on the Fairgrounds. Still, it took me back to the Hell of watching Elton John serenade an oversized crowd of dehydrated bullies a few festivals ago – making me grateful that Beyoncé documented this spectacle for posterity so that those of us without the money or stamina required for Coachella can enjoy it into perpetuity. A major departure from the diary-like intimacy of Lemonade, Homecoming finds Queen Bey entertaining her masses in grand spectacle – putting on one of the all-time great stage shows in the medium of pop music. Like Jazz Fest at its best, the project is also deliberate in its explicit preservation & exultation of black culture. Besides presenting a bewildering two-hour catalog of Beyoncé classics with mesmeric precision in craft, the film also functions as a feature-length love letter to Historically Black Colleges and Universities – particularly in its drumline & steppers percussions that accent the songs throughout. And, because HBCUs are specifically a Southern black tradition, the film’s sensibilities often incorporate a distinct New Orleans Flavor in their creative DNA. The marching band brass, DJ Jubilee bounce beats, Big Freeida vocal sample, and in-the-wild wild Solange sighting all felt at home to New Orleans more so than California, where it was actually staged.
Personally, I find the in-the-sun concert experience of Jazz Fest’s main stages a little overwhelming, even with only a fraction of the Beychella crowd in attendance. As a result, I often find myself hiding out from the major acts in the smaller tent venues, where the Sun can’t find me. The Gospel Tent is a required stop every year to complete the Jazz Fest ritual, then, an experience I was able to approximate in a movie theater thanks to the recent Aretha Franklin concert doc Amazing Grace. Originally filmed for television in 1972, Amazing Grace was delayed from release for decades – reportedly due to technical difficulties regarding its sync-sound editing, but mostly just so it could arrive at a nearby AMC at the exact year I missed my annual pilgrimage to the Gospel Tent. Filmed over two nights in a Los Angeles Baptist church, Amazing Grace is a raw, emotionally powerful showcase for Franklin’s soul-rattling vocals – which tear through a catalog of Gospel standards with a divine fury. Franklin isn’t offered the same stage show spectacle or auteurist control Beyoncé commands in Homecoming here, but the sweaty intimacy of being locked in a church with her incredible voice for two nights is almost enough to make you weep – even with the remove of a half-century and a movie screen. It’s the essence of the Gospel Tent amplified to thunderous effect. Mick Jagger even showed his face in the crowd among the attendees, which was more of the Stones than who showed up for this year’s Jazz Fest, even though they were initially the biggest act booked.
There are certainly more substantial comparisons to be made between Homecoming & Amazing Grace than how they can evoke a full music festival experience in tandem. These are two essential, transcendent documents of powerful black women performing at the top of their game – distinct achievements in the concert-movie medium that could inspire endless discussions of their subtext & nuance. CC & I even touched on some of these nuances ourselves in a recent podcast episode that paired the two films with Childish Gambino’s own recent Coachella-season release, Guava Island. For anyone who missed this year’s Jazz Fest like I did or anyone who just wants to let those post-Fest vibes linger a little longer, however, I do encourage you to pair these two incredible works to synthesize the general effect of physically attending the fest – without the crowds & heat.