A taste of New Orleans at Jazz à Vienne

The wind of New Orleans blew through Jazz à Vienne. Before the much-anticipated concert by Jon Batiste, the artist’s only French date this year, James Andrews opened the evening with a French-American creation developed with the New Orleans Jazz Museum. A festive first set deeply rooted in the traditions of Tremé. Blues Actu was there and reports back.

Live report – Jazz à Vienne 2026
📆 July 8, 2026
📌 Théâtre Antique de Vienne
🎺 With James Andrews and Jon Batiste
📷 Arthur Viguier, Pierre Gouineau

Tonight, the heat feels straight out of the Louisiana bayous. It is hard to imagine a better program than an evening dedicated to New Orleans. Between the creation imagined by James Andrews with the New Orleans Jazz Museum and the long-awaited return of Jon Batiste, Jazz à Vienne offers a journey into the heart of a city where cultures have always mixed and where music is part of everyday life.

James Andrews, parade boss

Before Jon Batiste even arrives, Jazz à Vienne kicks off an evening entirely turned toward New Orleans with an original creation developed in partnership with the New Orleans Jazz Museum. This partnership, established several years ago between the museum and the festival, encourages exchanges between musicians from New Orleans and French artists. For this edition, it brings together trumpeter James Andrews, a Tremé native and older brother of Trombone Shorty, Cuban pianist Victor Campbell, now based in New Orleans, guitarist Sam Dickey, trombonist Greg Hicks, double bassist Sélène Saint-Aimé, and the two drummers Anne Paceo and Tiss Rodriguez.

Twenty years after Hurricane Katrina, New Orleans continues to tell its story through music. James Andrews reminds the audience that the city rebuilt itself “note by note.” A simple sentence that perfectly captures the spirit of this unique project.

At 8:30 p.m., the trumpeter finally steps onto the stage. “Bisous, bisous!” he laughs with a broad smile before adding an enthusiastic “Let’s go to New Orleans!” Within seconds, the scene is set. From the very first tune, the Théâtre Antique is transported straight into the world of Mardi Gras parades in Tremé.

The second number, Iko Iko, confirms the mood. The audience is immediately immersed in the festive musical culture of New Orleans. James Andrews conducts the band like a true bandleader, introducing themes, pointing to soloists with a simple gesture before stepping aside to let them shine. The songs stretch out naturally, becoming playgrounds for extended improvisation.

The presence of two drum kits may seem unusual at first. Yet, facing one another, Anne Paceo and Tiss Rodriguez create a dual rhythmic pulse that gives the music remarkable depth. Several times they engage in thrilling rhythmic battles, constantly feeding each other’s energy with smiles and infectious enthusiasm.

Around James Andrews, every musician finds the perfect place. Greg Hicks brings the power of New Orleans brass bands on trombone. Victor Campbell colors the music with Afro-Cuban piano lines, while Sam Dickey on guitar and Sélène Saint-Aimé on double bass connect Louisiana traditions with a more contemporary approach.

The atmosphere reaches another level. The pianist eventually stands up to play. It may seem like a small detail, but it says everything about the mood on stage. Tonight, nobody can remain still behind an instrument.

Even James Andrews, accustomed to this kind of heat, eventually gives in. After a few songs, he briefly disappears backstage to swap his shirt and jacket for a T-shirt celebrating the 25th anniversary of the King Pin, one of New Orleans’ iconic bars. Fittingly, “kingpin” also means “the boss.” The nickname suits him perfectly. Tonight, he truly is the boss, leading the parade as if he were on Bourbon Street, pulling every musician along with him.

Later in the set, James Andrews performs What a Wonderful World. The tribute to Louis Armstrong is unmistakable. The man who inspired him to pick up the trumpet remains a towering figure in New Orleans music. Andrews doesn’t try to reinvent this tradition or impress with technical fireworks. He simply plays it the way he has always heard it in the streets of Tremé, with complete sincerity. Little by little, he draws the entire Théâtre Antique into one huge parade.

“Please come to New Orleans!“

“Please come to New Orleans! Everybody can come to my house!” he shouts before launching into Ooh Poo Pah Doo, a song written by his grandfather. Music is above all a family affair for the Andrews family. After all, his younger brother is none other than the extraordinary Trombone Shorty.

Then come the opening notes of When the Saints Go Marching In. This time, the Théâtre Antique cannot resist. The audience rises as one to celebrate one of New Orleans’ most iconic anthems. James Andrews and Greg Hicks leave the stage and head into the crowd. Surrounded by singing and clapping spectators, the two musicians transform the venue into a genuine street parade. For a few magical minutes, Vienne feels a lot like New Orleans.

At 9:45 p.m., James Andrews leaves the stage to a standing ovation. In just over an hour, he and his musicians have taken the Théâtre Antique on a remarkable journey through the heart of New Orleans. The perfect introduction before another musical hurricane arrives… Jon Batiste.

The Jon Batiste hurricane

The announcer introduces it as Jon Batiste‘s first appearance at Jazz à Vienne. Well, under his own name, yes. Seventeen years earlier, the young musician had already performed here alongside Roy Hargrove. This time, he returns as the leader of his own band for his only French concert of the year. Expectations are sky-high.

At 10:25 p.m., the lights go down. Surrounded by six musicians, Jon Batiste bursts onto the stage with Tell the Truth. The tone is set immediately. The sound is huge. Singer, pianist, conductor, dancer, he commands the entire stage before ending the song behind the piano. The energy is already overwhelming, confirming his reputation as one of today’s greatest live performers.

With Freedom, he immediately engages the audience. “Can you hear me?” he asks. Thousands of voices answer in unison. The song highlights the full range of his talent. His powerful voice is matched by extraordinary stage presence. He dances, directs his musicians and effortlessly brings the entire Théâtre Antique with him.

Between songs, Jon Batiste shares his philosophy. This music is about soul, strength and unity. “Where I come from, people don’t stand still when this music is playing.” Seconds later, the audience gets the message. Everyone is on their feet, clapping, dancing and celebrating with him.

There is no intention of slowing things down. With Big Money, a song usually saved for the encore, Jon Batiste raises the intensity even further. All the musicians gather at the front of the stage as he teaches the audience a simple but irresistible choreography.

The introduction to I Need You begins gently, with unmistakable jazz and gospel influences. Jon Batiste lets his voice soar, effortlessly reaching the highest notes before everything suddenly explodes. The band locks into the irresistible groove of the song and the Théâtre Antique erupts once again. Then comes another surprise as Desz takes over the lead vocals. Her extraordinary vocal power leaves the audience speechless. Within a few minutes, I Need You travels through several musical worlds. That is undoubtedly one of the greatest strengths of the concert. With Jon Batiste, every song unfolds in several acts, constantly shifting between moods, tempos and musical landscapes.

“We are born the same“

The journey continues with Worship. After a long introduction, an irresistible R&B groove gradually settles around the refrain, “We are born the same.” Jon Batiste leaves his piano to pick up a saxophone, then a melodica, before joining the percussion section. He truly seems able to play anything, moving effortlessly from one instrument to another. It never feels like a display of virtuosity for its own sake. Every instrument serves the performance and the story he is telling.

The next surprise comes from Nêgah Santos, who takes over the vocals on Mas, Que Nada. The Brazilian classic instantly turns the Théâtre Antique into a dance floor. The famous “Obá, obá, obá” is sung by the entire audience. One after another, all the musicians gather around the percussion instruments before Jon Batiste joins Joe Saylor behind the drum kit. The two men end up sharing the same drums in a spectacular and joyful exchange.

This constant blend of styles, rhythms and musical colors perfectly reflects the spirit of New Orleans itself. A city built on encounters, cultural mixing and influences arriving from every corner of the world.

A few bars of Over the Rainbow completely change the atmosphere. For the first time all evening, Jon Batiste quietly sits at the piano. The showman steps aside to reveal the pianist. The audience spontaneously sings along before this delicate introduction flows naturally into WE ARE.

In the middle of an improvisation, Jon Batiste unexpectedly quotes La Bohème and even sings part of the chorus in French. Instantly, the entire Théâtre Antique joins him, singing Charles Aznavour‘s timeless classic in unison. One of the evening’s most unforgettable moments.

For several songs, the guitarist has looked strangely familiar. It takes Katchi for any doubt to disappear. From the very first lines, there is no mistaking him: it is indeed Nick Waterhouse. Jon Batiste naturally gives him the spotlight for the hit recorded with Ofenbach. Every musician gets a moment to shine during this concert. That, too, is part of Jon Batiste‘s generosity.

Jon Batiste chooses to end the concert with Für Elise, or rather by playing with Für Elise. There is no question of playing Beethoven note for note. He takes the theme as yet another playground, transforms it and improvises through a long moment of virtuosity built on endless variations.

At 11:55 p.m., the concert ends with no encore. Jon Batiste and his musicians return simply to bow before a Théâtre Antique fully on its feet.

As we leave the Théâtre Antique, one spectator is heard telling his neighbor: “This is the best concert we’ve seen in Vienne in ten years.” A little further on, another adds: “It was worth the six-hour drive!” For this only French date, fans had come from all over the country. And they certainly did not leave disappointed. After the magnificent opening by James Andrews, Jon Batiste and his musicians gave Jazz à Vienne a night that will be remembered for a long time.