The profound connection between Gregg Allman and Warren Haynes has been a significant part of music history, even before they actually met.

“Gregg was one of my all-time favorite singers,” Haynes reflects in his conversation with UCR. “Even prior to picking up a guitar, I was captivated by Gregg’s incredible voice. Once I started my journey playing guitar, I quickly became enthralled by the remarkable guitar work of Duane Allman and Dickey Betts, but it was ultimately Gregg’s voice that first drew me into the soul of that music and his distinctive songwriting style.”

As Haynes elaborates in the interview below, the lasting presence and influence of Allman, who sadly passed away in 2017, remains impactful in his daily life in numerous ways. While working on his latest solo album, Million Voices Whisper, it was an unfinished song by Allman that sparked the inspiration for some of the other tracks that followed.

During this creative process, Haynes reunited with his longtime bandmate from the Allman Brothers Band, Derek Trucks, to initially work on the incomplete Allman track. However, they ended up collaborating on a total of four songs for Million Voices Whisper. Additionally, they welcomed contributions from other talented associates, including keyboardist John Medeski. The resulting album is arguably one of Haynes’ most compelling works to date.

Several of the songs, such as “From Here on Out” and “Day of Reckoning,” were penned during the pandemic. Yet, the entirety of the album serves as a hopeful sonic backdrop for listeners who may be navigating the challenges of today’s world.

In a recent discussion with Ultimate Classic Rock Nights, Haynes shared intriguing insights about the album’s creation, alongside reflections on the final Allman Brothers Band concert, a decade after it took place.

Can you share the inspiration behind the setlist for the final Allman Brothers Band concert in 2014, which you curated, focusing on tracks from the first six albums?
Our approach was primarily rooted in a historical perspective regarding which songs we wanted to showcase during that final performance. For a couple of years leading up to that moment, we had been contemplating the idea of going out on a high note—at a time when the band was still performing at the peak of its abilities. We aimed to choose the right location and timing to make a memorable farewell. The setlist was crafted to make a timeless and impactful statement, and I sought feedback from various band members, especially from Derek.

In the final years of the band, Derek and I frequently collaborated on setlists. It may sound straightforward, but as we had developed a practice of presenting different shows every night, especially during our extended runs at the Beacon Theatre, we wanted each performance to be unique yet cohesive. This was challenging, particularly since we often had special guests joining us. However, for that particular night, we determined to focus solely on our core group. Thus, it was essential to create a setlist that we could all be proud of, representing the band in its finest form.

READ MORE: Allman Brothers Band Says Goodbye With Epic Show

Listen to the Allman Brothers Band Perform ‘Midnight Rider’ at Their Final Concert in 2014

We’ve discussed various members of the band often. You played extensively with Butch Trucks and Jaimoe. What made their musical dynamic so unique?
The interplay between Butch and Jaimoe was incredibly distinctive and special. Their contrasting styles contributed significantly to this uniqueness. Jaimoe’s playing is characterized by a softer touch and a jazz-influenced style, whereas Butch brought a powerful, driving energy to the drumming. This combination was what made their collaboration work seamlessly. I wasn’t present during the band’s inception, but I’ve heard them speak about how their connection was almost instinctual, occurring naturally without the need for verbal communication. The distinctive tuning of their drums added to this dynamic. Jaimoe’s sound felt like an extension of Butch’s, rather than two separate drummers competing for space.

READ MORE: Butch Trucks Remembered by Allman Brothers Band Alumni, Family and Friends

What creative influences shaped your new album?
That’s an insightful question. Many of the tracks originated during the COVID lockdown, including songs like “From Here on Out,” “Day of Reckoning,” and “Go Down Swinging,” which were crafted during that challenging period. Most of the remaining songs were composed in the last two to three years. Notably, the oldest piece is “Real, Real Love,” which Gregg Allman had begun but never completed. After I finalized that song, I reached out to Derek, excited to share what I had created. I felt a strong connection to it and believed we should record it together. This quickly evolved into a collaborative effort in the studio, culminating in several new compositions, including “These Changes” and “Hall of Future Saints,” reflecting the overall direction of the album.

Listen to Warren Haynes and Derek Trucks Perform ‘Real, Real Love’

What were the challenges in capturing “Real, Real Love” in a way that honors Gregg’s vision?
It was crucial for me to remain mindful of what Gregg’s intent for the song might have been. For example, I instinctively felt that bringing in a horn section was essential, as I knew Gregg would have insisted on that element. He had a deep appreciation for working with horn sections. From my vocal delivery to the lyrical composition, I focused on embodying his personality throughout the process. I aimed to honor the spirit of the song, ensuring that although he wasn’t physically present, his essence was very much alive in the studio.

Recently, we discussed Gregg’s solo rendition of “Midnight Rider.” He had a remarkable talent for reinterpreting his own work.
Absolutely. He revisited his songs multiple times, and each reinterpretation was distinct, standing out on its own merit. Personally, I find the Laid Back version of “Midnight Rider” particularly captivating. Both renditions are fantastic, yet that one carries a haunting quality that resonates deeply.

Working on “Real, Real Love” must have been quite emotional for you.
Indeed, the experience was highly emotional. The song came together swiftly, which is often a positive indicator of its potential. Gregg and I often discussed the significance of a song unfolding quickly, and when it does, it feels like a gift. While not every song follows this pattern, and longer compositions can also be exceptional, the immediate inspiration behind “Real, Real Love” was palpable. Throughout the recording process, Gregg’s presence was felt strongly, especially when Derek and I exchanged glances in the studio, reinforcing the depth of our connection.

How did your collaboration with Booker T. Jones on “Sailin’ Shoes” come about?
Booker T. and I crafted that song together during my time in L.A. for the Grammys a few years back, and it turned out to be a wonderful experience. We’ve been friendly for some time, and the opportunity simply materialized. He has a residence in L.A., and I visited him there. After spending a few hours together, the song emerged organically. I had the pleasure of seeing him again at Willie Nelson’s 90th birthday celebrations, where we reminisced about that collaborative session. I hold immense admiration for him; he is a remarkable human being and an integral part of American musical heritage.

You’ve been touring with some fantastic musicians as part of the Life is a Carnival tour. What’s been your experience performing alongside Benmont Tench and Mike Campbell?
Both Benmont and Mike are extraordinary musicians and genuinely wonderful individuals. It has been an absolute blast. Mike Campbell and the Dirty Knobs previously toured with Gov’t Mule, and that experience was incredibly enjoyable. Benmont and I have collaborated on various occasions, and he is one of those rare and eloquent Southern keyboardists deeply rooted in the history of American music. He draws from a wide array of influences, effortlessly navigating various genres while maintaining a natural flow that serves the song. Mike Campbell shares a similar approach, consistently delivering memorable hooks that enhance the composition. I hold great affection for both of them.

READ MORE: ‘Life is a Carnival’ Tour Continues Robbie Robertson Tributes

Your upcoming benefit show at Madison Square Garden speaks volumes about your dedication to using music for a good cause. I know Asheville has faced significant challenges lately.
Indeed, Asheville and all of Western North Carolina were severely impacted by Hurricane Helene. My family and many close friends reside there, and while many have relocated, several are returning. However, many are just now regaining power, cell service, and in some instances, they still lack access to clean drinking water. The situation has been devastating, but thankfully, everyone is safe. However, recovery will be a lengthy journey, potentially taking years to rebuild. Therefore, we aim to raise as much money as possible to support the cause.