When award-winning rock band Mrs. Henry played a sold-out 2021 cover show of The Band’s 1976 collaborative farewell performance, known as The Last Waltz, they could not anticipate becoming the premier cover band for such influential icons.
Chest Fever was then born the following year out of the show’s success, dedicated to capturing the songs and concerts that makes The Band timeless.
The September release of their album, The 21st Century Last Waltz, recorded in 2023 at Toronto’s Massey Hall, brings the iconic performance into a new century, alongside other selections from their extensive catalog. The massive sixty-one song collection mirrors the spirit of the originals in top-tier fashion, featuring collaborations with both The Band’s inner circle and a new generation of talent.
One of the many iconic tracks, “The Shape I’m In,” balances dark lyrics with an up-tempo groove and creates a roots-rock anthem about the singer’s invisible struggles. Chest Fever’s rendition leans into this dichotomy, playing with some dissonant sections within the instrumental break and more of a growling vocal, recentered by a striking electric keyboard.
The Southern bayou sway of “Evangeline” receives a bit of a sonic shift, with the percussion and horns brought to the front of the arrangement more. Although it leaves behind the original’s atmospheric fiddle and accordion, the addition of more crooning country-inspired guitars enhances the titular character’s yearning within the narrative of the song. Singer Cindy Cashdollar takes over Emmylou Harris’ half of the duet, and does it justice.
The thirty-fourth track, “Mannish Boy,” is a cover not of The Band’s original song, but The Band’s backing for Muddy Waters’ performance of his 1955 single. Chest Fever adds more than two minutes to its playtime by showcasing robust harmonica and electric guitar solos in an added instrumental section, by Sugarmill Slim and Kid Ramos respectively. Featured vocalist Jimmy Wood’s gritty belting amplifies the hypnotic quality of such a recognizable blues melody.
Another Mount Rushmore track, “The Night They Drove Old Dixie Down,” is a classic winding Americana-rock narrative that reflects on a particular narrator’s Civil War tale, offering a message of the effects of war no matter who wins. The song maintains the powerful three-part harmonic arrangement that emphasizes the hook, and the use of ascending melodic parts to bridge sections of the song builds tension across choral repetitions.
The final track on the album is another cover of a cover, reimagining The Band’s take on Marvin Gaye’s 1964 single, “Baby Don’t You Do It,” which is another trademark moment of The Last Waltz. Chest Fever introduces a faster tempo and fuller intro, with the electric keyboard taking on a bigger role. “Happy Thanksgiving,” are the famous last words from bassist Rick Danko before Levon Helm kicks into the drum groove, offering an epic sendoff in again what’s one of the flagship songs of The Last Waltz.
The 21st Century Last Waltz infuses The Band’s classic hits with a modern grit that honors their tradition and welcomes them into a new era, celebrating one of music’s most influential nights. To celebrate the performance’s 50th anniversary, Chest Fever is currently on The Last Waltz Tour across Canada and the US.
