Little Feat: The Last Farewell Tour
The Englert Theater, Iowa City, Iowa • May 8, 2026
by Jeremy Glazier
What better way to spend a Friday evening than experiencing a near sold-out performance by one of the tightest and most eclectic bands ever to grace the historic Englert Theater stage in Iowa City, Iowa: Little Feat. More than 50 years after founding in 1969, Little Feat continues to prove that their blend of rock, funk, blues, and soul remains as vibrant as ever. With founding member Bill Payne still guiding the ship from behind the keys, the band’s current lineup carries forward the heart and spirit first established by Lowell George and Iowa native Richie Hayward, whose groundbreaking drumming helped define Little Feat’s signature sound. Hayward, who was born in Clear Lake, Iowa, and was inducted into the Iowa Rock & Roll Hall of Fame in 2004, remains an enduring part of the band’s legacy, as Bill Payne noted during the first break in the set list.
Bill Payne is joined by longtime members Fred Tackett on guitar, mandolin, and trumpet, Kenny Gradney on bass, and Sam Clayton on percussion and vocals, the latter two, who missed founding member status by only a couple of years, and Tackett clocking in at almost 40 years, having joined in 1988 as the band reformed after a nine-year hiatus. They are also joined by newer members Scott Sharrard on guitar and vocals, who stepped into the role once held by the late Paul Barrere, and Tony Leone on drums and vocals. Together, they continue to honor Little Feat’s remarkable history while delivering performances that feel anything but nostalgic, proving instead that this music still breathes, grooves, and thrives.
Scott Sharrard, who previously served as bandleader, songwriter, and lead guitarist for the legendary Gregg Allman Band, stepped into the enormous shoes of Paul Barrere on the very night of Barrere’s passing in 2019 and has remained a vital force within Little Feat ever since. Having spoken with Scott on my podcast about his deep love for Little Feat and its music, I sincerely doubt the universe could have created a more fitting or deserving musician to help carry this legacy forward. Watching his contributions firsthand, particularly his respect for the intricate details that make Little Feat’s music so special, is a true pleasure. Sharrard doesn’t simply fill a role, he honors it, preserving the heart, soul, and technical brilliance that the other members of the band built over decades of music.
This was my second opportunity to both photograph and enjoy Little Feat live. If you’ve never experienced one of their performances firsthand, their show remains as high-energy, musically tight, and funky as anything on the road today. Few bands, regardless of era, can match the seamless fusion of rock, blues, soul, and New Orleans groove that Little Feat continues to deliver night after night. More than five decades into their career, they remain not a nostalgia act, but a living, breathing force of musicianship.
This evening’s setlist is a masterclass in everything Little Feat has spent more than 50 years perfecting: swampy grooves, stunning musicianship, heartfelt songwriting, and enough funk to shake you from the ground up. They waste no time as they walk on stage and dig right into “Hate to Lose Your Lovin’” and “Fat Man in the Bathtub” from Dixie Chicken and “Old Folks Boogie.” Newer material, such as “Too High to Cut My Hair,” fits effortlessly with deep cuts like “Shipwrecks” and “Time Loves a Hero,” proving that Little Feat’s catalog remains both timeless and remarkably cohesive.
As the night progressed, songs like “Romance Dance,” “One Love Stand,” “The Fan,” and the unmistakable groove of “Spanish Moon” kept the audience struggling to stay in their seats as the band mixed loose jams with the ability to play the songs just like they sound on the albums. A fun and intimate piece of the evening came with the acoustic and blues-driven portion of the set, where “Got My Mojo Working,” “Running Out of Time with the Blues,” “Representing the Mambo,” and “Trouble” stripped things down just enough to spotlight the songwriting core beneath the band’s layered arrangements. Then came “Willin,’” Lowell George’s iconic road anthem and the song that really got me into the band, which served as both tribute and emotional centerpiece, reminding the audience just how foundational his songwriting remains.
From there, Little Feat jumped back into their electrified roots with “Hi Roller,” “Day at the Dog Races,” and “Let It Roll” before launching into crowd favorites like “Oh Atlanta” and the always exhilarating “Dixie Chicken,” which seamlessly bled into “Tripe Face Boogie.” By the time they closed the main set with “Teenage Nervous Breakdown” and then returned to the stage for an encore performance of “Feats Don’t Fail Me Now,” the band had delivered not just a concert but a full celebration of one of America’s most unique and enduring musical institutions.
More than a simple farewell tour, Little Feat’s performance was a reminder that truly great music doesn’t age, it evolves and continues to inspire. For longtime fans and newcomers alike, this was not just another night out, but an opportunity to witness living musical history performed by artists who still clearly love every note they play. ◼
