Review: The Roots throw a New Orleans party with Lil Wayne, and André 3000 chills on Day 2

“And then the Roots … came marching in …”

Sing that to the tune of “When the Saints Go Marching In” and picture Questlove toting a bass drum and leading a New Orleans second line parade of brass players through a crowd of 30,000 festivalgoers ready for one more party.

That’s how the grand finale of this year’s Roots Picnic — or as Black Thought called it, ‘Nic 24 — got going on Sunday night, with Questlove being followed by a team of musicians that included Crescent City party band leader Trombone Shorty and Roots sousaphonist Damon “Tuba Gooding Jr.” Bryson making their way to the main stage where the rest of the Roots awaited them.

The theatrical flourish kicked off the music of a New Orleans soiree starring Lil Wayne and the Roots on a second sold-out, 10-hour day on the Mann Center campus of the most well-attended Picnic since the gathering got its start at the Festival Pier 16 years ago.

Sunday’s varied pleasures — with André 3000′s early evening set chief among them (more on that in minute) — included main stage afternoon sets by Philly-connected singer N3WYRKLA (with her podcaster father, Gillie Da Kid, singing along) and Nigerian American country rapper Shaboozey.

The latter told the crowd “I’ve got the number one country album in the country, if you can believe that from someone who looks like me.” He sounded like he couldn’t quite believe it himself.

The main stage crowd — a vast field of relaxed revelers, sprawled on blankets and inflatable chaise lounges — was also entertained with a late afternoon set by Philly bassist and bandleader Adam Blackstone.

First Blackstone brought out gospel singer Tasha Cobbs Leonard for a rousing church service star turn that had voices raised in praise. Then Sunday morning was followed by Saturday night, as Fantasia channeled that sanctified energy first into heartbreak on “When I See U” and a “Proud Mary” Tina Turner tribute.

Before we get back to the good stuff, a handful of disappointments: As with any successful festival, conflicts arise and you can’t get to everything. I missed Babyface to make sure I got to André 3000 early.

The pavilion was packed with hip-hop heads primed not for André's flute, but for New York rapper Cam’ron, who was running late, and then canceled. Sorry, Babyface. I made the wrong choice.

I made another incorrect decision in missing most of genre-splicing jazz and R&B pianist Robert Glasper, who was graced by vocals from Arkansas native Yebba and Philadelphia’s own Bilal. Instead, I opted for the intriguing combo of Houston rapper Scarface and “1 Thing” singer Amerie with Washington go-go stalwarts Backyard Band on the Presser stage.

Amerie only did two songs, though, and sang over prerecorded vocals. And from where I sat on the far left facing the stage, the sound for Scarface and the Backyard Band was frayed, with vocals muffled in the mix. The funk was flattened.

But it all turned out alright in the end.

André 3000′s New Blue Sun set — named after the OutKast rapper’s left turn of an all-instrumental flute-forward album — was exactly what was needed at the tail end of an exhausting endurance test.

The stage was dimly lit in 3 a.m. orange and blue, and though the nascent flautist has surrounded himself with virtuoso players, his wholly improvised approach isn’t about showing off technical skill. Frankly, he’s not an impressive technical player, as he would surely admit.

Instead, it’s about the mood and vibe and — more than that — about a Grammy winning star who many regard as one of the most gifted rappers of all time — casting a spell with a set that was more like a sound bath than a cutting session.

He first played the flute in public in Philadelphia while filming the TV series Dispatches From Elsewhere in 2019. “I love Philly. Philly is awesome,” he said, while also being effusive about the Black women he saw while going for a walk in the city on Sunday morning. “The streets have been real good to me in Philly.”

“It wasn’t planned,” he said about his woodwind journey. “I saw this lady play the flute and I was like, ‘Whoa, what sound is that?’” Sunday’s performance was a stop on his route to finding the answer.

As the music sometimes meandered and sometimes coalesced into something disarming and transfixing, many in the audience left. Others gathered close.

The closing cavalcade that followed on the main stage was a bit more of a high volume affair. It began with a too-brief Roots set in which the Philadelphia hip-hop crew NOLA-fied selections from their back catalog, reaching back to 1996′s Illadelph Halflife for a profoundly impressive “Respond / React.” It was not enough unadulterated Roots for me, but it was great while it lasted.

Before Wayne came on, two New Orleans natives got featured spots: R&B singer Lloyd, and keyboardist and singer P.J. Morton, who is also a member of Maroon 5.

Trombone Shorty did not get an opportunity to step up and lead, but was a featured soloist throughout the night. Morton closed his three-song set with a cover of the Bee Gees’ “How Deep Is Your Love.” It was a pleasant sing-along, but a cover of a disco hit by an Australian pop band? Not very New Orleans.

Black Thought stepped aside when Lil Wayne came out, and thereon, the night belonged to Weezy F. Baby, the enduring and eccentric rapper who introduced himself as Tunechi — one of many nicknames — and whose career reaches back to 1999′s Tha Block Is Hot.

It was a tight, 19-song greatest-hits set, opening with “Mr. Carter” — his given name is Dwayne Carter Jr. — and closing with the hypnotically irresistible 2008 hit “A Milli.” That song made Wayne’s claim to be “the greatest rapper alive” — which was how Black Thought generously introduced him — not seem entirely far fetched.

In shades, blond dreadlocks and at times a lampshade-like black bucket hat, Weezy was a charming presence. Before “6 Foot 7 Foot,” he thanked the Roots and said “This is a legendary moment, but first I’Il need to light this blunt.”

Rapping in a cracked, sui generis voice, he ended each song with an abrupt “thank you.” He was backed by his tour DJ, T. Lewis, while Shorty added polyphony and Questlove snapped songs into action from his drum riser.

Impressed by the crowd and the love directed his way, Wayne twice stopped the show to impart three important life lessons in colorful language, each of which boiled down to one thing: Alone we’re all pretty much worthless, so we need to make sure to be there for each other in life, just as we are during this beautiful night at the Roots Picnic.