What began as a one-time event has become tradition. After the tragic 1997 passing of Lafayette musician/pathologist Tommy Comeaux, the Lafayette musical community staged the spectacular Medicine Show, a one-night concert featuring BeauSoleil, Native Sons, Basin Brothers, Coteau, Sonny Landreth and others who had played with their departed colleague over the years. To make the memorable night even more memorable, the live CD Medicine Show Vol. 1 immortalized the event as the proceeds benefited the Dr. Tommy Comeaux Endowed Fund for Traditional Music.

Medicine Show Vol. 2 picks up one year later at Grant Street where once again the musical brotherhood came out in grand style. Compared to Vol.1, a solid outing, Vol. 2 is much more electric and blood pumping. BeauSoleil’s Michael Doucet joins the Traiteurs (one-of-a-kind Cajun band featuring Al Berard, fiddle; Errol Verret, accordion and slide guitarist Sonny Landreth) to open with an inspired version of “Hackberry Hop,” a hint that the evening’s magical spell is underway. Steve Riley and friends rock Americana style with “True Fine Mama;” Doucet follows with “L’Amour Poisonne” with haunting fiddle leads and brother David’s pristine acoustic guitar accompaniment.

So far, so good, but the party really launches into orbit when Roddie Romero and band jump with “Hey Baby,” a zydeco-seasoned rocker from boogie-meister Erick Adcock on keyboards. A version of Clifton Chenier’s “Party Down at the Blue Angel Club” follows as Romero asks, “Are you having a good time out there? I’m having a good time me too.” By now, it’s easy to visualize a packed Grant Street, exposed brick walls, hardwood floors and a sea of tireless dancers. Big Pecan & The Assorted Nuts, a dazzling 15-piece show revue band, boogies and bops while the Beans’ Mike Hanisee shows that there is an intelligent jam band alternative with more fire from guitarists Sam Broussard and Bruce MacDonald. Blazing twin guitars appear to be the norm except for Riley’s set which boasted the triple threat of Jimmy Domengeaux, Landreth and Broussard, especially on their scorching version of Nick Lowe’s “Seven Nights.”

The Doucet-penned “Tommy” is the perfect end cap. Doucet and Filé pianist David Egan poignantly touch souls by singing “Tommy, oh Tommy, so glad you’ve been set free.” It’s a powerful line, a gripping sentiment. You didn’t have to be there to feel the spirit. It’s that strong.