ALO Brooklyn Bowl Setlist

Review to come.

THE HIP ABDUCTION - 08.18.16 - BROOKLYN BOWL (56 minutes)

SET -
Before We Lose Our Mind / Light It Up / Live It Right / Sun King > The Lion Sleeps Tonight (tease) > Sun King / Children of the Sun / La Resaca / Waiting* / Come Alive / Holiday / Sexual Healing

ANIMAL LIBERATION ORCHESTRA - 08.18.16 - BROOKLYN BOWL

SET I (1 hour, 5 minutes) -
Walls of Jericho / Blew Out the Walls > The Gardener > Try > Maria / Summer Dream (We Got the Time) > Room for Bloomin'

SET II (55 minutes) -
The Ticket > Cowboys & Chorus Girls / Bizarre Love Triangle / Immigrant Song / Chilly Chile (feat. Jackie Greene) > Shakedown Street (feat. Jackie Greene & Leslie Mendelson) > Barbeque (feat. Jackie Greene) > Jessica (tease) > Barbeque

The Revivalists Brooklyn Bowl Setlist

THE REVIVALISTS - 05.11.16 - BROOKLYN BOWL (1 hour, 43 minutes)

SET -

Catching Fireflies / All in the Family / Monster / Amber / It Was a Sin / Move On / Fade Away / Stand Up / Need You / Upright (feat. Lucas Ellman) / Keep Going / Wish I Knew You > Criminal

ENCORE -

King of What / Soulfight / Forgot About Dre (feat. Brandon Niederauer)

Steel Pulse Brooklyn Bowl Setlist

Review to come.

STEEL PULSE - 04.12.16 - BROOKLYN BOWL (1 hour, 35 minutes)

SET -
Blues Dance Raid / Sound Check > Prediction > Macka Splaff > Drug Squad > My Favorite Things (tease) > Drug Squad / Not King James Version / Black & Proud / Nyah Love > Rocksteady / Taxi Driver / The Star-Spangled Banner > Worth His Weight in Gold (Rally Round)

ENCORE -
Interlude / Chant a Psalm / Babylon Makes the Rules / Roller Skates / Don't Shoot (Hands Up, I Can't Breathe) / Steppin' Out

The Next Round - Episode 25: The English Beat

The Next Round is finally back, and what an episode to come back on!  Right before the English Beat skanked up Brooklyn Bowl, Dave Wakeling invited me onto the group's tour bus to talk about diuretics, crowdfunding, and Johnny Cash's ghost.

Subscribe on iTunes, download directly, or stream below. (Subscribers on iTunes got this episode last Friday, so get on that shit.)

My first exposure to the English Beat was through the movie Kingpin, so what better venue to see them in than a bowling alley?  The Beat emerged from backstage, Wakeling in a polo shirt with a black-and-white checkerboard collar.  It was the perfect wardrobe choice, simultaneously representing his age and his two-tone history.  They kicked things off with "The Love You Give Lasts Forever," a peppy tribute to Dave's departed mother.  Sound issues plagued the set from the first notes, Wakeling walking over to the onstage tech to try to rectify the situation.  The bass wasn't loud enough, the guitars weren't audible, and Dave's banter was indiscernible through the reverb.  Sadly, the botched mix persisted for most of the show, creating a disconnect between the stage and the floor.

Fortunately, with a legacy act like the Beat, the crowd was quite familiar with the material and able to piece together the gaps in their heads.  Well, maybe not the heartfelt "Said We Would Never Die."  The new number will be on the upcoming For Crying Out Loud, the Beat's first LP in over thirty years (and you'll have to listen to the podcast to learn who that one's about.)  Dave recommended "I'll Take You There" to those looking for a bid at the White House in 2016, as both Clinton and Obama had used the song on the campaign trail, both elected to two terms.  As you'd expect, the set focused heavily on tracks from I Just Can't Stop It, but a pair of General Public tunes, "Never You Done That" and "Tenderness," had fans giddily dancing, fully earning their late-set placement.  But that was nothing compared to when "Ranking Full Stop" dropped into "Mirror in the Bathroom" with the scorching howl of Matt Morrish's saxophone.  A cheer erupted from the crowd as the floor turned into a gyrating punky reggae party.  Although they are known to play a two-hour-plus set, the band turned in early without an encore, most likely a result of the frustration over the sound issues.  Bittersweet, sure.  But damn, I loved what I saw in that "Mirror."

THE ENGLISH BEAT - 09.17.14 - BROOKLYN BOWL (1 hour, 39 minutes)

SET -

The Love You Give Lasts Forever / Rough Rider / Tears of a Clown / Twist & Crawl / Happy Birthday / Hands Off... She's Mine > Children Crying > Hands Off... She's Mine / Best Friend / I'll Take You There / I Confess / Click Click / Save It for Later / Said We Would Never Die / Whine & Grine/Stand Down Margaret / Two Swords / Can't Get Used to Losing You / Sole Salvation / Never You Done That / Tenderness / Ranking Full Stop > Mirror in the Bathroom

The Revivalists Return to Brooklyn Bowl

I saw the Revivalists at Brooklyn Bowl in November, and they called it their best show of the year.  Truth be told, had it not been for some issues with the drum inputs on the recording, the show was going to be released as the live album included in the re-release of City of Sound (That night's "Upright" made it onto the compilation in case you were wondering.)  So when the NOLA band returned to Brooklyn Bowl on Thursday, expectations were astronomically high.  That made for a strange energy in the room, especially when co-headliner Moon Taxi's "we've got one more song" turned into four or five, with guitarist Trevor Terndrup taking his six-string for a trip around the entire venue, from the bar to the bowling lanes.  The series of fake-outs and showboating made it seem more like the end of the night instead of the middle.

The seven Revivalists began their set with "Soul's Too Loud."  One thing that wasn't too loud was Rob Ingraham's saxophone, buried in the mix to the point of inaudibility.  The soundman didn't appear to be too attentive, David Shaw having to tell him on the mic to "Plug the acoustic in, my man."  "Sunny Days" featured a guest sax solo from Lucas Ellman of Chicago funk outfit, the Heard.  The stint required the sound technician to reassess the woodwind levels, and we could finally hear Ingraham, leading to two of the night's best performances back-to-back: "When I Die" and "Bullet Proof Vest."  One of my favorite Revivalists songs is "Catching Fireflies," but unfortunately for me, a drunk asshole decided he'd like to take up residence where my toes were.  I nudged him off, which he wasn't too happy about, shouting, "Push me again, motherfucker!"  I held my ground, but I resisted getting violent, assenting to the song's lyrics: "I'm a peaceful man today."  "Criminal" sparkled as usual, with bassist George Gekas huddling close to steel guitarist Ed Williams for most of the final number.

"Last time we played this here, we had a very special guest," announced Shaw, reemerging for the encore.  I braced myself for "Whipping Post," as they had performed the Allman Brothers song with the assistance of 10-year-old guitar prodigy Brandon Niederauer.  So I was surprised when they slinked into "Forgot About Dre," which they've played with Warren Haynes in the past.  Rob took the Eminem role, throwing back to Shaw with each "forgot about Dave."  When the tune came to its particularly crunchy finish, the crowd continued cheering for one more song.  It wasn't in the cards, however, as Biz Markie fired up the turntable, and the Revivalists became the latest victim of Bowl Train's too-early start time.

I had a few beers with Ed, Michael, and Andrew before the show.  Listen to the interview here.

THE REVIVALISTS - 04.17.14 - BROOKLYN BOWL (1 hour, 37 minutes)

SET -

Soul's Too Loud / Stand Up / Concrete (Fish Out of Water) > Not Turn Away > Common Cents / Sunny Days (feat. Lucas Ellman) / When I'm Able / When I Die / Bullet Proof Vest / Strawman / BTBD / Catching Fireflies / All in the Family / Criminal

ENCORE -

Forgot About Dre

The Next Round - Episode 13: Soulive

Alan Evans of Soulive and Playonbrother is my guest this week. We had a great chat backstage just prior to the second Wednesday of Bowlive V.

Subscribe on iTunes, download directly, or stream below:


Unfortunately, I came down with a debilitating cold after the show, and neglected to post a review of the concert. So here goes:

Even if the Allman Brothers Band calls it quits (apparently just a rumor, by the way), New York music lovers have nothing to fear.  With Bowlive having just celebrated its fifth year, the unstoppable organ trio of Soulive have proven that they are quite capable of handling the mid-March NYC concert scene.

The band tore into "So Live!" to start the set, but lamentably, Neal's clavinet wasn't working.  Thankfully, Eric Krasno's muscular guitar was enough to fill the void until the issue was solved.  Sometimes Krasno sits back and plays fluttery, melodic stuff, but this wasn't the case during "Dig."  This was white hot funk played with "Fuck with me, I dare you" attitude.  That's not to say Kraz was the only one hitting it hard.  Alan was pounding his kit with enough power that he busted right through one of his toms during "I Want You (She's So Heavy)," the second part of a Beatles medley beginning with "Eleanor Rigby."  The drum was switched out seamlessly, and then Evans relinquished his throne to special guest Joe Russo.  It was interesting to note the differences in their technique, Joe playing the pair of Krasno tunes, "76" and "Up & Out," with a more pronounced bass pedal stomp than Evans' syncopated style.  The band invited Jon Cleary and Mark Rivers out to finish the set with its only vocal performance, Cleary's blue-eyed soul singalong "When You Get Back."

For set two, I relocated to the VIP area beside the stage.  With no house speakers facing me, the sound wasn't as clear, but the view was ridiculous.  It was as if I were a member of the band or at least a documentarian capturing the onstage workings of a show.  From my vantage point, I was able to see just how much work Neal does.  We all know he can lay down a phat bassline with his left hand while delivering a smoking Hammond solo with his right, but he was also operating a cluster of pedals on the floor with his feet.  Once Susan Tedeschi joined them, he assumed the role of the bandleader, clapping out the tempos of songs so that everyone would be on the same page.  I'd never listened to Tedeschi before, an oversight that I've been delightedly correcting ever since.  I had no idea she could churn out the Family Stone-style funk of "Butterfly" and then turn around and nail the troubled blues of "It's So Heavy."  At one point in the set, I looked back between the amps to see Russo on congas, proof that when Soulive's onstage, you just wanna join in.  They reinstated Jon Cleary for a cover of Betty Wright's "Clean Up Woman," the set-closing highlight of the night.

After a brief huddle, the band (minus Alan, who let Russo take over) returned with another special guest, Tash Neal of the London Souls.  Following a gospel-inspired take on "Turn on Your Lovelight," the show wound to its end with Junior Wells' "Little by Little," allowing all three guitarists to trade licks into the night.

Sister Sparrow & the Dirty Birds Fly with Zeppelin at Brooklyn Bowl

In December, Sister Sparrow & the Dirty Birds invited their fans to vote on ten classic albums, ranging from Aretha Franklin's Lady Soul to Superunknown by Soundgarden.  The winning LP would be covered in its entirety at the band's January 31st Brooklyn Bowl concert.  A few weeks ago, Led Zeppelin's IV was announced as the victor, and the band got to work arranging and rehearsing for last night's show.

The event was opened with a long set from Brooklyn's Zongo Junction, a 9-piece Afrobeat outfit made up of the whitest-looking dudes possible.  I'd never seen or heard of them before, so I was pleasantly surprised to learn that they were real deal, not just a group of pale imitators.  As they made their way through their instrumental tunes, crowdmembers spun in joyous circles around the dance floor.  I was even more impressed when the band deviated away from the standard Afrobeat rhythms, with bassist David Lizmi (a dead ringer for Frank Zappa) taking one jam into the depths of the ocean as keyboardist Ross Edwards layered in some decaying vocal effects.  I noticed that a stand in the center of the stage held an unused vocal microphone, and I joked with my friend that I was going to join them.  I began to improvise lyrics about a mosquito and malaria.  Fortunately for everyone, I didn't jump onstage, and Zongo Junction received another credibility boost when they introduced Abena Koomson, who had served as vocal captain for Broadway's Fela!  Koomson led a crowd chant on the militantly catchy "T.D.D. (Tear Dem Down)," dancing as the boys kept the groove going.  Imagine my shock when she started singing "Elephant & Mosquito," which contained lines about a mosquito and malaria.  I spent the rest of the set convinced that I was some sort of Afrobeat psychic, smiling as I listened to the ghostly sounds of the Farfisa organ and watched percussionist Morgan Greenstreet wildly contort his mouth as he banged away on the congas.

Having seen the Dirty Birds three times last year, I'd grown accustomed to them opening with an instrumental barrage before Sister Sparrow hopped out to sing the first number.  It was obvious this was going to be a different kind of show, as Arleigh Kincheloe emerged right at the beginning to sing "The Way You Make Me Feel."  (Michael Jackson's Bad was also in the cover album poll.)  They proceeded with five of their own songs, highlights including "The Long Way" and "Make It Rain."  Following a killer "Crawdaddies," the stage went dark for a tad longer than usual.  It was time.

They roared into "Black Dog" to kick off Zeppelin IV, Arleigh modifying the lyrics to "a skinny-legged woman ain't got no soul" to fit her petite frame.  Guitarist Sasha Brown blew my mind when he tore into the riff from "Bulls on Parade" to start "Rock & Roll."  He weaved the motif in and out of the song, which Arleigh finished by turning her back to the crowd and screeching higher than Robert Plant ever could.  I was intrigued to see how they'd handle the Lord of the Rings-themed "The Battle of Evermore," a nerd fantasy that just doesn't do it for me on record.  Sasha locked into a sinister groove that bent towards industrial with the addition of a grating harmonica ostinato from Jackson Kincheloe.  The packed house began to get a little chatty during the number, which continued into "Stairway to Heaven."  If there's ever a time to shut up at a concert, it's during "Stairway," but silence didn't come until the song's powerful conclusion.  Brown's guitar should have been louder in the mix from the start of the show, so maybe that would've helped.  "Misty Mountain Hop" got the floor moving again as expected.  The beat gradually began to slow until the Birds pulled a 180° and dropped into "Diamonds on the Soles of Her Shoes" (Graceland was also a candidate.) for a bit before returning to the "Hop."  The last time I saw Sister Sparrow, it was in a sweaty basement for the Fight EP release party.  Unfortunately, Arleigh's vocals were a little strained that evening.  Last night, she'd never sounded better.  The prime example was "Four Sticks," where you could hear every drop of joy and pain that she harbors in that soulfully stirring voice.  While Josh Myers traded his bass for an acoustic and Sasha doubled his string-count, Arleigh grinned widely at the audience.  "You asked for it!  We're so, so happy that this is the album you chose for us to play," she gushed.  "Playing music is fun, but playing Zeppelin is a whole 'nother thing."  Again, talking covered up a lot of the delicate "Going to California," but when you could hear the intricate notes of Brown's 12-string, it was beautiful.  This was a Zeppelin show, however, so people wanted to rock.  They got their wishes with "When the Levee Breaks."  Assisted by three of Zongo Junction's horn players, the Dirty Birds had everyone in the Bowl bouncing until its end.  "Brooklyn, we love you so fucking much!" yelled Arleigh as the the Birds flew the coop.  The sold-out crowd roared their approval.  Less than a minute later, the band reclaimed the stage to finish up with another Zeppelin tune: Houses of the Holy track "D'yer Mak'er."  The reggae ditty was the icing on the cake, likely a rum cake, as Sister Sparrow snuck in the liquor-soaked chorus from her own "Vices."

It was definitely a night to remember for the band and everyone sober enough in the crowd.  Let's hope Sister Sparrow & the Dirty Birds make an album cover show an annual tradition, so we'll have even more memories in the years to come.

SISTER SPARROW & THE DIRTY BIRDS - 01.31.14 - BROOKLYN BOWL (1 hour, 23 minutes)

SET -

The Way You Make Me Feel / The Long Way / Don't Be Jealous / Make It Rain / Borderline / Crawdaddies / Black Dog > Rock & Roll/Bulls on Parade / The Battle of Evermore / Stairway to Heaven > Misty Mountain Hop > Diamonds on the Soles of Her Shoes > Misty Mountain Hop > Four Sticks / Going to California / When the Levee Breaks

ENCORE -

D'yer Mak'er > Vices > D'yer Mak'er

The Revivalists Decree Brooklyn Bowl Show Year's Best

When I saw Galactic enrapture Terminal 5 earlier this year, they were accompanied on vocals by a man named David Shaw. I was flabbergasted at how such a booming, soulful voice could come from this super-lanky whiteboy. So when I found out that Shaw's band, the Revivalists, were headlining Brooklyn Bowl, I knew I had to go.

Halfway through the opening number "Catching Fireflies," I learned that the rest of the Revivalists were on par with the spectacle of Shaw. The stage was flanked by two of the New Orleans band's liveliest members, Ed Williams on pedal steel and Rob Ingraham on saxophone. Williams often leaned so hard into his instrument that it teetered dangerously on two legs, while Ingraham whirled his woodwind around to amp up the other half of the room. Although their sound would be classified as rock, it was definitely imbued with that NOLA party attitude. Most songs were rife with call-and-response sections and just dancey enough to have everyone grooving on a Friday night. Welcoming us into "Chase's House," David removed his button-down shirt to reveal a white V-neck. "This is probably the funnest show we've played in a long time. My cheeks hurt from smiling. Straight up," he admitted.

The show may have been opened by 14-year-old guitar prodigy, Bobby Paltauf, but the Revivalists introduced to the stage an even younger axeplayer, 10-year-old Brandon Niederauer. Although it would be trite to say that they whipped the crowd into a frenzy as they tore into "Whipping Post," it would also be entirely accurate. Young Niederauer closed his eyes like an old bluesman, his fingers moving nimbly along the fretboard as he traded licks with Williams and Zack Feinberg. "How do you follow that?" asked a stunned Shaw, taking a rare break between songs. They rightfully chose to pull back a bit with "Soulfight." Just six songs after his initial review, Shaw clarified, "So I've gotta say this. It's definitely the funnest show we've played in a long time." Having played for almost two hours, the band closed out the set with fan favorites "Appreciate Me II" and "Criminal."

They couldn't stay away for long, however. "Best show all year for sure. Definitely best crowd," confirmed David. The Revivalists launched into the rap/rock "All in the Family" to snag one last batch of participation from the audience. As the tune neared its end, Shaw shouted, "Are you ready for this, Brooklyn?" I don't think any of us were. David peeled off his t-shirt, and they stampeded into "Bulls on Parade." Let me tell you, you've never heard the song like this. With powerful blasts of bari sax and Tom Morello's solo played on lap steel, it consummated an already terrific night of music. It may even end up on my best performances of the year list, right beside "Does It Really Make a Difference," which Shaw sang at Terminal 5.

THE REVIVALISTS - 11.22.13 - BROOKLYN BOWL (2 hours, 10 minutes)

SET -

Catching Fireflies / Stand Up / Concrete (Fish Out of Water) / When I'm Able / Chase's House > Sunny Days / Bullet Proof Vest / Not Turn Away > Common Cents / Navigate Below > Upright / Keep Goin' / Whipping Post (feat. Brandon Niederauer) / Soulfight / Soul's Too Loud / Two Ton Wrecking Ball / Appreciate Me II / Criminal

ENCORE - 

All in the Family > Bulls on Parade

Incidental Animals Play Their Second Show Ever at Brooklyn Bowl

Weddings bring people together.  ALO were hired to play a wedding event in NYC, but with Zach Gill on tour with Jack Johnson, Kyle Hollingsworth of the String Cheese Incident was tapped to man the keys.  Then the group was filled out with the horn section of Jennifer Hartswick and Natalie Cressman, compliments of Trey Anastasio Band.  The group, known as Incidental Animals, decided to book a few gigs to practice, and performed their second show ever on Thursday at Brooklyn Bowl.

The concert was opened by a Fort Lauderdale 5-piece called the Heavy Pets.  The Pets began with "Xylophone," which reminded me of Phish's "Free."  And while the tune may have crossed the ten-minute mark, the jam never progressed into a different headspace.  "We've got a brand new song for you guys," Jeff Lloyd announced, turning the vocal duties over to keyboardist Jim Wuest.  Unfortunately, Wuest turned his vocal duties over to a vocoder, rendering the lyrics unintelligible.  Ditching the vocal effects, "Stay the Night" went smoother: real lite FM baby-makin' music.  But the band claimed it was their 900th performance, so I expected much more experimentation.  "Help Me Help You" did feature an unexpectedly funky breakdown, but that was quickly expunged by guitar noise.  The song received a helpful upgrade from guests Cressman and Hartswick, who took turns soloing.  That would've been the ideal place to end the set, but they continued with "Last Babies," a tune that did little more than suggest that Mike Garulli probably listens to a lot of Dispatch and Slightly Stoopid.

Incidental Animals kicked off their set with the SCI number, "Can't Wait Another Day."  Dan slathered something similar to "Barbeque" sauce onto the peppy island tune before taking it into a haunting, spacier world.  Once they emerged from the darkness, Jennifer brightened things up with her trumpet, stretching the song out to 13 minutes.  "We care about you.  That's why we take the time to tune," informed Dan, readying his guitar for the rarely played "I Wanna Feel It."  Hartswick took lead vocals on the most joyous "Piece of My Heart" I've ever heard.  Always a delight, "Try" was enhanced by the ladies, who played the I-Threes card, singing back the last word of each line of the chorus.

It was refreshing to witness the smiles across the stage as the musicians figured out how to gel, with Cressman and Hartswick arranging their horn parts on the fly.  The brass reinvigorated "Lady Loop," which was also intensified by Kyle's spooky Virus TI synthesizer.  Having never seen Hollingsworth before, it was interesting to watch him work, mouthing along to the notes from his keyboards.  I got quite the kick out of imagining that the sounds were actually coming from his mouth.  Following "Naïve Melody," they played a fun Dan ditty I've never heard before, which I'll call "I Thought You Were My Friend."  Steve Adams finally got a chance to sing on "Falling Dominoes," and the girls proved they were just as talented minus their mouthpieces, as they traded verses on "Higher Ground" to finish out the set.

A minute later, the Animals returned.  "We got the OK to go another five hours straight," joked Kyle.  Jennifer ushered in a chill take on "Walls of Jericho" with a jazzy intro.  Once the song reached its climax, the band segued into the Jacksons' "Shake Your Body (Down to the Ground)," the perfect choice to prep the dancefloor for Bowl Train.  Aside from getting married and hiring them yourself, the only way to see them is via the Relix stream recorded that evening.  So find that special someone, and do us all a favor. 

After the show, Lebo and I went across the street to the Wythe Hotel's rooftop bar to tape an interview for The Next Round, so look for that in the upcoming weeks.

INCIDENTAL ANIMALS - 11.21.13 - BROOKLYN BOWL (1 hour, 49 minutes)

SET -

Can't Wait Another Day / I Wanna Feel It / Piece of My Heart / Try > Shining Star > Try / Lady Loop > Let's Go Outside / This Must Be the Place (Naïve Melody) > Jam* > This Must Be the Place (Naïve Melody) / I Thought You Were My Friend* / Falling Dominoes / Higher Ground > Gospel Jam* > Higher Ground

ENCORE -

Walls of Jericho > Shake Your Body (Down to the Ground)

Steve Kimock Searches for the Sound at Brooklyn Bowl

When I first saw Steve Kimock in February at Stage 48, he had my head bobbing to some furious funk.  Then he peeled back the top of my skull with a free-form improvised journey in the middle of a cover of "I Feel So Bad."  So when I heard he'd be stopping by Brooklyn Bowl on his fall tour, I knew I had to go, even if I was getting sick.  For this go-round, Kimock was accompanied by Bernie Worrell and John Morgan Kimock, reprising their roles on keys and drums, respectively, as well as Ron Johnson (Karl Denson's Tiny Universe) on bass, Ryan Cavanaugh on banjo, and Josh Dion on drums (both of Bill Evan's Soulgrass).  The band took the stage without pageantry and eased into an atmospheric nebula.  The gases solidified into the African guitar lines of "It's Up to You," which tinkled along brightly until Bernie ripped them open with some screechy Halloweenish sounds from the keys.  Worrell proceeded to layer a p-funk groove on Johnson's backbone, and then I heard my new favorite sound: distorted electric banjo, compliments of Cavanaugh.  (Check out the video below.)  It was like finding a venomous snake slithering through your normal bluegrass.  Kimock returned to Africa for the end, bringing the tune to its finale at 31 meandering minutes.  

If the opening odyssey was any indication, it was clear that Steve and his friends were searching for something.  While the first half-hour definitely had its moments, experimentation was favored over cohesiveness.  Would they uncover a jam on the level of that revelatory mind-melter that spawned from "I Feel So Bad?"  Set against the swirling lights on the brick walls of the Bowl, Bernie dropped into a slinky organ melody, teasing "Merrily We Roll Along" in the process.  Steve switched to his Stratocaster and followed the funk into "TLC."  After funking around, the band opted to show off its softer side with "Surely This Day."  The calm didn't last long though, a storm emerging in the form of a tandem drum solo from John and Josh.  Though hidden in the shadows, Dion was a treat to watch, his face contorting with each strike of the sticks.  Following the drum jam, Cavanaugh stepped in with a couple of bluesy licks before turning out some distorted Hendrixian madness.  An hour and eight minutes into the set, Bernie greeted us with the first vocals of the night, demanding, "Put your head into it," in "There's Gonna Be Butter."  A bit of slide guitar from Steve invited Bernie to close out the set with the Funkadelic charger "Super Stupid."  Kimock grabbed a mic and sat down on a stool in the center of the stage.  "Oh, no.  They gave the guitar player a microphone," he teased.  "We'll be back after a short break."

The band returned for set two with "Thing One," which lasted almost 21 minutes, but it lost some steam as it went on.  Steve strapped on his Strat again, revving up a juicy "5 B4 Funk" that had fans crying "Woo!" during the rests.  Not merely an expression of excitement, it was a call to action for the Wizard of Woo to do his funky thang.  Bernie rocketed to the moon with a sci-fi solo of laser blasts, licking at the air with his pink tongue.  It was the highlight of the night, and Steve knew it, mouthing the final "Woo!" with the crowd.  He moved to the slide guitar for a mournful "Many Rivers to Cross" that built into a triumphant crescendo.  Bernie was anxious to get crossing those rivers, and fired up "Take Me to the River."  He enlisted the audience to sing back to him, alternating between girls and guys, and brought everyone together for the last few rounds.  "You guys are great!  You're hired!" he smiled at its end.

The soundman signaled that it was over.  With set two 25 minutes shorter than the previous excursion, the fans were eager for more, pleading to Steve, who looked like he wanted to continue.  But time-wise, we were encroaching on ?uestlove's Thursday night Bowl Train DJ set.  ?uest's voice came over the PA, re?uesting a round of applause for Kimock and Worrell before blasting out some thumping hip-hop.  It was an awkward ending, especially because we were all still waiting for that next level shit.  Hopefully we won't have to wait eight more months.

(Call to tapers: If anyone has a recording of the show, please let me know in the comments below.)

The Heavy Play Afropunk & Brooklyn Bowl in the Same Night

Rarely is my own throat sore from singing at a concert.  Then again, I don't usually see the Heavy twice in one day.  But after their brilliant Irving Plaza gig last August, I was damn sure gonna try.

I missed Theophilus London earlier this year at Prospect Park, so I arrived at Afropunk Festival in time to catch his set.  I probably should've stayed out by the food trucks.  Debuting several songs from his upcoming Vibezz album, Theophilus seemed obsessed with making everything sound perfect, and abandoned most numbers midway through.  Judging from his perfectionist qualities, it came as a bit of a shock to hear him say, "Let's get back to the human error, you feel me?" while expressing his distaste for loops.  I guess no one told Mr. London about the guy onstage cueing beats through a laptop.  At one point, he chucked a bottle of water out into the crowd, which struck a woman directly in the chest.  She left, pissed off, while London motioned his stagehands for a replacement water.  While the rapper does make some interesting choices production-wise, he is not a skilled emcee by any means.  His voice is even duller than his flow, and he falls victim to several rap clichés.  Take "Do Girls," a song in which he touts his ability to turn a lesbian straight, the kind of misogynistic braggadocio that too readily pervades his genre.  London failed to really engage the crowd, save for "Jump," only thanks to its sampling of Ginuwine's "Pony."

But that was okay because the next act was one that never fails to ignite an audience: the Heavy.  They ran through three tunes before sunset, "Can't Play Dead," "What You Want Me to Do?," and "Sixteen," each enhanced by a three-piece horn section.  "Looks like the sunshine's disappeared," remarked lead singer, Kelvin Swaby. "We're not happy about that. You want some more sunshine? Let's bring the sunshine in," he said, setting the stage for the reggae vibe of "Cause for Alarm."  "Short Change Hero," started a string of audience participation, first for "the devils," a term for longtime Heavy fans, and then the entire crowd howling on "The Big Bad Wolf."  You could feel the tremendous energy in the park, but it wasn't enough for Kelvin.  "Is it inappropriate for me to say, 'Would you guys like to join us for the rest of the set?'" he asked before instructing the call-and-response of "What Makes a Good Man?"  The two female backup singers outshined the crowd on that one, but we gave it our all.  "Same Ol'" utilized the audience yet again, and Kelvin invited a young girl onstage to dance.  "At 10:00 tonight, we've got to go over to the Brooklyn Bowl and play some more," Kelvin announced.  Over "Brukpocket's," he questioned each side of spectators, "Do you like the Heavy?"  Satisfied after a few rounds of escalating cheers, Swaby added, "See how much you like us now," and they charged into "How You Like Me Now?"  Everyone leapt into the air, the Afropunk crowd a raging sea of multicolored bodies.

As Swaby had mentioned, they had to go to Brooklyn Bowl and play some more, so I hopped on the B62 to Williamsburg.  They took the stage later than anticipated, and the two backup vocalists didn't make the trip, but I had no worries.  "Come on, move forward, you fuckers," Swaby encouraged the slim crowd.  The show had only been announced 24 hours prior, and a large number of music fans were still at Commodore Barry Park to find out who the special guest would be (If anyone knows who it was, please comment below.).  Transitioning from the large festival masses to the less-than-packed Brooklyn Bowl, the Heavy decided there was only one way to go: even harder.  The setlist started exactly the same, but Kelvin was even more animated, leaning over the stage's edge to sing directly into fans' faces.  The stage must've been built with straw or sticks 'cause it couldn't hold Swaby, who exploded out into the crowd for "The Big Bad Wolf," holding his mic in the air to catch the howls.  He climbed back onto the platform at the end and took a moment to regain his breath.  A woman in the front requested "Stuck," but Swaby didn't want to jeopardize the momentum he'd created, so "What Makes a Good Man?" followed.  While the backup singers were missed, the crowd was finally participating to Swaby's liking.  "Brooklyn Bowl, who would've thunk it?" he marveled.  "A Lesson Learned" was a nice, stompy deviation from the Afropunk setlist, and then Kelvin polled the audience: "You want slow or fast?"  I may have been the only person voting for slow, as I was hoping for "Curse Me Good," but fast won out with "Just My Luck."  "How You Like Me Now?" closed the show again, and if for some reason it hadn't been obvious earlier: We like the Heavy.  We really, really like you.

THEOPHILUS LONDON - 08.24.13 - COMMODORE BARRY PARK, AFROPUNK FESTIVAL (45 minutes)

SET -

Why Even Try / The Law / Need Somebody / Inject Your Soul / Jam* / Do Girls / Jump / Big Spender / Snow Angel / Last Name London > Groove Me / Flying Overseas / Smoke Dancehall* / Rio

THE HEAVY - 08.24.13 - COMMODORE BARRY PARK, AFROPUNK FESTIVAL (43 minutes)

SET -

Can't Play Dead / What You Want Me to Do? / Sixteen / Cause for Alarm / Short Change Hero / The Big Bad Wolf / What Makes a Good Man? / Same Ol' / Brukpocket's Interlude / How You Like Me Now?

THE HEAVY - 08.24.13 - BROOKLYN BOWL (50 minutes)

SET -
Can't Play Dead / What You Want Me to Do? / Sixteen / Cause for Alarm / Short Change Hero / The Big Bad Wolf / Stuck (tease) / What Makes a Good Man? / Same Ol' / A Lesson Learned / Just My Luck / How You Like Me Now?

JC Brooks & the Uptown Sound Turn Brooklyn Bowl Into a Jungle

Still experiencing tinnitus from the previous night's P-Funk show, I managed to bring myself to hop on the G train to check out JC Brooks & the Uptown Sound at Brooklyn Bowl.  I'm glad I went.  Brooks is one of those charismatic performers that you have trouble taking your eyes off.  Coming from a theatre background, he is an obvious showman, whether acting out his lyrics, engaging the crowd directly, or two-stepping from end to end of the stage.  You'd only look at him if it weren't for percussionist Jeff Galusha, whose enthusiasm was just as captivating, and allowed you to divvy out attention amongst the band.  I guarantee you've never seen a man play triangle so fiercely.

"We're gonna start things off a little different tonight," Brooks announced, as the Uptown Sound chugged into a faster take on Blackstreet's "No Diggity."  The entire room morphed into an all-out dancefloor and stayed that way for the next hour and a half.  Brooks' suit jacket lasted two more songs before he claimed, "It's too hot for this shit," and revealed his suspenders.  Two more songs and they were down, his shirt untucked.  "I Got High" found JC injecting little asides into the lyrics, including a songbird's falsetto "bye bye" after "I can't kiss the pain goodbye."  After a gospel cruise down "River," Ben Taylor stepped in with the bassline to "75 Years of Art Sex," the band cramming in nearly as many years of music history with forays into "Need You Tonight," "Crazy in Love," and "Fever."  For "Baaadnews," Brooks employed the audience on one of the wildest call-and-responses I've heard: jungle noises.  He apologized "Sowwy" to the crowd as he sang "Baltimore is the New Brooklyn," but it went over well considering the location.  The slow-burning "Awake" was dedicated to the 50th anniversary of the March on Washington.  JC shared some advice, "I don't expect to find many conservatives in this crowd.  But if you're liberal or conservative, I don't give a fuck.  If you've got questions, err on the side of compassion."  They closed the set with the Neil Young-flavored "Control."

Shortly thereafter, they returned to find the stage drenched in sweat and beer.  "Y'all rowdy as shit. Y'all get the Nets, and think you're somebody," Brooks teased.  "I'm just fuckin' with you," he added.  He played preacher a bit, asking for witnesses before "Everything Will Be Fine."  They wrapped up the evening with what has become their signature song, an R&B version of Wilco's "I Am Trying to Break Your Heart."  While I didn't really get the punk vibe that some suggest they have (I'd say it's more new wave.), it was an entertaining show.  To find out if Baltimore really is the new Brooklyn, head on down to the Metro Gallery and see JCBUS tonight.

JC BROOKS & THE UPTOWN SOUND - 08.23.13 - BROOKLYN BOWL (1 hour, 30 minutes)

SET -

No Diggity / Before You Die / Want More / Rouse Yourself / I Got High / Married for a Week / River / 75 Years of Art Sex > Need You Tonight (tease) > Crazy in Love (tease) > Fever (tease) > 75 Years of Art Sex / Security / Howl / Baaadnews / Baltimore is the New Brooklyn > Ordinary / Not Alone / Awake / Sister Ray Charles > Control

ENCORE -

Everything Will Be Fine / I Am Trying to Break Your Heart

Allen Stone Starts a Dance-Off at Brooklyn Bowl

"He looks like Napoleon Dynamite, but he sounds like Stevie Wonder!"  That's how my brother described Allen Stone in an effort to get me to see him at last year's Virgin FreeFest.  Unfortunately, Stone's set time conflicted with Penguin Prison's, so my only glimpse of him came during Justin Jones' set, when I observed the bespectacled soul singer nodding his head along in a pavilion seat.  Stone left his eyeglasses on the tour bus for last night's sold-out Brooklyn Bowl gig, looking more hippie than hipster, adorned in an array of necklaces and bracelets.  With one soulful scream, he ripped open his set and demanded, "Brooklyn, New York, how the hell are you?!"  The son of a preacher man, Stone commanded the crowd with ease, loosening the audience up immediately by having them put their arms above their heads and clap them together.  Determined to give each audience member "the best fucking experience that they've ever had in their life," Allen had set himself a lofty goal, for sure.  But his willingness to take on all of our woes and worries to free us to dance and have fun definitely helped.  We chucked these burdens up at him as the band grooved into "Sleep."  The crowd was with him all the way, shouting advice to "Count sheep!" and "Drink whiskey!" in the correct spots without any prompting.  For "Celebrate Tonight," Stone introduced us to the "universal sway," a side-to-side full-floor dance move that lasted the song's entirety.

Allen plugged in an acoustic guitar for a cover of Tingsek's "Six Years," but connection problems marred the number with harsh clipping sounds.  The soundwoman provided him with a new cable for "Quit Callin Me," putting an end to the evening's technical problems.  "Quit Callin Me" provided a nice launchpad for a back-and-forth between organist Greg Ehrlich and keyboardist Josh Rawlings because honestly, what would be the point of having a Hammond organ and a Fender Rhodes onstage if they weren't going to duel?  After the funky workout, the band took a break, leaving Stone behind to perform Marcy Playground's "Sex & Candy."  I've never liked that song, but Allen made it the most tolerable it has ever been, subbing out John Wozniak's bored vocals with his impassioned voice, getting particularly melismatic on the "There she was" lines.  He followed with "The Bed I Made," a James Taylor-esque ditty, accompanied by Rawlings and bassist Brent Rusinow on harmonies, shaker, and snaps.  Allen sat his six-string down and the band returned for a joyous take on Bob Marley's "Is This Love," Stone lapping at the microphone as he stretched out the "I-I-I-I'm willing and able."  The energy continued through "Contact High" and "Figure It Out" before Stone embarked on his longest medley of the night.  Beginning with "Tell Me Something Good," Stone had the crowd sing back Chaka Khan's lyrics, and then turned things over to Jason Holt for a drum solo.  The drums led into the rocking "Nothing to Prove."  As the band played on, Allen jumped down to the floor to clear an aisle, effectively dividing the crowd in half for an "old-fashioned dance-off."  "If all you have in your dance repertoire is the two-step, you better two-step the shit out of this dance-off.  If all you have in your dance repertoire is the jump-up-and-down with the spirit fingers in the air like you just saw Dennis Rodman at Burger King, do that," he commanded.  On his count, the floor erupted into a land of 1000 dances, the musicians onstage firing off a greasy "Get Nasty."  At some point in all this, Jason Holt lost his shirt.  They transitioned into "Satisfaction," finishing with Allen performing necromancy on Greg Ehrlich as Josh Rawlings spun in circles at the Rhodes.  I'm not sure if Josh is now a permanent member of Stone's band, but he should be, judging from his tasty licks and stage acrobatics.  Stone and band left the stage to thunderous applause punctuated by lightning bolts of girls screeching.

They returned to the stage shortly thereafter, Allen thanking the crowd for supporting truly live music.  "There's no tracks; there's no laptops up here," he attested.  Closing with "Unaware," the satisfied crowd sang back to him, "Push, pull, tear."  While I may not have had the best fucking experience of my life, it was obvious that others in the crowd did.  I had a great time, and will definitely go to many more Allen Stone shows, but a dance-off is just never gonna trump sex.  I'm just not that good a dancer.

ALLEN STONE - 07.24.13 - BROOKLYN BOWL (1 hour, 36 minutes)

SET -

Intro / What I've Seen > Mama > Sleep / Celebrate Tonight / Six Years / Say So > Quit Callin / Sex & Candy / The Bed I Made / Is This Love / Contact High / Figure It Out / Tell Me Something Good > Drum Solo > Nothing to Prove > Can You Feel It* > Get Nasty > Satisfaction

ENCORE -

Unaware

Dragon Smoke Pay Tribute to James Gandolfini at Brooklyn Bowl

Stanton Moore appeared alone on the darkened stage, explaining that Anders Osborne's flight was delayed. He was taking a taxi to the venue, so he urged us not to worry: "Take a breather. Have a drink. This is gonna be worth it. I promise." The New Orleans supergroup Dragon Smoke, consisting of Ivan Neville on keys, Galactic's rhythm section of Rob Mercurio and Moore, and Osborne on guitar (standing in for Eric Lindell), has traditionally only played on the Tuesday in between weekends at New Orleans Jazz Fest, plus a handful of West Coast gigs, so last night's concert at Brooklyn Bowl was a true rarity.

They enlisted Anders' friend and collaborator, Billy Iuso, to open the show. Anybody that starts their set with a Funkadelic tune is alright by me. I was just outside the Bowl when I heard Billy and his band rev up "Red Hot Mama." I made my way inside, and grabbed a Brooklyn Blast and a choice spot in the center of the floor. They followed with "The Other One" without getting cryptical. Iuso grew up following the Dead, eventually settling down in New Orleans, so it's only natural that he sounded like Garcia flirting over a keyboard-heavy groove. "Impatient Ain't Ya" had Billy interlocking his guitar lines with a fantastic harmonica player.  The harp sounded amazing through the speakers, but the skilled basslines could have been louder in the mix. The gifted bassist took a lengthy solo on the DMB-esque "The Spark," but then the song deteriorated into an unremarkable drum section leading into the blues romp "Love Slip Up on Ya." They really would have benefitted from a more experienced drummer, but his shortcomings were made up for by the imposing presence of the Native American harp-player. His waist-length tendrils of black hair flowed like a dementor as the electricity (static and musical) connected him with Iuso. They closed with "Trippin' Over Dragons," a fitting choice given the headliner.

Dragon Smoke didn't start with a wisp; they billowed out with Anders' tune, "Darkness at the Bottom." You would've never guessed that they play together so infrequently (aside from Mercurio and Moore, obviously) from how well they meshed. Next up was the funky "Let a Woman Be a Woman" which segued into an incredible "Woke Up This Morning, the theme from The Sopranos, in tribute to the late James Gandolfini.  My face hurt from smiling so hard, but Mercurio's jowls are likely still sore today. While all members were clearly having a ball at the Bowl, the bassist spent most of the show gleefully dropping his jaw at each musical surprise. Billy Iuso joined them for a dancey "Franklin's Tower," playing rhythm to Anders' lead. Once they'd finished, Ivan went on a strange tangent about how the song was "too midrange-y." "Midrange, don't need it," stated Neville. He continued by sharing a few funny acronyms for the airline Anders had traveled on: "Don't ever leave the airport. Don't expect luggage to arrive." Anders, however, had nothing negative to say about the company, even pulling out his cellphone to take a video of the crowd shouting, "Thank you, Laura and Patrick!" to the Delta employees who helped him arrange another flight when his was going to be delayed by six hours.

Their cover of "Ohio" was quite the powerhouse, with Osborne's vicious solo coaxing Stanton off his stool to bang out the beat standing up. The song shifted as Anders ventured across the stage to provide the noodles to Ivan's hearty sauce. Bill Withers' "Grandma's Hands," took a healthy dip into the song that so famously sampled it, "No Diggity." Ivan led the crowd on a soul clap into "Papa Was a Rollin' Stone," and utilized them again to supply the chorus. "Maggie's Farm" delved into space by way of India, and "Will It Go Round in Circles" finished out the over two-hour-long set.

A minute and a half later, Dragon Smoke emerged for the encore. "We gonna dedicate this to the memory of James Gandolfini, y'all," announced Neville. The band cued up a reggae beat, and the last thing I expected was Ivan to start crooning Fleetwood Mac's "Landslide." As I looked around the room, from the smiles onstage to women in the crowd doing their best Stevie Nicks impressions, twirling their arms around in slow-motion, it was apparent that the band had delivered on Moore's promise.

BILLY IUSO - 06.24.13 - BROOKLYN BOWL (50 minutes, 13 seconds)

SET -

Red Hot Mama / The Other One / Impatient Ain't Ya / I See You / The Spark > Love Slip Up on Ya > Trippin' Over Dragons

DRAGON SMOKE - 06.24.13 - BROOKLYN BOWL (2 hours, 10 minutes)

SET -

Darkness at the Bottom / Let a Woman Be a Woman > Woke Up This Morning / Louisiana Rain / Hercules / Franklin's Tower (feat. Billy Iuso) / Ohio / Somebody Sleepin' in My Bed / Echoes of My Sins / Grandma's Hands > No Diggity > Grandma's Hands > Papa Was a Rollin' Stone / Maggie's Farm / Will It Go Round in Circles

ENCORE -
Landslide

Brooklyn Bowl's Governors Ball Afterparty with Sister Sparrow & Hollis Brown

This weekend's Governors Ball Music Festival turned into a Beale St. situation after a rainy Friday left the ground perpetually soggy.  Despite the mud, Sunday's weather and lineup looked like the perfect combination for festivalgoers, and what better way to cap off the day than to trade in your muck boots for bowling shoes at a rockin' official Governors Ball afterparty with Sister Sparrow & the Dirty Birds and Hollis Brown at Brooklyn Bowl?

Roughly six months ago, I discovered Hollis Brown middling at Deer Tick's Brooklyn Bowl residency.  In March, I went to their record release show at Mercury Lounge.  And the dependable band from Queens just keeps getting better.  Last night's opening trifecta was one for the books, beginning with the chugging "Ride on the Train" before slowing the tempo on the beseeching "When the Weather's Warm," and culminating with the bluesy "Down on Your Luck" that featured the best "ooh" backup vox I've heard from the band.  "We're going to keep the blues going for a bit," said lead singer Mike Montali as they embarked on "Meet Me in the Morning," which was followed by fan-favorite "Gypsy Black Cat."  Don't let Montali's eyeglasses fool you; he's not some Rivers Cuomo clone churning out nerd rock for teenagers.  He's the real deal.  If you need proof, just look where he keeps his guitar, slung low almost to his knees, so he can trade Crazy Horse-style riffs with bearded lead, Jon Bonilla.  "We're gonna play a new song that we've never done live.  Thank you guys for being our test audience," Mike announced.  "You Deserve It All" is definitely a step in the right direction for Hollis Brown.  It's a bit poppier than the rest of their canon, yet it still retains that classic rock sound.  And the decision to go up an octave on the "ooh ooh ooh"s on the last go-round is a commendable one.  Good news for a band that can avoid being pegged as a revival act as long as they continue with the stylistic expansions.

In nature, the male birds are the flashy ones, brightly colored to both attract mates and settle territorial disputes between competitors. Arleigh Kincheloe, also known as Sister Sparrow, is definitely the exception to the rule. The initial shock of hearing such a powerful, smoky voice coming out of such a young, skinny woman was spoiled for me having seen them at Bowlive, but that didn't affect the experience in the least because Arleigh is such an electric performer.  Strutting around the stage, whipping around her blouse's cotton cat o' nine tails with every shake of her hips ("This shirt may be the most dangerous thing I've ever worn."), Kincheloe gave it everything she had.  When she quenched her thirst, she gulped from a pitcher of water.  She made you understand why they refer to certain entertainers as magnetic.  It was as if there were tiny magnets in everyone's eyes, and she was a flurry of opposite poles.  You couldn't help but stare at her even if one of the DBs was soloing.  It took maybe two seconds after she took the stage for the venue to erupt into a full-blown dancefloor.

I saw the Main Squeeze earlier in the week, and they classified themselves as post-funk. It was my first time hearing of such a genre, which I suppose they use to describe their incorporation of prog-rock jamming into upbeat R&B numbers. The label could be more accurately applied to Sister Sparrow. The Dirty Birds are definitely a funk band, but they are not exactly a revival group like the Dap-Kings. In the 1980s, rap music was birthed when funk records were sampled as background beats for emcees to rapidly rhyme over.  Though not explicit, the hip-hop influence can be found in the sheer speed and ferocity with which Arleigh spits her lyrics.  And when she slowed things down, like on "Another Ride," you could really hear the richness of that voice.  Listening to her sensually pleading "I want to go on another ride," I had no doubt she was referring to the Mothership of Funkadelic folklore.  Another simmering stunner was the new Joss Stone-esque number, "Mama Knows," which contained a somewhat strange spoken-word section extolling the virtues of family: "I think my mama's the only woman in the world that knows what a pineapple upside-down cake is."  Family is obviously important to the singer, who enlists her brother on harmonica and her cousin on drums. 

In the course of the set, the band performed all four tracks from their Randy Jackson-produced EP, Fight, due this fall.  The first single, "The Long Way" was a lively Ike & Tina-inspired romp that was so fun that I forgave the horn players' chanting at the end that might've been a little too reminiscent of Justin Timberlake's "Rock Your Body."  Barrelling out the gate with a trombone solo from Ryan Snow, "Crawdaddies" was a gritty gumbo of Janis Joplin fronting a NOLA brass band, and Arleigh's guttural howls in "Boogie Man" would've frightened the monster himself.  The sound mix in the room could've been improved with more from Arleigh's mic, the harmonica, and the bari sax, which was especially evident on the closer, "Road Trip," where they took a trip around the stage, each Dirty Bird soloing the distinct birdcall of his instrument.  The hand-clapping breakdown found its way nicely into the post-set encore break applause.  The band returned to the stage once more, Arleigh proclaiming, "We're gonna bring it back real old school" before turning in a soulful rendition of "Roxanne" to bring the evening to its close.  Am I upset I didn't go to Governors Ball?  Not really.  As they say, the afterparty is always better than the party.

HOLLIS BROWN - 06.09.13 - BROOKLYN BOWL (44 minutes, 23 seconds)

SET -

Ride on the Train / When the Weather's Warm / Down on Your Luck / Doghouse Blues / Meet Me in the Morning / Gypsy Black Cat / Faith & Love / Walk on Water / You Deserve It All* / Revolution Blues

SISTER SPARROW & THE DIRTY BIRDS - 06.09.13 - BROOKLYN BOWL (1 hour, 35 minutes)

SET -

Intro > Millie Mae / No Rest / Eddy / Make It Rain / Freight Train / Another Ride / Hollow Bones > Back in Black / The Long Way / Mama Knows > Lasso / Dirt / Crawdaddies / Boogie Man / Fight / Bulldozer / Too Much / Road Trip

ENCORE -

Roxanne