We’re heading into the fall and NYS Music is gearing up for our first ever season of NYS Music in Motion, hosted by rocker Frank Palangi and sponsored by Helping Friendly Salve.
The series will bring together seasoned musicians from across New York State, who hail from the Empire State or have made New York their home, and Palangi, a native of Warren County.
Palangi is a homegrown indie rock recording artist, singer, songwriter, and guitarist. Palangi fuels his positive ambition naturally by serving up a feeding frenzy of edge heavy guitars, with a side of deep, gritty vocals. With a no-quit mentality, Palangi draws on influences from 80s & 90s rock, including post-grunge and heavy metal.
His latest EP, Bring On the Fear, found him working with Lester Estelle (Kelly Clarkson), Brian Craddock and Brandon Maclin (Daughtry), which allowed Palangi to step up and think about the recording process as a whole. The results can be seen and heard in the video for “Gone Mad,” released this past summer.
Palangi opened up for major bands including: 3 Doors Down, Red Sun Rising, Buckcherry, Candlebox, Aaron Lewis (Staind), Starset, Kip Winger, Jack Russell’s Great White, Lacey Sturm (Flyleaf), FUEL / Marcy Playground, TRAPT with Smile Empty Soul / Candlelight Red / Veer Union, and Powerman 5000 with HEDPE, to name just a few.
Tune in starting on Friday, October 2 and every other Friday for each installment of Music in Motion on the NYS Music YouTube, IGTV and Facebook page.
Palangi will have a sit down conversation with each artist, with a first season lineup that includes the following musicians from across New York.
Frank has interviewed a great deal of musicians on his IGTV, including American Idol alumni Charles Grigsby, Jess Meuse, Riley Bria, Vanessa Olivarez and Madison VanDenburg, plus The Voice’s Moriah Formica, Daughtry guitarist Brian Craddock, Hole/Candlebox drummer Robin Diaz, Jack Russell from Great White and guitarist Robby Lochner.
The ‘Harry Chapin: When In Doubt, Do Something’ documentary following the life of the legendary songwriter Harry Chapin has been announced for October 16, 2020. The film will premiere in theaters across the United States as well as on a virtual cinema platform.
The documentary is a Greenwich Entertainment film and is being directed by Rick Korn. The film was produced by Korn, S.A. Baron, and Chapin’s son, Jason Chapin. It follows the GRAMMY-nominated folk singer starting in his childhood which he spent under the shadow of his father Jim Chapin who was known for his jazz drumming and as an author of books about jazz drumming. It then moves on through his unfortunately short life and highlights all the ups and downs he experienced throughout his life.
Harry Chapin tragically died on July 16, 1981 in a car crash on interstate 495 in New York. Some of his most well known work includes “The Cat’s in the Cradle”, “Taxi,” and “A Better Place to Be.” The film focuses on his humanitarian efforts as well which is why the film is being released on World Food Day which fits perfectly as Jim Chapin was the co-founded of the influential hunger non-profit WhyHunger. A portion of the proceeds from the film will go to both WhyHunger and The Harry Chapin Foundation.
The documentary uses archival footage and new interviews to give the viewer a glimpse into Harry Chapin’s life. It focuses on how the singer-songwriter used his fame as a launching point to help others and influence politics. It features testimonials from Chapin’s family (including Tom Chapin and Steve Chapin), as well as peers including Billy Joel, Bruce Springsteen, Pete Seeger, Kenny Rogers, Robert Lamm (Chicago), Darryl “DMC” McDaniels, Pat Benatar, Bob Geldof, Ken Kragen, longtime bassist John Wallace, and WhyHunger co-founder Bill Ayres.
Harry Chapin sold over 16 million records during his short but unforgettable life. He also had 14 hit singles and two GRAMMY nominations. In 1977 he was a key participant in the creation of the Presidential Commission on World Hunger. In 1986, he was posthumously awarded the GRAMMY President’s Merit Award. He was inducted into the GRAMMY Hall of Fame in 2011.
For more information on the documentary read the full press release here.
Jimmy Carter Rock & Roll President documentary hit theaters across the United States and the virtual cinema stage on September 9, 2020. The documentary covers how Jimmy Carter relied on musicians’ support during the Democratic primaries to build up his name recognition and support from the general public.
The documentary focuses on how youth culture and politics join forces in Jimmy Carter being elected as the 39th President of the United States. Jimmy Carter’s love of music was crucial to who he was and he made that known throughout his presidency and his campaign. His love of music affected who he was as a father, a citizen, a man of the South, and as a leader and he made that known to everyone and anyone he could.
The documentary includes interviews with big names like Bob Dylan, Bono, Willie Nelson, Paul Simon, Gregg Allman, Garth Brooks, and many others. There will also be interviews included with former President and Nobel Peace Prize winner Jimmy Carter.
The film is directed by Mary Wharton and written by Bill Flanagan. It is produced by Chris Farrell and Dave Kirkpatrick. The executive producers include Dan Braun, Mary Wharton, Peter David Conlon, David Crawford. Peter Afterman and Tracy Falco are the consulting producers on the film. The film is edited by Mari Keiko Gonzalez and has Tom Beard, Jim Free, Frank Moore as consultants on it. The production coordinator is Linzy Hayes. The drone photography is done by Brad McColl and James Fideler worked as the director of photography on the documentary. All the original music is composed by Bradley Cole Smith and Bill Wharton (The Sauce Boss).
People interested in seeing the film have two options for viewing it. They can see it in select theaters across the United States or on the virtual cinema stage. All the theatrical listings and locations can be found on here. The virtual cinema tickets can be bought here for $9.99 and will be available for 14 days once the viewer unlocks the film. Once the viewer begins the film, they will have 72 hours to finish watching it.
For more information on Jimmy Carter Rock & Roll President documentary visit the films’ website.
Today, we celebrate the anniversary of a Grateful Dead show at the most iconic of all New York music venues: Madison Square Garden. The Dead were certainly no strangers to this room by 1991. They had been playing the Midtown Mecca since 1979 and loved taking extended stays there. Fittingly, this show would be number five of a nine-show run at The Garden.
1991 was still very much a transitional time in the band’s history. Vince Welnick had only joined the band a year earlier and Bruce Hornsby was still making regular appearances. This show would be no different. And while this one may not be designated with a “legendary” status in the record books, there are certainly moments that shine.
To put it nicely, whether its the recording or the performance itself, the “Touch of Grey” opener is fairly mangled. Guitarist Jerry Garcia doesn’t seem to realize his part until a full verse passes first and the rest goes downhill from there. Fellow guitarist Bob Weir then takes over and directs “Wang Dang Doodle” afterwards that has a couple of inspired Garcia licks towards the end that seem to wake him up a little. With the band seemingly picking up on this, it carries right through the ensuing “Peggy-O” where Garcia continues to shine and brushes off some of the earlier mishaps.
The first set doesn’t seem to really take off until “Althea” which features more delicate guitar licks from Garcia that’s finally accompanied by a vocal performance to match. “When I Paint My Masterpiece” follows nicely with the always lovely accordion fills supplied by Hornsby. The first set closes with a triumphant “Bird Song” that soars for more than 14 minutes with both Welnick and Hornsby, along with the rest of the band, on top of their respective game.
After a rather nondescript Weir-led “Victim Or The Crime” to open the second set, things escalate quickly with a rousing “Scarlet Begonias” where the intensity of an MSG show is very much audible. The seamless segue into its traditional pairing with “Fire On The Mountain’ is vintage Dead and one of the definitive bright spots of this show.
Another valid complaint for this show may be the extended “Drums” > “Space” sequence that follows. While it does feature a few moments of fun, psychedelic mayhem, it also drifts off completely at parts and takes up almost 28 minutes of the second set.
Grateful Dead 9/13/91 Madison Square Garden
Garcia brings a little of the “Space” along with him in the beginning sections of “The Other One” that follow before falling into its signature pattern. This brings about another inspired jam with all seven legs of the band acting as one cohesive unit while Weir belts out the lyrics he penned for this song years ago.
The second set ends with a joyous “Throwing Stones” that features both Weir and Garcia with some passionate singing. A somewhat abrupt cut to “Not Fade Away” follows that gives the band one last chance to stretch out and jam.
Grateful Dead 9/13/91 Madison Square Garden – New York, NY
Set 1: Touch of Grey, Wang Dang Doodle, Peggy-O, Big River > Cumberland Blues, Althea, When I Paint My Masterpiece, Bird Song
Set 2: Victim Or The Crime, Scarlet Begonias > Fire On The Mountain > Drums > Space > The Other One > Stella Blue > Throwing Stones > Not Fade Away
Americana/bluegrass artist Molly Tuttle has released the music video for her cover of FKA twigs’ “Mirrored Heart.” The video coincides with Tuttle’s quarantine cover album, …but I’d rather be with you, comprising 10 covers, both classic and contemporary. Released through Compass Records, the album was co-produced by Tony Berg, a frequent collaborator of Phoebe Bridgers.
The original version of “Mirrored Heart” came out last November, as part of FKA twigs’ second studio album, Magdalene. Whereas FKA twigs’ version is electronic and avant-garde, Tuttle puts an acoustic, familiar twist on it while retaining its sense of melancholy. Her stab at “Mirrored Heart” informs the rest of …but I’d rather be with you, where she makes songs as old as the 1960s into her own.
“I absolutely love the whole album, Magdalene. But this song stood out to me specifically. It totally brings me back to my first heartbreak. FKA twigs really nails the feeling of not being seen and accepted by the one you love. For this album, I turned the lights out in my room and recorded all the vocal, guitar, and harmony vocals myself. We decided not to add anything or anyone else to it, which felt fitting since the song is so intimate. I read a quote of her saying she can’t get through it without crying, and even though I didn’t write it I found myself tearing up while singing it as well — music is wild like that!”
Molly Tuttle
On …but I’d rather be with you, the Nashville singer-songwriter leaps from the Rolling Stones to Harry Styles with ease. The perpetually-sunny “She’s A Rainbow” is an early high point, and its momentum continues into covers of Arthur Russell’s “A Little Lost” and Karen Dalton’s “Something On Your Mind.” Even on the album’s most depressing songs, Tuttle’s voice is warm and inviting. There are no true skips, as every cover showcases another mood for her to breathe to life. The closing track, a cover of Cat Stevens’ “How Can I Tell You,” immediately incites a thirst for the next album.
In addition to “Mirrored Heart,” Molly Tuttle has released videos for her covers of “She’s a Rainbow,” The National’s “Fake Empire,” Rancid’s “Olympia, WA,” and the Grateful Dead’s “Standing On The Moon.” The “She’s a Rainbow” video is a feminist statement with messages from friends, fans, and famous artists. Linda Perry, Tom Morello, Chris Shiflett, Buffy Sainte-Marie, and more all appear holding signs to promote the cause.
For more information, visit Molly Tuttle’s website. Stream …but i’d rather be with you below:
NYC singer-songwriter, Melanie Penn, has released an inspiring New-York centric pop anthem paired with a stunning music video for her new single, “Avenue of The Americas”.
As a native of the big city, Melanie celebrates her ties to New York in the cinematically beautiful “Avenue of The Americas” music video. Melanie’s love for the city becomes more apparent with each elapsing second of the video.
The song itself outlines Melanie’s climb to success, with lines referencing dreams of one day finding the spotlight in the Big Apple. Crescendoing synths pulsate in the background as “Avenue of The Americas” gives us an intimate understanding of Melanie’s hopes and aspirations.
Melanie believes now is the perfect time to debut a song that honors both beautiful and humble New York City. At a time where the country is under massive racial and political tension, the uplifting video released along with the single inspires hope and reminds us of our commonalities as New Yorkers.
The music video and single are a part of a promotional roll out in preparation for Melanie Penn’s upcoming, More Alive Vol. 1, full-length album which is set to release September 25. The album is centered around faith, modern upheaval and, overcoming common struggles. The album, which features 10 songs, has been described by Melanie as a tracklist full of “hopeful pop anthems” that will hopefully inspire a sense of community amongst listeners.
To stay up to date with future news regarding Melanie Penn and her music, visit her website.
Labor Day weekend is a weekend to enjoy the last remnants of summer, catch up with friends and family. For most Labor Day weekends since 2000, moe. fans found themselves heading to Turin (or Mohawk), NY for the end of summer festival, moe.down.
We’re taking a look back at moe.down this weekend and reminiscing on the lineups, the incredible bands that were discovered, and of course, moe. But one aspect of moe.down that was always unpredictable were the special guest sit-ins, if not the weather. Explore these 10 choice sit-ins, presented in random order, for this weeks installment of moe.mondays.
We’ll start with something for the children, literally. moe.down 8 started out with an afternoon set that featured the Kids Tent joining the band on stage. That year’s theme for the kids was ‘Year of the Pig’ so naturally, “Buster” was the perfect song to invite the kids up to sing. With parents close by, 20+ kids took the stage and sang “Pig can fly!” alongside moe., for a spectacular start to the day’s music.
moe.down 8 indeed had more than its fair share of guests, and as the Saturday afternoon set came to a close, Meat Puppets Curt Kirkwood joined moe. for a shredding ~19 minute version of “Mexico.”
Curt Kirkwood sitting in with moe.
Jumping back to moe.down 4, and moe. took a unique spin on their improv-friendly “Rebubula” by playing it for an entire set – nearly an hour in length. Listen below or check out an AUD on the Internet Archive.
For two years (2010-2011), moe.down relocated to Mohawk, NY and performed on the Gelston Castle Estate, and brought out some heavy hitting names in the process. Bob Weir was a special guest with Levon Helm’s band, and Weir joined moe. for “The Other One” > “Smokestack Lightning” > “The Other One,” Dylan’s “Stuck Inside of Mobile With the Memphis Blues Again” and a set closing “Feel Like a Stranger.”
Of course, Weir has performed earlier in the day with Levon Helm’s band, and sang (among many others) one of the Dylan songs that The Band and Grateful Dead had in common, “When I Paint My Masterpiece.”
moe.down 6 was held over Labor Day weekend 2005, as the remnants of Hurricane Katrina soaked the crowd throughout the weekend. Keller Williams joined moe. for “Stairway to Watchtower” through the pouring rain.
Umphrey’s McGee, who first caught the attention of moe. when Brendan Bayliss sent Al Schnier a demo of their cover of “Rebubula,” have appeared at multiple moe.downs, not to mention 20 Summer Camp Music Festivals together. Watch Umphrey’s join moe. for Pink Floyd’s “Time” from moe.down 13.
https://www.youtube.com/watch?v=N0nAjm8d3XQ
Earlier that day, Umphrey’s McGee welcomed Stanley Jordan for part of their set, including a “40’s Theme” -> “Hajimemashite” > “40’s Theme,” allowing Jordan’s guitar skills to shine.
More recently, moe.down 17, held over July 4th weekend 2019, featured Blackberry Smoke, Fishbone, Railroad Earth, Ryan Montbleau, Twiddle, and Mike Dillon Band, who welcomed moe. percussionist Jim Loughlin for their set. moe. would return the favor by bringing up Otto Schrang from Mike Dillon Band for “McBain,” adding a second percussionist on Coughlin’s vibraphone.
Rounding our our list, let’s go back to moe.down 8, which had a deep lineup as many moe.downs have. When Ryan Adams had to back out at the last minute, the festival was blessed with the founder of Lollapalooza himself, Perry Farrell and his Satellite Party. Few complained about this lineup swap, and after Farrell and his party worked through all the hits, moe. welcomed Farrell to the stage for the only hit not played yet – “Ocean Size.” After some banter behind the Mayor of moe.ville competition, the band broke into the Jane’s Addiction arena rocker.
One of the true gems of southwestern New York on Chautauqua Lake is the Chautauqua Institution. There you can find a blend of arts programming, educational and religious opportunities and recreational activities are available to those who visit the grounds during the year. And every few years, the music event Jazz at Chautauqua is part of the annual programming.
The Institution, originally the Chautauqua Lake Sunday School Assembly, was founded in 1874 as an educational experiment in out-of-school, vacation learning. It was successful and broadened almost immediately beyond courses for Sunday school teachers to include academic subjects, music, art and physical education.
Thanks to Jazz Lives, who consider Jazz at Chautauqua 2013 “another unforgettable interlude of music and friendship,” we bring you a selection of ballads from the September 22, 2013 Jazz at Chautauqua performances. A medley of ballads began and ended the music-filled weekend, including “Easy Living,” “Daydream,” “Can’t Help Lovin’ That Man” and “I Know Why (And So Do You).” Featured players include Marty Grosz (guitar), Harry Allen (tenor sax), Dan Block (clarinet), Bob Havens (trombone) and Duke Heitger (trumpet).
Later, ballads including “My Funny Valentine,” “Please,” “Laura,” “If We Ever Meet Again” (Horace Gerlach) and “Sophisticated Lady” seem to tell the full range of relationship through their titles. Selections are peformed by Randy Reiinhart (cornet/trumpet), Andy Schumm (cornet/trumpet), Andy Stein (saxophone), Marty Grosz (guitar), and Rossano Sportiello (piano).
From 2009, enjoy “Chinatown,” performed by Pete Siers (drums), Frank Tate (string bass), Ehud Asherie (piano), Bob Havens (trombone), Dan Block (clarinet), and Duke Heitger (trumpet).
Located in Manhattan’s West Village on Barrow Street, Cafe Bohemia originally opened in 1955 and is an historic landmark and jazz club. Frequented by music legends the likes of Miles Davis, Charles Mingus, Canonball Adderley and many others, the venue closed in 1960, and was revived at its original location in October 2019.
One notable story about Cafe Bohemia comes from June 19, 1955, when Julian and Nat Adderley arrived in New York on a trip as Julian was to work on his Master’s Degree at New York University. That first night in the city the brothers went to the Café Bohemia to hear the Oscar Pettiford band, the house band at the time. The night would prove to be a turning point in Nat’s career.
Jerome Richardson, the group’s regular saxophonist was unavailable that evening due to a recording session. Pettiford asked Charlie Rouse – who was in the audience – if he would sit in, but Rouse did not have his saxophone with him. Pettiford then noticed another audience member, Adderley, who had a saxophone case with him and told Rouse to ask this unknown man if he could borrow his horn.
Instead, Rouse asked “Cannonball” Adderley if he would like to sit in with the group. Reluctantly, the leader complied and allowed Adderley to play. Overnight Adderley rose to prominence on the New York jazz scene, and on June 21 he played his first official show at Cafe Bohemia. By October 1957, he was a member of the Miles Davis Sextet.
More recently, the late Eddy Davis (banjo), Conal Fowkes (bass, vocals), Jon-Erik Kellso (trumpet) and Evan Arntzen (tenor saxophone) performed “My Monday Date?,” by Earl Hines, on December 26, 2019. Video performances below are available thanks to Michael Steinman for his blog JAZZ LIVES.
Watch Eddy Davis and friends – Jon-Erik Kellso (trumpet), Evan Arntzen (clarinet) and Conal Fowkes (string bass) – pay tribute to the great Jelly Roll Morton with “Good Old New York.”
“The Intimacy of the Blues,” is a haunting piece composed by Billy Strayhorn and an album of the same name for Duke Ellington. Performing at Cafe Bohemia on November 14, 2019, JAZZ LIVES shares video of this pre-Thanksgiving performance in Greenwich Village by Jon-Erik Kellso (trumpet), Evan Arntzen (clarinet), Neal Miner (string bass,) and Chris Flory (guitar).
On February 6, 2020, Mara Kaye was joined by friends and musical family Tim McNalley (guitar), Jon-Erik Kellso (trumpet) and Brian Nalepka (string bass).
Mara Kaye is joined this time for “Me and MY Chauffeur” by Tim McNalley, (guitar), Albanie Falletta (resonator guitar), Jon-Erik Kellso (trumpet) and Brian Nalepka (string bass).
From January 16, 2020, “A Shanty in Old Shanty Town” features Tal Ronen (string bass), Matt Munisteri (guitar), John Allred (trombone), and Jon-Erik Kellso (trumpet). “In a Shanty in Old Shanty Town,” written by Ira Schuster and Jack Little with lyrics by Joe Young, was published in 1932. Ted Lewis and His Band performed it in the film The Crooner in 1932. His version was later released as a single and it went to #1, where it remained for 10 weeks.
Although the Grateful Dead‘s track record with New York State is vast and varied, there’s one borough in particular that doesn’t get much love. And that’s The Bronx. Mainly because there’s only one show that was truly ever played there – Gaelic Park on August, 26 1971.
stub courtesy of Wayne Eichen
The performance is billed as a two-set show that really plays as three. A noticeably extended first set showcases some of the band’s newer original songs at time blended with a flurry of classic cover selections. Included in all this is a song the Dead would only play twice ever. And as for historical significance, this would be the last show featuring only the five founding members of the band. Seemingly aware of this, they collectively deliver a show for the ages that more than aptly serves as a figurative “passing of the torch” from one era to another.
This show opens with a crisp yet standard version of “Bertha,” a Dead original still in its nascent stages at the time. The early wave of originals would continue with a “Playin’ In The Band” that had just made its debut earlier this year at The Captiol Theatre in nearby Port Chester. Even though this would be a regular selection at Grateful Dead shows for years to come, seeing it so early in the first set like this is a verifiable treat.
Pigpen gets his first chance to shine on vocals with a first set “Mr. Charlie,” another new song that debuted just last month. Even though he was beginning to take on a lesser role in the band by this point in time, Pig’s vocals are effusive and strong throughout this recording. This would be the last show before Keith Godchaux joined the band and assumed keyboard duties. So, fittingly, they give Pigpen plenty of the spotlight at this show and he takes it and runs with it.
The run on cover songs then begins with “El Paso,” a country-western ballad by Marty Robbins, sung smoothly by rhythm guitarist Bob Weir. “Big Boss Man” follows, a longtime Dead cover that was originally recorded by Jimmy Reed in 1960 and later popularized by Elvis in 1967. This gives Pigpen the chance to lead again and his blues-infused vocals ring loud and true throughout this one.
This first set also features a typically stirring “Hard to Handle,” the Otis Redding tune that was one of staples of the Pigpen songbook and, perhaps, his signature song. Aside from a mild snafu with the recording, this version is terrific and sees the band fully locked in during an escalating funk-like jam before Pigpen’s wailing vocals reenter. Sung with all of the soul and swagger he would always bring to this song, sadly, this would be the last one ever played with him on stage.
The set could have ended right there and few would take issue, but instead the band continues to motor on with “Beat It On Down The Line,” yet another cover. Jerry Garcia then takes the reigns courtesy of “Loser” and his customary hauntingly beautiful guitar solo that goes with it.
Courtesy of Bronx Music Heritage Center
Soon after is one of the true gems of this show – the second and final performance ever of “Empty Pages,” a song written and sang by Ronald “Pigpen” McKernan himself. It pairs his traditional crooning style with a slow blues jam that’s nicely peppered with fiery guitar licks from Garcia. It’s a true rarity and a shame that the band wouldn’t be able to further develop this one.
The other first set highlight immediately follows with a smoking cover of The Rascals’ “Good Lovin’.” Pigpen remains strong on lead vocals as both he and the band get into some heavy improvisation on this one. Only the Dead can take a three-minute pop song like this and stretch it out to an almost ten-minute psychedelic journey.
They had such a fun time playing the first set that the second one begins with a rare “Me and My Uncle” placement, as if to keep the opening vibes going strong. Immediately afterwards, reality sets in with a joyous “China Cat Sunflower” that soon effortlessly blends into to its traditional running partner, “I Know You Rider.” Bassist Phil Lesh, turned up particularly high in this mix, gets his turn to show off as he steers the band through the seamless transition.
There would be no extended “Drums” section this evening. Instead, the band collectively rips into the opening of “The Other One,” fueled predominately by drummer Bill Kreutzmann. After a rip-roaring opening sequence, the jam composition quickly devolves into a meeting of the minds between Garcia and the rhythm section. Seemingly out of the blue, Weir interjects with his vocals right on point and the song is off and running.
For a quality listen to the transition into the opening of “The Other One,” alongside some backstage photos, check out this great video courtesy of Sam Cutler, one of the band’s early tour managers:
The powerhouse second set continues with a tidy version of “Uncle John’s Band” and one of the last performances of “Saint Stephen” before it would be shelved for nearly five years and rearranged. The jam progresses into something that almost resembles “The Eleven” before immediately settling back down into the ending of “Saint Stephen.”
And then, right on cue, the rhythm section is back in action with the opening drumbeat of “Not Fade Away,” a Buddy Holly cover that the band had completely appropriated at this point in time. The Dead take one last swing and develop a passionate collective effort that once again flows right into “Goin’ Down The Road Feeling’ Bad” without batting an eye.
This closing sequence serves as the cap to a phenomenal show that’s rich in both quality and legacy significance. It can be argued that the end of the Pigpen Era happened here. Amazingly, the only time the Grateful Dead would ever grace the “Boogie Down” Bronx. But talk about making the most of a single opportunity.
Set 1: Bertha, Playing In The Band, Mr. Charlie, Sugaree, El Paso, Big Boss Man, Big Railroad Blues, Hard To Handle, Beat It On Down The Line, Loser, Sugar Magnolia, Empty Pages, Good Lovin’, Casey Jones
Set 2: Me And My Uncle, China Cat Sunflower -> I Know You Rider, Deal, Cumberland Blues, Truckin’ -> Drums -> The Other One, Next Time You See Me, Me And Bobby McGee, Uncle John’s Band, Saint Stephen -> Not Fade Away -> Goin’ Down The Road Feeling Bad -> Not Fade Away
