Category: Syracuse

  • Live at the Drive In to Host Dirty Heads, Almost Queen, and Disco Biscuits

    Live at the Drive-In announced performances by Dirty Heads, Almost Queen, and the Disco Biscuits at the Lafayette Apple Festival Grounds. The shows will take place throughout October with Dirty Heads on the 24 and Disco Biscuits on the 29, 30, and 31. The shows will follow social distancing guidelines made by the State of NY while providing some much needed live music. 

    The Lafayette Apple Festival Grounds usually hosts the LaFayette Apple Festival but due to COVID-19 the festival unforchinitly had to be cancelled this year. They are making room for five nights of musical fun. Doors open at 5PM for all the shows and they actually start at 7PM. Tickets are on sale already for the Dirty heads and Disco Biscuit shows and can be purchased here.  

    Live at the Drive-In

    The Dirty Heads are a mix of hip-hop, reggae, and rock. They are a California bred and raised group with a similar sound to Sublime. They formed back in 2003 and their members throughout the years include Jared Watson, Dustin Bushnell, Matt Ochoa, David Foral, Jon Olazabal, Shawn Hagood, and Josh Freese. They have seven studio albums and have hit the Billboard Top 200 multiple times. 

    Live at the Drive-In

    The Disco Biscuits are a well known and loved jam band from Philadelphia, Pennsylvania. It is made up of band members Allen Aucoin, Marc “Brownie” Brownstein, Jon “The Barber” Gutwillig, and Aron Magner and formed in 1995. The band is known for incorporating elements from a bunch of different musical genres. Their sound has a base of electronic and rock and has been described as trance fusion in the past. 

    For more information of the Live at the Drive-In performances visit Lafayette Apple Festival Grounds website and Creative Concerts.

  • Disco Biscuits announce 3-night Halloween Drive-In Run in Syracuse

    Apple butter toast is nice, but how about apples and Biscuits this Halloween? Lafayette Apple Festival Grounds, in conjunction with Creative Concerts, are bringing the Disco Biscuits to Syracuse for a 3-night Drive-In run over Halloween weekend, October 29-31.

    The Disco Biscuits 3-Night Halloween run will offer fans the opportunity to safely enjoy live music while following social distancing guidelines. A car pass provides a designated space for a standard passenger vehicle and entry for a maximum of four  people per vehicle.

    disco biscuits Halloween

    Concertgoers will be able to enjoy the full Disco Biscuits concert production within their designated space for the duration of the event. Fans may bring their own prepared food and beverages to enjoy during the show.

    Tickets go on sale to the general public on Friday, September 25 at 10AM ET. For more information visit CCTix.com

    The LaFayette area of New York produces a great deal of apples amid a rural atmosphere, rolling hills, and beautiful fall foliage. Lafayette Apple Festival is one of the Northeast’s premier arts and crafts shows, and is within walking distance of the site where the Cardiff Giant was discovered in 1869.

    The Disco Biscuits played a very memorable Halloween in Syracuse in 2015 at Crouse-Hinds Theatre when they put the disco in Disco Biscuits. The show featured the Philly Stray Horns in the second set, along with vocalist Alita Moses who sang on covers of “Get Down On It,” “Funky Town,” “You Should be Dancing,” “Born to be Alive” and “Give it to me Baby.” Listen to the full show here and watch the first set below.

    Last November, the Disco Biscuits played SI Hall at the New York State Fairgrounds in Syracuse, and a month later closed down Playstation Theater in Times Square. Watch the 45-minute “Spacebirdmatingcall” from SI Hall below, including a Tractorbeam jam on Crackazat’s “Fly Away.”

  • Martin Sexton Performs at Fingerlakes Drive-In

    Martin Sexton brought his “Outdoor Shows” Tour to the Fingerlakes Drive-In movie theater in Auburn, NY Saturday evening. With all the restrictions in place due to COVID-19, concert goers were limited to their vehicles and were required to practice social distancing.

    Martin Sexton

    It was a brisk night for a concert with temperatures around 40 degrees F. Martin Sexton takes the miniature stage that was set up and greets the crowd telling them “This is the first time I’ve had to wear a jacket while performing.”

    The moment he began playing the notes on his guitar brought an overwhelming since of joy as this was the first time most, if not all of the people in attendance have heard live music in at least 6 months. The crowd was cheering him on from their vehicles, shouting “I love you Marty!” and many other words of encouragement. Sexton continued “I was wondering if I was going to still be able to perform these shows because it has been so long, but turns out it’s just like riding a bike.”

    Video from Sexton’s performance at Ridgefield Playhouse, Ridgefield, CT

    Sexton standing on the stage by himself with no crowd directly around him and a large projection of him performing on the movie screen brought a bittersweet feeling – concerts have changed so much from what we remember them being, but at least they are starting to slowly happen.

    Overall the safety precautions were followed very well, the staff all did a great job keeping everyone informed of the regulations in place, and every single person there was following them. This is a great sign, and hopefully one that can continue to allow more concerts to be happening in innovative ways.

  • Syracuse’s 443 Social Club writes an Open Letter to Governor Cuomo

    The COVID-19 pandemic has impacted the whole world, either directly, or indirectly. As a response to the pandemic, Governor Andrew Cuomo, has passed legislation that the states hope will help regulate COVID-19’s impact on the state. While guidelines for life during a pandemic are important, the broadness of certain rules has put many small businesses at risk of extinction. 443 social club

    443 Social Club

    One of those venues, The 443 Social Club & Lounge in Syracuse is a place where those fond of live music can appreciate the ambience of a nice night out. A hub of live entertainment in their town, this restaurant seats 88 people but, as a result of the pandemic, it has operated with only 36-person capacity to meet state guidelines.

    While the reduced customer base hurt business, it had allowed a mom-and-pop style business to stay afloat. That is until, a new wrinkle in New York state’s coronavirus guidelines for bars, restaurants and similar venues in New York state prohibits them from offering live music that customers pay for separately. The rule forced an immediate halt to The 443’s business. While they offer eatery, their main form of attraction is their live music. 

    Although we have all had to deal with the effects from COVID-19, actions like this towards small businesses still tug at the heart, knowing that hardworking individuals are in danger of losing their businesses, through no fault of their own. 

    The 443 Social Club & Lounge has chosen to take action, posting a letter to Governor Cuomo on their website that details, among other things, their compliance to COVID-19 rules, their determined attempts at keeping their business afloat, as well as the city’s mishandling of its small businesses. The letter is heartwarming and brings up questions, including ‘What was Governor Cuomo thinking with this new rule?’, and ‘How could they not have implemented any verbiage for small-capacity lounges?’ Let’s hope The 443 and other small businesses get an opportunity to get back on their feet, sooner rather than later.

    Read below for The 443 Social Club & Lounge letter to Governor Cuomo, as originally posted on their website and socials. 

    Dear Mr. Cuomo –

    I am a small business owner in Central New York. My husband and I operate an 88 seat cafe/bar that features listening room style acoustic performances. We had just celebrated our one year anniversary when COVID-19 hit.

    When we closed our doors on March 15, I understood we would likely be shuttered for at least a few months. I understood we would be among the very last businesses allowed to reopen. There was a certain relief in letting go and accepting it, in understanding it was completely beyond my control. I had faith we would receive some kind of aid to help get us through, and for while we did.

    I watched your daily press conferences religiously. With the vacuum in national leadership, I was grateful to be living in NY, grateful we had someone taking charge of the situation. Your no-nonsense, fact-based daily briefings were oddly comforting, even when NY’s numbers were high and the news you were sharing certainly wasn’t good.

    Spring turned into summer and New York began it’s cautious, phased reopen.

    We were busy reimagining our business so we’d be ready to go once CNY made it through the first few phases. We knew we would be facing an entirely new reality and there wasn’t a single aspect of our business that didn’t get retooled.

    You can find the complete outline of what we did HERE

    We are classified as a restaurant, so we planned to reopen when indoor dining resumed in Phase 4. I checked with Empire State Development at the end of June to clarify the rules on live music. While we are classified as a restaurant, music is definitely our main focus. I was told it was allowed as “small scale entertainment”.

    Well, it doesn’t get much smaller scale than our place, especially since we were going to be operating at about 40% capacity – just 36 people. We waited another month just to be sure numbers didn’t spike with everyone moving around again before we started planning a very limited schedule.

    And then things got weird.

    You declared food must be ordered by anyone who wanted an alcoholic beverage. The intention was to keep people seated, I get that, but keeping people seated was not an issue at our place to begin with. Our guests were anxious to comply with the rules, but not always hungry when they arrived. So, sometimes they placed to-go orders to eat later, which didn’t really accomplish anything. It disrupted the natural rhythm of service, where guests used to relax and enjoy their first drink before ordering, and worst of all, it meant the entire room ordered their food at exactly the same time. It was a logistical nightmare for our tiny food prep area and I had to schedule another person to help at a time when we could least afford it.

    But, we were settling into a groove and figuring it all out. We planned to take advantage of the last 6 weeks of good weather and outdoor shows when you dropped the hammer.

    On August 18 I learned about the new SLA rules prohibiting us from advertising or charging a fee for live music. I read it, then reread it, incredulous.

    Prior to COVID, almost all our shows had a fee associated with them. It’s the only way the business model works financially in a small room and it’s important to us that everyone is paid fairly. With drastically reduced capacity, cover charges and tickets are more important than ever. We thought more venues charging for live music was one of the few bright spots in this whole mess…it’s healthy for our music scene to put a financial value back into the experience. And obviously, tickets are the best way to control a crowd.

    The ban on advertising music is astonishingly cruel. We are all doing our level best to make our limited capacity work and now you’re telling us we cannot advertise to fill the few seats we do have? Are we are supposed to just open our doors and hope for the best?

    We closed our doors again, wasting thousands of dollars we spent to reopen.

    Governor Cuomo, we are DROWNING.

    We are frantically treading water to keep our noses above the surface until (hopefully) some federal aid comes through. You looked at us, and instead of throwing us a life preserver you handed us a cinder block and told us to keep treading water.

    The last 6 weeks of warm weather might have sustained our businesses for a bit longer, but the new guidelines have taken away even that flimsy lifeline.

    In your August 9 press conference, the very last question was about bringing back live entertainment and Broadway. You said there were no plans to reopen “Broadway and other indoor, high-density arenas”.

    And this is the main point of my letter.

    “Live Entertainment” is far more than Broadway and far more than “high-density arenas”…and literally nobody is suggesting we open those things right now.

    It is small rooms like mine that don’t even come near the 50 person gathering limit.

    It is wineries and breweries who have acres of wide-open space to spread out their guests.

    It is the venues who cut their capacity down to almost nothing and are doing a hybrid of a small live performance + paid live stream.

    It is the rooms that moved all their events to their parking lot or back yard.

    It’s different for everyone, but tickets and advertising are fundamentally necessary whether we are trying to fill 20 seats, 200 seats, or 2000.

    And yes, live entertainment is also crowded rooms and mosh pits and huge amphitheaters packed full of people. We aren’t asking for that. Nobody is asking for that. We are asking you to allow hundreds of small businesses across New York State to be allowed to reopen and run their venues with all reasonable precautions in place. We have spent thousands of dollars to adapt to do it as safely as possible because we understand and respect how serious COVID-19 is.

    But you know what else is serious?

    Losing a business we’ve invested our life savings into. Putting our staff out of work. Our city losing one of its few dedicated music venues. Musicians losing a place to ply their craft. Our community of music lovers losing their gathering place.

    You have told us we have 99.2% compliance with bars and restaurants right now. Why are the 99.2% paying such a steep price for the non-compliant .8%?

    We have waited patiently throughout this whole saga and watched every other industry open up without any corresponding spikes in cases. For the most part, we haven’t even been part of the conversation. But time is running out. Many of us will be closing our doors for good in the next few weeks.

    We are about to become collateral damage in the war on COVID-19, and Governor Cuomo – I know this is not your intention.

    I know you have a lot going on and “live music” probably sounds like a hobby people are supposed to give up once they get out of college. WE ARE MORE THAN THAT. We are musicians, venue owners, sound and light techs, production, security, hospitality. We are savvy, smart, creative, and ridiculously hardworking. We feed other businesses like hotels, restaurants, and shops, plus our everyday vendors – trash, payroll, insurance, linen service, food, and liquor. We are the first ones to donate and support fundraisers for our neighbors in need. We are a port in the storm where you can forget about all that’s wrong in the world, if only for a few hours.

    We are respectfully asking for the chance to try and salvage our businesses before it’s too late.

    Sincerely,

  • Charley Orlando shares video versions of songs from upcoming album “Note to Self”

    Syracuse‘s Charley Orlando will release his newest album, Note to Self on October 30. The songs on the album reflect the last eight years of Orlando’s life through music.

    The origins of Note To Self are found in 2013, when Orlando stopped touring as a musician and became a talent buyer in Syracuse. Without touring to back up releases, he was dropped from his record label and stopping playing and writing music for a bit.

    charley orlando

    Orlando recorded the audio for Note To Self in 2019, then in April and May of 2020 he recorded new versions of each song live on video, with a 2020 mind set. The result: a video album and audio album that have different takes on the same songs. Videos are released weekly, one song at a time, with the full album available on October 30.

    “Ascent” started its life under a different name. I was asked to write by my buddy Big Daddy who was deep into the 99% movement, one that I believe in. So I wrote the tune for that situation but while I was on tour.

    I pulled off the side of the road in NoCal in the redwoods and wrote the tune and did a little video on my phone and sent it off to him. I hadn’t played the song since it was written and I came across it one day and thought “this one fits today with a little work.” So I rewrote some lyrics and it became “Ascent.”

    Charley Orlando

    “River Rollin’” is a brand new song. I needed a happy tune at the time and that is what popped out. It’s an everyday life song to make me smile

    Charley Orlando

    “Take Cover” was written right after POTUS was elected in 2016 but it wasn’t a finished product until the album really. Basically it’s a plea for all of us to stop beating up on each other so hard.

    Charley Orlando

    Orlando’s latest videos, “All it Can Be,” “Torch” and “Surreal” have just been released.

    “All it Can Be” is a mellow tune that deals with the grey areas that use to exist being more black and white than ever.

    Charley Orlando

    On “Torch,” I wanted a kicking bluegrassy tune in there so I whipped up this tune. It’s folk by nature but designed to be up and fun.

    Charley Orlando

    This tune just materialized out of the air and I grabbed it and gave it some form. It was a surreal moment while writing this song so I gave it that name. Sometimes things are that simple. Enjoy!

    Premiering on October 2, “Pure Sunshine” is the first of Orlando’s videos in color. “I made a point of making all my videos for this album in black and white to get the point across that the grey area is gone!” Orlando wrote this song three years ago following his father’s passing. “He was the biggest influence in my life and this song was my way of continuing the conversation with him in song.”


    “Note to Self” is the title Track and final song that Charley shares in advance of the release of Note to Self.

    It is my most honest song about emotion and depression that can sneak into all of our lives over various events or moments that are just really hard to shake. It made me breathe easier once I wrote this song. I truly hope it works the same for everyone else.

    Note To Self was recorded at Lion’s Den in Memphis, NY by Brian Lauri, produced by Charley Orlando, and mixed and mastered by Andrew Graecen at Moresound in Syracuse. Pre-save the album here

  • September 28, 1976: The Grateful Dead Paint the War Memorial Orange

    Our look back at the Grateful Dead’s tour history in New York makes a stop in the heart of Central New York, with a trip back to September 28, 1976 and a show so good it deserved placement on a Dick’s Pick release. The latter half of Volume 20 of this particular series of live shows showcases the band at the top of its game as it rolled into Syracuse in late September, after a show at Rochester’s War Memorial the night before.

    Grateful dead war memorial

    New York has always served as fertile ground for memorable Grateful Dead shows and this particular one at the Onondaga County War Memorial falls right in line, with the band continuing to break new ground as they explode through this transformative mid ’70s era.

    View this show and more Grateful Dead shows from across the years in New York State with our interactive map below!

    The proceedings start with an upbeat and inspirational “Cold Rain and Snow” that seems to warm the collective hearts assembled in Central New York this evening and gives the band a chance to warm up their harmonies early.

    A “Cassidy” that later follows takes the set’s early momentum and runs with it, courtesy of its typically brief yet intense ending progression section. The band then stretches their collective legs a little with a version of “Tennessee Jed” that has a delightful, rambling jam attached to it and a stout version of “Candyman” soon follows. But the real highlight of the opening stanza is an an enthusiastic “Let It Grow” that fosters a jam which meanders effortlessly through the highs and lows provided by a rhythm section in lock step with the vocals of Bob Weir and Donna Jean Godcheaux before it dissolves into psychedelic bliss. This more than helps provide the kindling for a set closing “Goin’ Down The Road Feeling Bad” that easily catches fire, ending the first set in a pristine blaze of glory.

    Grateful dead war memorial

    A direct and authoritative “Playing In the Band” opens the second set with Jerry Garcia on lead guitar laying down ferocious melodies atop a bed of intense rhythms fueled drummers Bill Kreutzmann and Mickey Hart and bassist Phil Lesh. The near 11-minute opening salvo is the band at their finest as they collectively finesse through a psychedelic jaunt that eventually makes way for “The Wheel.”

    A joyous “Samson and Delilah” follows, which wastes no time after its completion before seguing into another blissful, guitar-driven improvisational jam with Garcia still leading and the rest of the band in hot pursuit.

    Much like the first set, the bulk of this show’s punch comes towards the end, in the form of a tidy “Drums” section that gives way to an absolutely blistering “Eyes of the World” that sees the full band in complete cohesion and harmony, in a somewhat speedy version that was not atypical for this era of Dead.

    This rapid rendition of “Eyes” then gives way to a loose, ragged collective jam that’s since been dubbed the “Orange Tango Jam,” the only one of its kind and seemingly a nod to the local Syracuse confines. This off-the-cuff jam has flashes of inspiration but eventually peters out and gives way to a rousing “Dancing In The Streets” before the set concludes with a bookending “Playing In The Band.”

    Make no mistake. Even through this show might be the second half of Volume 20 of the esteemed Dick’s Picks archival releases, it takes a back seat to very few others from this era. It shows the band playing relaxed and cohesive as a whole, with the ability to shift into unstructured territory at a moment’s notice – a sign of things to come with the band soon entering perhaps the most explosive year of its existence.

    Grateful dead war memorial

    Grateful Dead – Onondaga War Memorial Aud., Syracuse, NY – September 28, 1976

    Set 1: Cold Rain and Snow, Big River, Bertha, Cassidy, Tennessee Jed, New Minglewood Blues, Candyman, It’s All Over Now, Friend of the Devil, Let it Grow, Goin’ Down the Road Feelin’ Bad

    Set 2: Playin’ in the Band > The Wheel >Samson and Delilah > Comes a Time > Drums > Eyes of the World > Dancin’ in the Streets, Playin’ in the Band

    Encore: Johnny B. Goode

  • “Congratulations” to Post Malone on his birthday

    Austin Richard Post, known professionally as Post Malone, is celebrating his birthday today, July 4th. Born outside of Syracuse in 1995 and known for his combination of pop-trap and rock balladry, Malone has been one of the quickest rising stars of the past five years since his 2015 single “White Iversion” went viral after gaining recognition on SoundCloud.

    Voted “most likely to succeed” by his high school graduating class, Post got an early start in music learning guitar at the age of nine. Before making his first beats in the audio workstation FL Studios, Malone spent time in various heavy metal and screamo scene bands- a background that has helped fortify and define his style.

    Known for combining the music he grew up on, such as grunge and indie rock with trap-beat instrumentals and pop-rock song structures, Post Malone has earned numerous spots on the Billboard 100 and several Grammy Nominations. The cloud rap anthem, “Congratulations” featuring Quavo, off Posty’s 2016 Stoney album led the pop singer to nab his first Grammy nomination at the 61st edition of the Awards. Although passed up for the win, “Congratulations,” has garnered the Upstate native worldwide recognition.

    In Septemberr of 2019, Post Malone released his most recent album Hollywood’s Bleeding which included hit songs such as “Circles” and “Sunflower” featuring Swae Lee which was also part of the soundtrack for the recent Spider-man: Into The Spider-verse Marvel animated movie soundtrack.

    Most recently, Post Malone has been performing livestream performances including his full band nirvana cover set which featured Travis Barker of Blink 182 on drums.

    Have a great birthday Post Malone!

  • This Darkness has got to give: Music Venues in July across New York State

    It is now July 2020, the fifth month with minimal, if any, live music performances throughout New York State, let alone the country. Our venues are not yet open, but as the threat of COVID-19 decreases, parts of New York will enter Phase 4 and beyond, with the hope that live music will return, even if gradually.

    While we may be stream weary, the prospect of live music is a motivator for many, and staying safe is the key given that New York and much of the Northeast are faring better than other areas of the country.

    Photo by Buscar Photo

    From viewing these photos taken during mid-late June, we can see the presence of the Black Lives Matter protests that spanned all 50 states. In all corners of New York there were protests, particularly in New York, protests that continue to push for defunding of the NYPD.

    Working with 13 photographers to document more than 60 venues in 20 cities across New York State, NYS Music presents the second edition of our monthly series that looks at the current state of our beloved venues. When the venues reopen, we will share photo documentation recording the changes over time in all corners of the state.

    Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start this month in the Capital District, with a drone montage from Zach Culver, covering the venues we long to return to, sooner, rather than later.

    Manhattan and Brooklyn – photos by Joseph Buscarello

    Hudson Valley – photos by Mickey Deneher

    Saranac Lake – photos by Pete Mason

    Long Island – photos by Andrew Camera

    Rochester – photos by Brian Ferguson

    Plattsburgh – photos by Jerry Cadieux

    Manhattan – photos by Jamie Huenefeld

    Utica – photos courtesy of The Stanley Theatre

    Port Chester – photos by Chad Anderson

    Ithaca – photo by Casey Martin

    Lake Placid – photos by Pete Mason

    Long Island – photos by Rob Tellerman

    Tarrytown and Peekskill – photos by Steve Malinski

    Buffalo – photos by Zachary Todtenhagen

  • This darkness has got to give: Music venues during COVID-19 across New York State

    As we enter June, the fourth month where live music performances are postponed until it is deemed safe to have mass gatherings due to COVID-19, we take a look at the music venues across the state that are closed for now, but in the coming months will hopefully reopen.

    Working with 13 photographers to document more than 60 venues in 20 cities across New York State, we present this monthly series that will look at the current conditions of these beloved venues. As they reopen, we will provide photo documentation recording the changes over time in all corners of the state.

    Great thanks to all photographers and venues who take part in this series.

    Buffalo – photos by Zachary Todtenhagen

    Capital District – photos by Zach Culver

    Brooklyn – photos by Joseph Buscarello

    Hudson Valley – photos by Mickey Deneher

    Long Island – photos by Andrew Camera

    Plattsburgh – photos by Jerry Cadieux

    Manhattan – photos by Jamie Huenefeld

    Syracuse – photos by Josh Davis

    Utica – photos courtesy of The Stanley Theatre

    Ithaca – photos by Casey Martin

    Long Island – photos by Rob Tellerman

    Brooklyn and Manhattan – photos by Steve Malinski

    Port Chester – photo by Chad Anderson

  • Revisit the Grateful Dead at the Carrier Dome – October 20, 1984

    The third and final time the Grateful Dead performed at the Carrier Dome was on October 20, 1984 and featured one of the most blistering “Jack Straw” versions ever.

    Grateful Dead Carrier Dome

    The October 20 show was smack dab in the middle of their 1984 fall tour, and the final show on the East Coast before heading to San Francisco for the remainder of the year.

    A first set opening with “Bertha” -> “Greatest Story Ever Told” found a great groove in “Ramble on Rose,” which was followed by the first of a few requests from Bob Weir for the audience to ‘take a step back,’ heard quite often during this era of the Dead. The “Bird Song” clocks in at just over 11 minutes, and is followed by the aforementioned powerful “Jack Straw.”

    The energetic show features resounding versions of “Shakedown Street” to open Set 2, which led to non-stop dancin’ in the rafters. During “Turn on Your Lovelight,” fencing on stage right fell, leading to fans spilling down onto the Carrier Dome field.

    Grateful Dead Carrier Dome

    Leaving the show on the mantra of “Revolution” (‘You know its gonna be, alright’) set the crowd out on a high note, for it would be the last Dead on the East Coast until March, 1985 in Hampton, VA. Of course, leaving the Carrier Dome (up until recent renovation began) meant the wind would push on the backs of fans as they egressed, which can be either cathartic or unsettling, depending on your mindset at the time.

    Check out photos of the Grateful Dead at the Carrier Dome pre and post-show from James R Anderson here and check out an extended breakdown of the show from Visions of Dylan.

    Set 1: Bertha-> Greatest Story Ever Told, West L.A. Fadeaway, CC Rider, Ramble On Rose, My Brother Esau, Bird Song, Jack Straw

    Set 2: Shakedown Street-> Samson & Delilah, He’s Gone-> Smokestack Lightning-> Drums-> The Wheel-> The Other One-> Black Peter-> Turn On Your Love Light

    Encore: Revolution

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