The Orchestra Now (TŌN), an esteemed Bard College ensemble, will perform at Jazz at Lincoln Center’s Rose Theater on Sunday, October 16.
The concert will be guest conducted by JoAnn Falletta, the Music Director of the Buffalo Philharmonic Orchestra (BPO), who is making her fourth appearance with TŌN.
Joanne Falletta conducting TŌN during a previous performance.
The five act concert will open with Fandangos, a Roberto Sierra piece inspired by Spanish dance. Next on the list are Ernest Chausson’s Poème and Maurice Ravel’s Tzigane, which will feature guest violin performances from Nikki Chooi, former Metropolitan Opera Orchestra concertmaster and current concertmaster of the BPO.
Also on the program are Albert Roussel’s Bacchus and Ariane Suite No. 2 and Paul Hindemith’s “Metamorphosis” of Themes by Carl Maria von Weber.
TŌN is a graduate-level training orchestra comprising 62 musicians from 13 different countries. Students are sourced from conservatories such as Yale School of Music, Shanghai Conservatory of Music, Royal Academy of Music, and the New England Conservatory of Music. Bard College president Leon Botstein, who is also a conductor, educator, and music historian founded the orchestra in 2015.
After Lincoln Center, The Orchestra Now will next perform at Carnegie Hall on November 3.
Information regarding tickets and more for the event can be found here.
Nathaniel Rateliff performing with the Night Sweats at Radio City Music Hall
As the Night Sweats ramped up for their opener “Look It Here” off the band’s self-titled debut album, Nathaniel greeted the crowd with “How’s everybody doing tonight?” pausing to take in the crowd’s roar from a sold out Radio City Music Hall. “It’s a pleasure to be here with you, my name is Nathaniel, we’re here with the Night Sweats, and we sold this place out, thank you!” The band went on to play a well-balanced set with songs across all three of their studio albums, Nathaniel Rateliff & the Night Sweats (Self-titled), Tearing at the Seams, and The Future, along with a few covers.
Mark Shusterman performs with Nathaniel Rateliff and the Night Sweats at Radio City Music Hall
As the band wrapped their eighth song of the night, “So Put Out”, Megafun’s Phil Cook joined Shusterman’s side on stage while Rateliff addressed the theater. “We have an EP coming out to follow up the record.” Rateliff shared, “…and we did another variation of one of the songs off that record called “What If I“. It was mostly Phil’s arrangement and Phil is a good friend and a big part of our family.” In addition to the remixed “What If I”, Phil came back to support Nathaniel Rateliff and the Night Sweats with “Out on the Weekend” and their closing song, “I Need Never Get Old”. The audience’s enthusiasm shook Radio City the entire evening, especially for the group’s three-song-encore.
Setlist: Look It Here, I’ve Been Failing, You Worry Me, I’m on Your Side, I’ll Be Damned, Survivor, Baby I Lost My Way, (But I’m Going Home), So Put Out, What If I (Remixed version with Phil Cook), Wasting Time, A Little Honey, Love Me Till I’m Gone, Danny Boy (Cover), Face Down in the Moment, And It’s Still Alright (Nathaniel Rateliff song), Redemption, Hey Mama, Out on the Weekend (with Phil Cook), Coolin’ Out, Intro, I Need Never Get Old (with Phil Cook) Encore: The Future, S.O.B. (with Phil Cook), Love Don’t
Only four musicians have held residency for over a month at NYC’s legendary Blue Note Jazz Club: Dizzy Gillespie, Chick Corea, Chris Botti and, for the past four years, Robert Glasper. Robert Glasper will play 52 shows at the Blue Note across 26 nights, from October 4 to November 6, in what he calls “Robtober.”
The first wave of special guests for Glasper’s residency include Yasiin Bey, Lalah Hathway, Terrace Martin, Isaiah Shakey, Alex Isley and Pino Palladino. But viewers can expect the unexpected with Glasper, who brought out a number of unannounced celebrities and musicians during his Blue Note run last year — including Dave Chappelle, H.E.R and Chris Rock.
The breadth and influence of Glasper’s work as a jazz pianist cannot be understated. Glasper has worked with artists from Mos Def to Carly Simon; he played on Kendrick Lamar’s iconic album, To Pimp A Butterfly, his jazz reading of Radiohead’s Reckoner was Grammy-nominated, and he curated and wrote parts of the Miles Ahead soundtrack. After spending the summer in residency at Blue Note Jazz Festival Napa Valley, Glasper said he is excited to return to NYC.
The “Robtober” program includes Herbie Hancock and Meghan Stabile tributes as well as features from Revive Big Band, a group redefining the jazz big band sound with notes of hip-hop, funk and gospel. Tickets for Robert Glasper’s residency shows can be purchased here.
ROBTOBER SPECIAL GUESTS + BAND
10/4-6: Robert Glasper Tribute to Herbie Hancock
Band: Vicente Archer, Justin Faulkner, Walter Smith
10/7-8: Robert Glasper
10/11-12: Robert Glasper and Terrace Martin present Dinner Party with special guest Alex Isley
Band: Terrace Martin, Burniss Travis, Justin Tyson, with DJ Jahi Sundance
10/13-15: Robert Glasper and Terrace Martin present Dinner Party
Band: Terrace Martin, Burniss Travis, Justin Tyson, with DJ Jahi Sundance
10/20-23: Robert Glasper Ft Chris Dave, Pino Palladino, Isaiah Sharkey, and DJ Jahi Sundance
Band: Chris Dave, Pino Palladino, Isaiah Sharkey, with DJ Jahi Sundance
10/25-28: Robert Glasper x Lalah Hathaway
Band: Justin Tyson, Burniss Travis, Isaiah Sharkey, with DJ Jahi Sundance
10/29-30: Robert Glasper Acoustic
10/31: Halloween To Be Announced
11/2: Robert Glasper with Igmar Thomas and the Revive Big Band “Tribute to Meghan Stabile”
11/3 + 6 @ SONY HALL:Robert Glasper with Special Guest yasiin bey and Bilal
Band: Chris Dave, Derrick Hodge, with DJ Jahi Sundance
11/4-5: Robert Glasper with Special Guest yasiin bey
Band: Chris Dave, Derrick Hodge, with DJ Jahi Sundance
Formed in 1969, Little Feat, celebrating the 45th anniversary of ‘Waiting for Columbus’, played the stage at Point of the Bluff Vineyards in Hammondsport, NY September 26 and the eclectic crowd was ready to groove.
Although formed in LA in 1969, Little Feat plays a strong Southern rock vibe. A subtle mix of The Allman Brothers, Lynyrd Skynyrd, and Marshall Tucker with a hint of Grateful Dead flow to your ears and get your head bopping and feet tapping.
Kenny Gradney of Little Feat playing in Hammondsport NY
While members have come and gone over the years, the band tours in 2022 with Bill Payne on Keyboards and Vocals; Sam Clayton on percussion and vocals; Fred Tackett on guitars and vocals; Kenny Gradney on the bass; Scott Sharrard doing guitars and Vocals; and Tony Leone banging the drums
Follow the band as they continue on with their commemorative tour Little Feat.
Little Feat at Point of The Bluff Vineyards
Setlist: Join the Band, Fat Man in the Bathtub, All That You Dream, Oh Atlanta, Old Folks Boogie, Time Loves a Hero, Day or Night, Mercenary Territory, Spanish Moon / Skin It Back, Dixie Chicken, Tripe Face Boogie, Willin’, Don’t Bogart That Joint, A Apolitical Blues, Sailin’ Shoes, Feats Don’t Fail Me Now, Let It Roll
In celebration of 50 years of Billy Joel, the renowned concert film “Billy Joel: Live at Yankee Stadium” will be released in theaters worldwide on October 5th and 9th. The legendary 1990 concert is one of the greatest concert films of all time. Originally shot in 16mm film, it has been re-mixed and re-edited in 4k with Dolby ATMOS audio.
The new version includes “Uptown Girl” along with behind the scenes footage not seen in the original release. The film initially premiered on basic cable’s Disney channel on March 17, 1991. It was also released on VHS later that year and nominated for a long form video Grammy Award.
Billy Joel at Sag Harbor Cinema 8.22.22
Last month Billy and his wife Alexis attended a preview of the film at the renovated Sag Harbor Cinema. Joel stepped up to help save the theater after it was destroyed in a village fire in 2016. The cinema stood there for more than 100 years and was the center of the downtown. It reopened in June of 2021 complete with state of the art projectors and sound systems.
Also in attendance were band members Dave Rosenthal, Tommy Byrnes, Crystal Taliefero and Mike DelGuidice. It was surreal for me to watch the film with the man himself sitting just a few feet away. The crowd in the 240 seat theater applauded after each song making it feel more like a live concert rather than a movie.
After the film concluded, there was a Q&A with director Jon Small and producers Steve Cohen and John Jackson. After a few questions from fans, Joel raised his hand to ask… “When do we get something to eat? I’m starving!.” As I left the theater another surreal moment happened when I saw Sir Paul McCartney entering the lobby with his wife Nancy to meet Billy.
Tickets to the October viewings of “Billy Joel: Live at Yankee Stadium” can be purchased here.
Phish has announced their New Year’s plans and, once again, they will be celebrating with a four-show run at Madison Square Garden. Shows are scheduled from Wednesday, December 28 through Saturday, December 31. After last year’s shows were postponed due to a surge of Covid cases, this will be the first New Year’s run for Phish at MSG since 2019. Overall, this will mark the 13th time that the band has celebrated with a show on New Year’s Eve at the Garden.
A ticket request period for this latest Phish MSG run is currently underway at tickets.phish.com (ending Monday, October 3 at noon ET). Tickets go on sale to the general public beginning Friday, October 7 at noon ET.
It was officially Fall, and unofficially, Fall weather had also arrived. But for Point of the Bluff Vineyards in Hammondsport, NY on the shore of Keuka Lake, there is still time left for outdoor music. So it was Saturday, September 24 when they invited Shakey Graves and The Ballroom Thieves to perform.
The show got started with some rapid fire questioning from The Ballroom Thieves’ Martin Earley, “You guys wanna party? Do you have your wine? Should we start?” And start they did, just as they do on their new album, with the gently rocking “Worldender,” which included some nifty alternating “oh”s from Earley and bassist Caitlin Peters, creating an acoustically derived digital-sounding effect. They followed with another one off of Clouds, the short and punchy “In the Morning.”
The Ballroom Thieves weren’t just sporting a new album though. Last summer founding member Devin Mauch left the band and this summer Peters and Earley got married. In fact, this show was only their second as husband and wife. The lineup was rounded out by drummer and keys player Kevin Kennedy O’Connell, from not-too-far-off Rome, NY.
The trio found lots of space to explore, mixing up their sound with regularity during their 45 minute set. “Pendulum” and “Bees” saw Peters switching to cello and O’Connell switching to keys for a couple of finger-picked folk beauties. O’Connell left the stage completely for a spell of duo tunes, a cover of Jackson Frank’s “Blues Run the Game,” and “Borderline,” accentuating the couple’s stellar harmonies as they lovingly gazed into each other’s eyes. Then they closed on a trio of grittier rocking with the bluesy “Fistfight” and punchy “Wolf.”
Shakey Graves entered the stage solo, already plucking out some notes on his guitar, holding a glass of wine wearing a dapper brown suit. He climbed up on a riser at the back of the stage and started banging out a rhythm with foot pedals on a cajon and cymbal, playing “Nobody’s Fool.” Before “Square One,” Graves explained how he always wished he could tour the country playing music, and it happened. But then he found that he was traveling too much so he wished he could just pause it for a bit, and unfortunately for the world, that happened too. He said he was sorry though. Then he wished he could drink wine at the top of a hill overlooking a lake and play a show, and poof here he was.
The rest of his quintet arrive on stage, in matching suits, for “The Donor Blues.” Graves added a lot of emphasis to his music, through hand motions and asides sprinkled throughout the set. When he sang, “I got my gall from the boys back east” he added, “That’s you…” pointing out to the crowd. In “Business Lunch” and “Ready Or Not” his hands kept busy acting out various lines.
Like The Ballroom Thieves, Graves kept the set moving with good variety. “Family and Genus” tied together with “Kids These Days” through a short burst of hectic rock, while the latter kept it up with some hard rocking energy behind solid drumming. But then Graves was alone on the stage again, sitting on the riser and picking out a long intro to “Was Here” followed by “Pansy Waltz.”
When the band came back, they were all taking shots from a small jar of brown liquor handed up from someone in the audience. The band crowded around one mic to sing and clap their way through “Unlucky Sin,” their appropriate we’re-under-a-tent “church moment.” And that zoomed up to the off-kilter “Counting Sheep” which burst into an extended anthemic two-guitar outro. On the show-closing “Dearly Departed” the crowd was encouraged to clap along, and eventually would take over the singing duties in full, lifting the tent in voice and making Graves’ dreams come true.
Ballroom Thieves Setlist: Worldender, In the Morning, Pendulum, Bees, Blues Run the Game (Jackson C. Frank cover), Borderline, Fistfight, Anybody Else, Wolf
Shakey Graves Setlist: Nobody’s Fool, Square One, The Donor Blues, Business Lunch, Ready Or Not, Family and Genus > Kids These Days, Was Here, Pansy Waltz, Unlucky Sin, Counting Sheep, Century City, Dearly Departed E: Late July
While the year 1977 typically, and justifiably, gets a lot of the attention in Grateful Dead lore, the previous year has its fair share of gems too. With the Godchaux tandem now firmly entrenched and the return of Mickey Hart, the band was approaching the peak of its collective power in 1976. A slew of new live material that was unleashed the year before and earlier this summer was proof of this. Today marks the anniversary of the fourth ever appearance in Rochester for the Grateful Dead, last playing here in 1973. A rowdy Upstate New York crowd greeted the Dead for this performance at the War Memorial (now known as Blue Cross Arena) – one that’s filled with a distinct blend of classic songs and some fresher material still relatively new in the live setting.
Tonight’s performance gets a true “rock n’ roll” opener thanks to a lively cover of Chuck Berry’s “Promised Land” that has the Rochester crowd clapping along in time. A couple of impressive guitar licks early on from Jerry Garcia show he’s adequately warmed up and Bob Weir executes the vocals to perfection. Instead of pushing the pace even further, after some brief technical delay the Dead move over to the slow lane for “They Love Each Other.” They still manage to find their way into a nice early groove though, aided by another Garcia solo and some delicate piano work from Keith Godchaux.
After some more extensive post-song tuning, the band then does a slow build towards the intro of what turns out to be an emphatic “El Paso” with Weir once again manning the vocals. This gives way to another first set staple in “Deal” that gets some harmonious assistance from Donna Jean Godchaux on the chorus. She also adds some delightful harmonies to the emotional “Looks Like Rain” that follows and features another organic, slow build of communal energy.
The Dead keep in a similar mode for the slow, near plodding, tempo of “Row Jimmy” that comes next and elicits a few more emotionally-charged guitar solos from Garcia as well as supplemental dulcet tones from Donna Jean on vocals. Once completed, Weir implores the crowd to take place in “America’s Favorite Game: Take A Step Back” to prevent those in the front few rows on the floor of the War Memorial from getting further squished. This seems to call for another cover song and the choice is made for “It’s All Over Now,” a song popularized by The Rolling Stones more than a decade ago.
The first set staples then roll on, this time with “Loser,” another Garcia-dominated number. The soulful, introspective lyrics are matched by a guitar solo that has the Rochester crowd in mass, loud approval. Once completed, the Dead then introduce Rochester to the most recent of their traditional song pairings. This time, it’s the relatively new “Lazy Lightning” and “Supplication.” With both songs making their live debut just months earlier in 1976 at shows in Portland OR, this was undoubtedly the first time this sequence was able to experienced for some East Coast Dead Heads. “Supplication” hasn’t even been given lyrics yet and is played as a sturdy instrumental that the Rochester crowd eats up.
The opening set comes to an end with an interesting pairing of songs. First, it’s a rather unusual late set placement for “Brown Eyed Women” that has some early vocal flubs from Garcia on the intro but then wastes no time rounding into form with the crowd once again lending on-time audible support through applause. “The Music Never Stopped,” another newer song that just came into its own this year which features more vocal interplay between Weir and Donna Jean, then closes the book on the first set.
The second one opens with another relatively fresh tune, this time it’s the Garcia and Robert Hunter composition “Might As Well,” another song that made its live debut just months earlier. It’s supported by another bouncy guitar solo and gets a welcomed reception from the crowd. Afterwards, the recognizable drum beat that begins “Samson and Delilah” ensues and the Dead are off and running with another newer song that’s still finding its footing in a live setting. Weir nails the Biblical lyrics and Garcia provides more than enough support with some fiery guitar licks with bassist Phil Lesh competently holding down the bottom end.
After another band “huddle,” a drawn out intro to “Help On The Way” ensues with the band almost seemingly throwing in a “Music Never Stopped” tease for good measure before fully diving into “Help.” It feels like a slightly quicker version that’s played a little faster than it’s traditional styling yet, nevertheless, still flows seamlessly right into its traditional running mate in “Slipknot!” with no issues. This latter half of the pairing quickly devolves into a free-flowing, improvisational jam with Garcia and Lesh once again leading the way. This yields some of the more intensive and psychedelic jamming of the evening, a perfect springboard into the “Drums” section which soon follows.
After essentially putting the cart (“Space”) before the horse (“Drums”), the Dead jump right back into a high-octane, free wheeling jam that winds its way perfectly into the beginning of a thunderous “The Other One” that shows the band at their improvisational best.
After reaching a climax, the Dead slow things down considerably with “Wharf Rat” which gets another warm reception from the Rochester crowd. Garcia leads the band through this ballad-esque number with typical aplomb and his signature vocal stylings. In a bit of a twist, once completed they actually go back and play a definitive “Slipknot!” reprise for a few minutes, returning to the main theme and a smooth segue into “Franklin’s Tower” that, along with “Help On The Way,” completes a holy trinity of Grateful Dead songs. The band, and Garcia in particular, take their time with this crowd favorite and it results in 17-plus minutes of euphoric musical composition that the War Memorial crowd eagerly soaks up.
The Dead then bookend tonight’s show in Rochester with another Chuck Berry cover, this time “Around and Around,” sung by Weir in his typical increasingly rambunctious fashion. A “U.S. Blues” that doesn’t seem to have made the recording then wraps up tonight’s Rochester show. The band would continue their Upstate New York travels and play a gig the following night at a different War Memorial, this one in Syracuse.
View this and other Grateful Dead shows from across the years in New York State with our interactive map below
Grateful Dead Community War Memorial Auditorium – Rochester, NY 9/27/76
Set 1: Promised Land, They Love Each Other, El Paso, Deal, Looks Like Rain, Row Jimmy, It’s All Over Now, Loser, Lazy Lightning-> Supplication, Brown Eyed Women, The Music Never Stopped
Set 2: Might As Well, Samson & Delilah, Help On The Way-> Slipknot!-> Drums-> The Other One-> Wharf Rat-> Slipknot!-> Franklin’s Tower-> Around & Around
Adam Sandler has range: he can play a hopeless romantic in “50 First Dates” then a hopeless addict in “Uncut Gems.” Adam Sandler’s upcoming US tour promises to expand that range even further with a blend of comedy and song.
The tour has 15 dates, two of which will be in New York, in Verona and Belmont Park. Sandler will then continue south to Florida, then through Georgia and North Carolina. Tickets went on sale September 16.
This tour follows the success of Sandlers 2022 film “HUSTLE,” and his 2018 comedy special “100% Fresh,” both of which premiered on Netflix.
Adam Sandler Live Tour Dates
October 21 – Allentown, PA – PPL Center
October 22 – Manchester, NH – SNHU Arena
October 23 – Boston, MA – MGM Music Hall at Fenway
October 25 – Verona, NY – Turning Stone Resort Casino Event Center
October 27 – Belmont Park, NY – UBS Arena
October 28 – Atlantic City, NJ – Hard Rock Live at Etess Arena
October 29 – Uncasville, CT – Mohegan Sun Arena
November 6 – Tampa, FL – Amalie Arena
November 7 – Estero, FL – Hertz Arena
November 9 – Hollywood, FL – Hard Rock Live
November 10 – St. Augustine, FL – St. Augustine Amphitheatre
November 11 – Greenville, SC – Bon Secours Wellness Arena
November 12 – Duluth, GA – Gas South Arena
November 13 – Raleigh, NC – PNC Arena
November 14 – Savannah, GA – Enmarket Arena Savannah
The Capitol Theatre, affectionately known as “The Cap,” lies in the center of the Westchester County village of Port Chester. The historic venue constructed in 1926 has hosted thousands of legendary musical acts (The Rolling Stones, Grateful Dead, David Bowie, Bob Dylan and Pink Floyd to name only a few), but never The National, until Friday, September 23rd.
Marquee | Photo by Michael Dinger
The National are winding down a 12-date tour of North America that commenced at the Moon River Music Festival in Chattanooga, Tennessee on September 10 and concluded at the inaugural Sound on Sound Festival on September 25. The Port Chester show was added to their tour schedule back in June as a special companion performance to their festival appearance at Seaside Park in nearby Bridgeport, Connecticut.
Matt Berninger | Photo by Michael Dinger
Supporting The National was Indigo Sparke, a singer-songwriter from Sydney, Australia named by her parents after the Duke Ellington song “Mood Indigo.” In the summer of last year, Sparke moved to the United States to work on her sophomore studio album, Hysteria, produced by The National’s very own Aaron Dessner. Performing for nearly 40 minutes, Sparke and her soaring vocals were accompanied by Jeremy Gustin (drums), Adam Brisbin (guitar), back-up singer Jackie West and later in her set, by Dessner himself.
Indigo Sparke | Photo by Michael DingerJeremy Gustin | Photo by Michael DingerAdam Brisbin | Photo by Michael Dinger
At the conclusion of Sparke’s set, a brief ceremony followed in celebration of The Cap’s 10-year anniversary of its reopening under Peter Shapiro’s ownership, one of the most successful independent concert promoters in the country. Shapiro’s $2 million plus in renovations has restored “the original rock palace,” with its 65-foot domed ceiling, to its former glory, featuring top of the line acoustics and a state-of-the-art lighting and projection system.
Peter Shapiro | Photo by Michael Dinger
With Port Chester Mayor Luis Marino on hand, September 23rd was also officially proclaimed “The Capitol Theatre Day,” commemorating what The Cap stands for: live music, community and spreading joy into the world through concerts. Shapiro addressed the 2,000-capacity sold out audience, “It ain’t easy to do this, but this is why we do it, for a night like tonight. We are going to do another 10 [years] and hopefully we’ll get The National back if you give it up for them.”
10-Year Commemoration | Photo by Michael Dinger
As Leonard Cohen’s “I Can’t Forget” played over the house PA, the quintet from Cincinnati, Ohio comprised of Matt Berninger (vocals), twin brothers Aaron Dessner (guitar, piano) and Bryce Dessner (guitar, piano), and brothers Scott Devendorf (bass) and Bryan Devendorf (drums) took the stage to thunderous applause. Accompanied by Ben Lanz (trombone, synthesizers) and Kyle Resnick (trumpet, keyboards), The National’s opening number was “Don’t Swallow the Cap,” taken from 2013’s Trouble Will Find Me.
Aaron Dessner | Photo by Michael DingerMatt Berninger | Photo by Michael DingerBryce Dessner | Photo by Michael Dinger
The indie rock veterans who formed in Brooklyn in 1999 would go on to play for two solid hours, bestowing to their fans a 24-song set that would include a representative sampling of their impressive music catalog, including “Bloodbuzz Ohio” (High Violet, 2010), “The System Only Dreams in Total Darkness” (Sleep Well Beast, 2017) and “Light Years” (I Am Easy to Find, 2019). Berninger and his bandmates also treated us to four new songs, including “Moon Drop Light” which was written only the day before, “This Isn’t Helping,” “Tropic Morning News (Haversham)” and “Weird Goodbyes,” the lead single from their forthcoming album featuring their friend Bon Iver.
Matt Berninger and Indigo Sparke | Photo by Michael Dinger
Berninger exuded frontman charm throughout the entire evening, shining the spotlight back on Sparke as she reappeared onstage for “Rylan,” another offering from I Am Easy to Find. “Graceless,” from The National’s aforementioned sixth studio album Trouble Will Find Me, was proceeded by “Fake Empire” (Boxer, 2008), widely considered to be one of their best songs. A five song encore followed as Berninger, in typical fashion, thrilled fans as he left the stage during “Mr. November” (Alligator, 2005) and waded through the entire floor crowd, reappearing momentarily at the opposite end of the venue, before trekking back to the stage. The epic evening unfortunately came to a close at 11:15 pm, but not before a goosebump-inducing, crowd sing-along of “Vanderlyle Crybaby Geeks,” a second contribution from High Violet.
The crowd sings along | Photo by Michael Dinger
The National Setlist: Don’t Swallow the Cap > I Should Live in Salt > Bloodbuzz Ohio > The System Only Dreams in Total Darkness > I Need My Girl > This Is the Last Time > Slow Show > This Isn’t Helping > Wasp Nest > Moon Drop Light > Conversation 16 > Tropic Morning News (Haversham) > Day I Die > Rylan (with Indigo Sparke) > Light Years > Pink Rabbits > England > Graceless > Fake Empire > Encore: Weird Goodbyes > Mr. November > Terrible Love > About Today > Vanderlyle Crybaby Geeks
