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When Riverside released their eighth studio album ID.Entity in 2023, it served not just to demonstrate their ongoing ability to make their songs stride and soar, but as proof that they were survivors.
The death of guitarist Piotr Grudzinski in 2016 had naturally unsettled them. But the river has kept on flowing, with two albums released since, and Maciej Meller now a full member.
Meanwhile, vocalist/bassist Mariusz Duda has simultaneously worked through some feelings, notably concerning lockdown-compounded claustrophobia, on his electronica-based solo records and Lunatic Soul project.
Live ID makes sense as a kind of catharsis: a celebration – however dark the music’s themes – that the Polish band are hungrily active again. Recorded in Warsaw in June 2024, it’s presented as the culmination of the ID.Entity cycle, and unapologetically focuses on that latest studio offering.
Riverside – Friend Or Foe? (Live ID.) (OFFICIAL LIVE VIDEO) – YouTube
Duda claims this is where those songs “gain their full potential.” It’s a live album which relishes being one, complete with deafening applause breaks and the singer exuberantly tossing in the kind of whoops and exclamations their moody records don’t accommodate.
The good people of Warsaw exhibit undivided joy to hear staples of the band’s charismatic catalogue
It’s not his usual style to get carried away, but here he’s all but hectoring the crowd to look lively – an element that will please some and irritate others. The substance of ID.Entity nonetheless remains, with its worries about technology and a post-truth world.
Apart from I’m Done With You, it’s all played here, the band leaning into its currents and hitting the heavier sections with vigour. At 110 minutes, however, there’s still plenty of scope for Riverside to step away from that album and revive fan favourites.
Lost and #Addicted, from perhaps their best work, 2015’s Love, Fear And The Time Machine, gets an airing, as do the rumbling, Rush-like suite Egoist Hedonist and Left Out. Even earlier material like 2005’s Conceiving You pops up, and if the crowd noise is loud throughout, the good people of Warsaw exhibit undivided joy to hear staples of the band’s charismatic catalogue.
Duda has spoken of the “nuances and quirks” which emerge in live interpretations; and while casual followers may not perceive radical differences, full-on fans will spot charged energy levels and dramatic emphases.
Riverside are always dramatic – it’s their charm – but on this recording they’ve let go of a degree of preciousness, allowing themselves to headbang when appropriate, and to react to, and even emulate, the audience’s gusto. That elusive simpatico between band and crowd is often what makes a great gig. It makes for a very good live album here.
Chris Roberts has written about music, films, and art for innumerable outlets. His new book The Velvet Underground is out April 4. He has also published books on Lou Reed, Elton John, the Gothic arts, Talk Talk, Kate Moss, Scarlett Johansson, Abba, Tom Jones and others. Among his interviewees over the years have been David Bowie, Iggy Pop, Patti Smith, Debbie Harry, Bryan Ferry, Al Green, Tom Waits & Lou Reed. Born in North Wales, he lives in London.
Nadine Shah, Lankum‘s Darragh Lynch, Lisa O’Neill are among the guest vocalists who will be joining The Pogues for their UK headline tour in May.
Along with John Francis Flynn and Iona Zajac, the trio will be joining Pogues members Spider Stacv, James Fearnley and and Jem Finer for the six-date tour celebrating 40 years of the London-Irish ban’d classic Rum Sodomy & the Lash album.
These will be the band’s first dates since the death of former frontman Shane MacGowan.
The Elvis Costello-produced Rum Sodomy & the Lash was released on August 5, 1985, and sold 100,000 copies in the UK, peaking at number 13 on the album chart. It contains the singles A Pair Of Brown Eyes, Sally MacLennane and Dirty Old Town alongside fan favourites such as The Old Main Drag and The Sick Bed of Cúchulainn.
Costello later described his work on the record as his attempt to capture The Pogues “in their dilapidated glory before some more professional producer fucked them up.”
“He was really very good at his job,” says James Fearnliy in a new interview in the new issue of Classic Rock magazine. “It sounds brilliant and stands up to time. He really did well with Shane’s voice.
“There was a certain amount of competition between myself and Elvis because I was trying to think of things before he did,” he adds. “If he had an idea for doing a particular overdub, I got shirty with him because he’d just pick up a guitar and go into the studio and do it. I said, We’re the band, you’re the producer.”
The Pogues Rum, Sodomy & The Lash tour 2025
May 01: Leeds O2 Academy May 02: Birmingham O2 Academy May 03: London O2 Academy Brixton May 06: Glasgow Barrowland May 07: Manchester O2 Apollo May 08: Newcastle O2 City Hall
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A music writer since 1993, formerly Editor of Kerrang! and Planet Rock magazine (RIP), Paul Brannigan is a Contributing Editor to Louder. Having previously written books on Lemmy, Dave Grohl (the Sunday Times best-seller This Is A Call) and Metallica (Birth School Metallica Death, co-authored with Ian Winwood), his Eddie Van Halen biography (Eruption in the UK, Unchained in the US) emerged in 2021. He has written for Rolling Stone, Mojo and Q, hung out with Fugazi at Dischord House, flown on Ozzy Osbourne’s private jet, played Angus Young’s Gibson SG, and interviewed everyone from Aerosmith and Beastie Boys to Young Gods and ZZ Top. Born in the North of Ireland, Brannigan lives in North London and supports The Arsenal.
British filmmaker Bernard MacMahon knew getting the surviving members of Led Zeppelin to agree to a documentary about their band wouldn’t be easy.
“It was incredibly likely that once I put in a phone call, the group might say they were not interested,” MacMahon admitted during a recent conversation with The Guardian. “There was every chance we would not even get a meeting.”
Led Zeppelin famously ignored most requests for interviews and appearances. Even in the many years since the group’s demise, Robert Plant, Jimmy Page and John Paul Jones have each been very selective about who they will and won’t speak to. So when MacMahon successfully landed a face-to-face meeting with Page, he knew he needed to be ready for anything.
To the filmmaker’s surprise, the guitar great arrived with shopping bags in his hands. “I wondered if he had brought sandwiches,” MacMahon admitted, before recalling how he pitched Page his concept for Becoming Led Zeppelin using a storyboard. When he got to the part of the narrative where Page and Plant first met, the guitarist quizzed MacMahon on what band he was in at that time. “Hobbstweedle,” MacMahon responded. “Very good,” Page confirmed. “Carry on.”
As MacMahon continued to prove he was well versed in all things Zeppelin, Page “opened the shopping bags to show he had brought his old diaries, dating back to the ‘60s.” The guitarist was on board for the film – but there was still to be one more test.
Jimmy Page’s Important Invitation
A few days after their meeting, Page called MacMahon and asked, “Would you like to go to Pangbourne with me?” The small village held an important place in Led Zeppelin’s history, as Page’s boathouse home there served as Led Zeppelin’s first rehearsal space. The filmmaker and his partner, Allison McGourty, accepted the invitation and visited the location with Page. “Later, (Page) revealed it had been a test,” McGourty noted to The Guardian. “‘If you had said no to Pangbourne we wouldn’t have done the film.’”
In the end, Page, Plant and Jones all agreed to be part of the documentary. John Bonham is also featured thanks to recovered radio interviews. “He acts as a narrator,” McMahon explained of the late drummer. “His interviews were recorded just after things had happened. Jimmy said in some ways he’s the star of the film because he’s in the moment.”
Becoming Led Zeppelin is due for wide release on Feb. 14.
The Best Song From Every Led Zeppelin Album
Choosing the best song isn’t easy, since many of their LPs come together as a piece – and they include so many classic tracks.
Six full years after his most recent concert, Ozzy Osbourne will make his final performance at the star-studded Back to the Beginning show on July 5 in Birmingham, UK’s Villa Park.
The show will also feature a set by the first full reunion of Black Sabbath‘s original lineup in almost 20 years.
Metallica, Slayer, Pantera, Gojira, Halestorm, Alice in Chains, Lamb of God, Anthrax and Mastodon will also perform at the show. The all-day event will also feature a super group of musicians including Billy Corgan of the Smashing Pumpkins, David Draiman of Disturmed, Guns N’ Roses‘ Duff McKagan and Slash, Anthrax’s Frank Bello and Scott Ian, Fred Durst of Limp Bizkit, former Ozzy Osbourne guitarist Jake E. Lee, Korn’s Jonathan Davis, former Judas Priest guitarist KK Downing, Lzzy Hale,, Mike Bordin of Faith No More), Rudy Sarzo, Sammy Hagar, Sleep Token ii of Sleep Token, Ghost’s Papa V Perpetua, Wolfgang Van Halen, Zakk Wylde and music director Tom Morello, who promises this will be “the greatest heavy metal show ever.”
Tickets go on sale Friday, Feb. 14th at LiveNation’s UK site. All profits from the show will go to charities including Cure Parkinson’s, Birmingham Children’s Hospital and Acorn Children’s Hospice, a Children’s Hospice supported by Aston Villa.
Despite enduring a wave of medical setbacks that forced him to first postpone, then cancel his No More Tours 2 farewell tour after a Dec. 31, 2018 show in Los Angeles, Osbourne has been determined to say farewell to the stage on his own terms.
Black Sabbath played what was billed as their last-ever show on Feb. 4, 2017, but it was without original drummer Bill Ward, who backed out of their final tour over a contract dispute.
It will be the first time Ward plays a concert with Black Sabbath since the Sept. 4, 2005 tour-ending date of that year’s traveling Ozzfest festival. (He also played one song with them a month later at the UK Music Hall of Fame ceremony.)
In recent months, all four members of Black Sabbath have expressed their willingness to perform together one more time. “Ozzy was talking to me about, when he does his farewell concert – which he still wants to do – He’s dying to still get out there and play,” bassist Geezer Butler noted during a December 2024 conversation with Lifeminute. “And he suggested, at his very final concert, for the four of us to get up on stage and maybe do three or four songs together. And that would be it, finished.”
Despite the public and legal battle over being replaced for the band’s farewell tour, in July of 2024, Ward made it clear he was also up for a proper goodbye : “I’m in for playing some of everyone’s old favorites. Loved playing them then, I’d love to play them one last time.” Two months earlier, guitarist Tony Iommi said he was in, too: “Because it wasn’t Black Sabbath that finished it. It’s unfinished. If they wanted to do one more gig with Bill, I would jump at the chance.”
Black Sabbath Live Albums Ranked Worst to Best
Together, they paint a portrait of a band that lived hard, worked hard and played hard.
The No Rain No Flowers tour kicks off in Durant, OK on May 23 at the Choctaw Casino & Resort’s Grand Theater, and wraps up on June 14 at the Stone Pony Summer Stage in Asbury Park, NJ.
Cancelling last year’s North American schedule, the band released a statement that read, “We have decided to make some changes to the North American leg of the International Players Tour that will enable us to offer a similarly exciting, intimate experience for both fans and the band, and will be announcing a revised set of dates shortly.”
True to their word, the Black Keys have swapped the arenas of the 2024 dates for theatres in 2025, with the band’s Oklahoma show relocated from the 19,000-capacity BOK Centre in Tulsa to the 3000-seat Grand Theater.
“After the tour was cancelled, the consensus was, ‘Shit happens, and you just have to move through it,’” says drummer Patrick Carney, revealing that the pair have been working on new music. “We were already on a creative streak, and the best thing we could do, rather than sit at home, was just go back in the studio. Get back to work. So, that’s how the record started.”
“Writing and recording has always been therapy for us, from the very beginning. We communicate best that way,” adds frontman Dan Auerbach. “It has always been the thing that’s brought us together, so I’m not surprised at all that we ended up back there so quickly after the last album.”
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The Black Keys: No Rain No Flowers tour 2025
May 23: Durant Choctaw Casino & Resort Durant: Grand Theater, OK May 25: Colorado Springs Ford Amphitheater, CO * May 27: Morrison Red Rocks Amphitheatre, CO * May 29: Bonner Kettlehouse Amphitheater, MT * May 30: Boise Outlaw Field at the Idaho Botanical Garden, ID * May 31: Bend Hayden Homes Amphitheater, OR * Jun 01: Berkeley Greek Theatre at UC Berkeley, CA ^ Jun 03: Los Angeles The Greek Theatre, CA ^ Jun 07: Austin Moody Amphitheater at Waterloo Park, TX ^ Jun 08: Rogers Walmart AMP, AR ^ Jun 11: Wilmington Live Oak Bank Pavilion, NC ^ Jun 12: Raleigh Red Hat Amphitheater, NC ^ Jun 14: Asbury Park Stone Pony Summer Stage, NJ ^
* = with Hermanos Gutiérrez ^ = with The Heavy Heavy
(Image credit: The Black Keys)
Online Editor at Louder/Classic Rock magazinesince 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.
“!Franchesckaar!” – 14 (2008) “1 Night” – Mura Masa (2017) “100 Bad” (Remix) – Tommy Genesis (2018) “14” – 14 (2008) “1999” – Charli (2019) “2 Die 4” – AR (2023) “2099” – Charli (2019) “360” – Brat (2024) “365” – Brat (2024) “3AM (Pull Up)” – Number 1 Angel (2017) “5 in the Morning” – Non-album single (2018) “7 Years” – how i’m feeling now (2020) “911” (Remix) – Dawn of Chromatica (2021) “After the Afterparty” – Non-album single (2016) “Alcoholic” – 14 (2008) “Ali” – Unreleased “Angry All the Time” – Unreleased “Anthems” – how i’m feeling now (2020) “Apple” – Brat (2024) “Atomic” – Unreleased
(B)
“B2B” – Brat (2024) “Baby” – Crash (2022) “Babygirl” – Number 1 Angel (2017) “Backseat” – Pop 2 (2017) “Bad Tattoo” – Unreleased “Bang Bang” – Non-album single (2016) “Be Right Here” – Non-album single (2018) “Beg for It” – Reclassified (2014) “Beg for You” – Crash (2022) “Bel Air” – Unreleased “Black Roses” – True Romance (2012) “Blame It on U” – Number 1 Angel (2017) “Blame It on Your Love” – Charli (2019) “Block” – Candyland (2024) “Blow You Up” – Non-album single (2016) “Body of My Own” – Sucker (2014) “Boom Clap” – Sucker (2014) “Bounce” – Unreleased “Boyfriend Material” – Jersey (2014) “Boys & Girls” – Non-album single (2016) “Break the Rules” – Sucker (2014) “Breaking Up” – Sucker (2014) “Bricks” – Non-album single (2019) “Britpop” – Britpop (2024) “Bullets” – Soft Rock (2023)
(C)
“c2.0” – how i’m feeling now (2020) “Call Him” – Unreleased “Can You Hear Me” – Unreleased “Caught in the Middle” – Sucker (2014) “Charger” (Charli XCX Rework) – The Remixes (2021) “Chas’s Song” – Unreleased (2008) “Cherry Pie” – Unreleased “claws” – how i’m feeling now (2020) “Click” – Charli (2019) “Cloud Aura” – Super Ultra / True Romance (2012) “Club Classics” – Brat (2024) “Come to My Party” – Unreleased “Cold Nites (Remix)” – Super Ultra (2012) “Constant Repeat” – Crash (2022) “Crash” – Crash (2022) “Crazy Crazy” – Digital Native (2017) “Cross You Out” – Charli (2019)
(D)
“Dance 4 U” – Super Ultra (2012) “Dance for Me” – Heavy Rules Mixtape (2018) “Deadstream (Rostam Version)” – It’s Jim-ee (2017) “Delicious” – Pop 2 (2017) “Destiny’s Child” – Unreleased “detonate” – how i’m feeling now (2020) “Diamonds” – Déjà Vu (2015) “Die Tonight” – Sucker (2014) “Dirty Sexy Money” – 7 (2017) “DIV” – Unreleased “Doing It” – Sucker (2014) “Drama” (Remix) – Good Luck (Deluxe Edition) (2021) “Dream Glow” – BTS World: Original Soundtrack (2019) “Dreamer” – Number 1 Angel (2017) “Dreams Money Can Buy” – Heartbreaks and Earthquakes (2012) “Drop That Kitty” – Non-album single (2015) “Drugs” – Number 1 Angel (2017) “Drum” – Non-album single (2016)
(E)
“Emotional” – Number 1 Angel (2017) “End of the World” – Non-album single (2011) “Enemies” – Unreleased “enemy” – how i’m feeling now (2020) “Every Rule” – Crash (2022) “Everything Is Romantic” – Brat (2024) “Explode” – The Angry Birds Movie (Original Motion Picture Soundtrack) (2016) “Eyes Wide” – Unreleased
(F)
“Famous” – Sucker (2014) “Fancy” – The New Classic (2014) “February 2017” – Charli (2019) “Flash Pose” – 111 (2019) “Float On” – Old (2013) “Focus” – Non-album single (2018) “forever” – how i’m feeling now (2020) “Forgiveness” – Super Ultra (2012) “Four by Four” – Unreleased “Friends” – In the End It Always Does (2023) “Friss Meine Shorts” – Unreleased “Fruit Salad” – Unreleased
(G)
“Genjitsu Camera” – Unreleased (2021) “Girl, So Confusing” – Brat (2024) “Girls Like Us” – Fancy You (2019) “Girls Night Out” – Non-album single (2018) “Glow” – Super Ultra (2012) “Gold Coins” – Sucker (2014) “Gone” – Charli (2019) “Good Girls” – Unreleased “Good Ones” – Crash (2021) “Got No Love” – Unreleased “Gravity” – Pollinator (2017) “Grins” – Heartbreaks and Earthquakes / True Romance (2012) “Guess” – Brat and It’s the Same but There’s Three More Songs So It’s Not (2024)
(H)
“Hand in the Fire” – All Wet (2015) “Hanging Around” – Sucker (2014) “Hard 2 Love” – Unreleased “Haunt” – Unreleased “Heal My Heart” – Unreleased “Heatwave” – Super Ultra (2012) “Heavy” – Soft Rock (2023) “Hell Yeah Baby” – Unreleased “Hello Goodbye” – Brat and It’s the Same but There’s Three More Songs So It’s Not (2024) “Her Body” – The Movie (2021) “Here to Stay” – Unreleased “High Maintenance” – Unreleased “Hot Girl” – Bodies Bodies Bodies (2022) “Hot in It” – Drive (2022) “How Can I” – Heartbreaks and Earthquakes / True Romance (2012) “How Can I Not Know What I Need Right Now” – Crash (2022) “Hurts Like Hell” – Non-album single (2018)
(I)
“I Don’t Care” – Unreleased “I Don’t Wanna Know” – Charli (2019) “i finally understand” – how i’m feeling now (2020) “I Got It” – Pop 2 (2017) “I Love It” – Icona Pop (2012) “I Might Say Something Stupid” – Brat (2024) “I Think About It All the Time” – Brat (2024) “I Wanna Be with You” – Unreleased “I Wish” – Unreleased “I’ll Teach You a Lesson” – Unreleased (2008) “I’m a Dream” – Bicycle (2017) “I’m Not Sorry” – Unreleased “I, U, Us” – Second (2016) “If It’s Over” – Forever Neverland (2018) “Illusions” – Unreleased “ILY2” – Number 1 Angel (2017) “In the City” – Non-album single (2023)
(J-L)
“Jealous” – I Remember (2016) “Joan of Arc” – Non-album single (2017) “Jungle” – Unreleased “Just Desserts” – Non-album single (2013) “Kingdom” – The Hunger Games: Mockingjay, Part 1 (2014) “Ladder” – Unreleased “Leave Me” – Unreleased (2008) “Light It Up” – Unreleased “Lightning” – Crash (2022) “Like This” – Unreleased “Lipgloss” – Number 1 Angel (2017) “Live Forever” – Season 1 (2019) “Live Life” – Unreleased (2008) “Lock You Up” – Heartbreaks and Earthquakes / True Romance (2012) “London Queen” – Sucker (2014) “Love Gang” – Non-album single (2017) “Lucifer” – Britpop (2024) “Lucky” – Pop 2 (2017) “Lucy” – Unreleased (2008)
“It got bad because it just turned into this weird dark thing. It became cloak and dagger shit”: Toto’s Steve Lukather on how cocaine took over Los Angeles in the 1980s
(Image credit: Alex Solca)
Toto guitarist Steve Lukather has spoken about how he was turned onto cocaine. Lukather was speaking with The Daily Telegraph in advance of Toto’s UK tour, which began on Saturday at the OVO Hydro in Glasgow, Scotland.
“It was unbelievable how [cocaine] overtook the city,” Lukather tells The Telegraph. “I didn’t even realise what was going on. I didn’t realise why there were five guys in the bathroom stall. I didn’t understand. I’d walk into the bathroom to take a leak and there’s all these guys in the stall. ‘Hey, what the fuck are you guys doing in there?’ ‘Nothing man, nothing kid.’
“And then one night, two in the morning, I’m going, ‘I’ve got a 10am [session], how am I fucking going to get through this?’ And some guy goes, ‘Come here man, have some of this’. And I go, ‘Oh man, it’s drug shit’… but they sold me the whole lot. They sold us all the lies: it’s not addictive, it’s better than coffee, it’s no problem.
“And all my heroes were doing it so I said, ‘Okay’. And it started out fine… but it got bad because it just turned into this weird dark thing. It became cloak-and-dagger shit… It was the addiction thing that people lied to us about.”
Toto frontman Bobby Kimball was fired by the band in 1984 during the recording of Isolation, the follow-up to 1982’s enormously successful Toto IV album, reportedly because he’d attempted to sell drugs to an undercover police officer. Others maintain that Kimball was let go because his cocaine use was negatively impacting his studio work.
“The bottom line was Bobby couldn’t sing,” keyboardist Steve Porcaro told Classic Rock in 2015. “I stayed up all night. We all did. The next day my throat would be like ribbons. But I didn’t have to sing. Bobby had to, and he just wasn’t delivering.”
Elsewhere in the interview, Lukather remembers his first impressions of punk fashion, reveals why he’s stopped dying his hair, and looks back on the continued, generation-straddling success of Africa.
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The next show on Toto’s Dogs Of Oz tour takes place at Manchester’s AO Arena on February 4. Full dates below.
Toto: Dogs Of Oz Tour 2025
Feb 04: Manchester AO Arena, UK Feb 05: London Wembley Arena, UK Feb 07: Brussels Forest National, Belgium Feb 08: Arnhem GelreDome, Netherlands Feb 10: Esch Alzette Rockhal, Luxembourg Feb 11: Lille Zénith, France Feb 12: Paris Zénithm, France Feb 14: Lyon-Décines LDLC Arena, France Feb 15: Geneva Geneva Arena, Switzerland Feb 16: Zurich Hallenstadion, Switzerland Feb 18: Stuttgart Porsche Arena, Germany Feb 19: Dusseldorf Mitsubishi Electric Halle, Germany Feb 21: Horsens Forum Horsens, Denmark Feb 22: Copenhage Royal Arena, Denmark Feb 25: Oslo Spektrum, Norway Feb 26: Gothenburg Scandinavium, Sweden Feb 28: Helsinki Espoo Metro Arena, Finland Mar 02: Tampere Nokia Arena, Finland
Apr 16: Melbourne John Cain Arena, Australia Apr 18: Byron Bay Bluesfest, Australia Apr 19: Sydney ICC Theatre, Australia Apr 23: Auckland Spark Arena, New Zealand Apr 24: Wellington TSB Arena, New Zealand Apr 26: Christchurch Wolfbrook Arena, New Zealand
Jul 18: West Palm Beach iTHINK Financial Amphitheatre, FL Jul 19: Tampa MIDFLORIDA Credit Union Amphitheatre, FL Jul 21: Birmingham Coca-Cola Amphitheater, AL Jul 22: Alpharetta Ameris Bank Amphitheatre, GA Jul 24: Burgettstown The Pavilion at Star Lake, PA Jul 25: Holmdel PNC Bank Arts Center, NJ Jul 26: Boston Leader Bank Pavilion, MA Jul 28: Gilford BankNH Pavilion, NH Jul 30: Bridgeport Hartford HealthCare Amphitheater, CT Aug 01: Atlantic City Hard Rock Live at Etess Arena, NJ Aug 03: Cincinnati Riverbend Music Center, OH Aug 05: St. Louis Hollywood Casino Amphitheatre, MO Aug 06: Noblesville Ruoff Music Center, IN Aug 08: Cuyahoga Falls Blossom Music Center, OH Aug 09: Tinley Park Credit Union 1 Amphitheatre, IL Aug 11: Clarkston Pine Knob Music Theatre, MI Aug 13: Bristow Jiffy Lube Live, VA Aug 14: Charlotte PNC Music Pavilion, NC Aug 15: Nashville Ascend Amphitheater, TN Aug 17: Oklahoma City The Zoo Amphitheatre, OK Aug 18: Irving The Pavilion at Toyota Music Factory, TX Aug 21: Phoenix Arizona Financial Theatre, AZ Aug 23: Las Vegas Fontainebleau, NV Aug 24: Inglewood Kia Forum, CA Aug 25: Concord Toyota Pavilion at Concord, CA Aug 27: Salt Lake City Utah First Credit Union Amphitheatre, UT Aug 29: Puyallup Washington State Fair, WA Aug 30: Ridgefield Cascades Amphitheater, WA
Online Editor at Louder/Classic Rock magazinesince 2014. 39 years in music industry, online for 26. Also bylines for: Metal Hammer, Prog Magazine, The Word Magazine, The Guardian, The New Statesman, Saga, Music365. Former Head of Music at Xfm Radio, A&R at Fiction Records, early blogger, ex-roadie, published author. Once appeared in a Cure video dressed as a cowboy, and thinks any situation can be improved by the introduction of cats. Favourite Serbian trumpeter: Dejan Petrović.
Feature Photo: Mercury Records, Public domain, via Wikimedia Commons
There’s a certain magic to Thin Lizzy’s catalog—an electrifying mix of razor-sharp riffs, poetic storytelling, and a rhythm section that hits with the force of a speeding train. While some bands defined themselves by excess, Thin Lizzy made their mark through precision, crafting anthems that demand to be played at full volume. Whether it’s the swagger of a streetwise hustler, the tension of an outlaw on the run, or the camaraderie of a gang returning to town, their music thrives in the space between melody and muscle, blending rock, blues, and Celtic influences into a sound entirely their own.
The songs on this list aren’t just essential Thin Lizzy tracks—they are the ones built for maximum impact, the kind that ignite a crowd or turn a quiet room into a makeshift concert. From Phil Lynott’s evocative lyricism to the band’s legendary twin-guitar attack, each track carries its own brand of intensity, whether it’s the thunderous energy of “Jailbreak” or the razor-edged urgency of “Cold Sweat.” These are the moments where Thin Lizzy wasn’t just making music—they were making statements, commanding attention with every note.
To turn these songs down would be a disservice. This is Thin Lizzy at their loudest, most exhilarating, and most undeniable.
# 10 – Whiskey In The Jar – Vagabonds of the Western World
Thin Lizzy’s electrified take on the traditional Irish folk song “Whiskey in the Jar” became an unexpected breakthrough for the band, propelling them into the mainstream. Recorded in 1972 and released as a stand-alone single before appearing on Vagabonds of the Western World in 1973, the song showcased the group’s ability to fuse Celtic heritage with hard rock. Produced by Nick Tauber and recorded at De Lane Lea Studios in London, the track features Phil Lynott’s emotive vocals, Eric Bell’s fluid guitar work, and Brian Downey’s steady drumming. The song climbed to number six on the UK Singles Chart and topped the Irish charts, cementing Thin Lizzy’s reputation far beyond their Dublin roots.
Lyrically, “Whiskey in the Jar” tells the tale of a highwayman betrayed by his lover, a story that had been passed down through generations in Irish folk tradition. Lynott’s delivery adds layers of anguish to lines such as, “I took all of his money and it was a pretty penny”, emphasizing the doomed outlaw’s fatal greed. The betrayal cuts deeper as he laments, “I first produced my pistol and then produced my rapier,” setting the stage for the song’s tragic turn. This lyrical storytelling, combined with the band’s dynamic instrumentation, gave the track a sense of urgency absent from its more traditional renditions. While Thin Lizzy’s version retained the melody’s folk roots, the soaring electric guitar lines and Lynott’s distinct phrasing transformed the song into something uniquely their own.
Despite its success, “Whiskey in the Jar” did not fully represent the direction Thin Lizzy would later take. The song’s folk-rock feel contrasted with the twin-guitar attack that would define albums like Jailbreak, yet its impact was undeniable. Other Thin Lizzy songs on this list showcase the band’s signature sound, but “Whiskey in the Jar” remains their most widely recognized hit, later covered by Metallica in 1998. It introduced audiences to the band’s ability to reinterpret tradition with a modern edge, making it a perfect song to turn up to eleven.
# 9 – Cowboy Song – Jailbreak
Thin Lizzy captured the restless spirit of the open road with “Cowboy Song,” a track that blends their signature hard rock sound with an evocative Western narrative. Featured on Jailbreak, the band’s 1976 breakthrough album, the song was recorded at Ramport Studios in London and produced by John Alcock. Phil Lynott, the band’s bassist and primary songwriter, penned the lyrics alongside guitarist Brian Robertson, crafting a tale of a wandering cowboy searching for meaning beyond the horizon. Lynott’s smooth yet impassioned vocal delivery, combined with the twin-guitar interplay of Robertson and Scott Gorham, created a track that seamlessly balances melodic storytelling with driving rock energy.
Lyrically, “Cowboy Song” follows a weary drifter who finds solace in movement, a theme reinforced by lines like “I am just a cowboy, lonesome on the trail” and “Sometimes at night, I see their faces, I feel the traces they left on my soul.” Lynott’s poetic phrasing paints a vivid picture of solitude, longing, and the weight of memories that accompany a life in constant motion. The song’s structure mirrors this journey, starting with a reflective acoustic intro before launching into an explosive, galloping riff that propels the track forward. As the song reaches its climax with the repeated cry of “Roll me over and turn me around”, it embodies the relentless pursuit of freedom that defines both the cowboy’s life and the rock ‘n’ roll ethos of Thin Lizzy.
Musically, “Cowboy Song” is an essential piece of Jailbreak, standing alongside other high-energy anthems that make the album a defining moment in the band’s career. The seamless guitar harmonies of Robertson and Gorham elevate the track, foreshadowing the dueling lead style that would influence countless hard rock and metal acts. Compared to other Thin Lizzy songs on this list, “Cowboy Song” leans heavily into storytelling, making it one of the most cinematic tracks in their catalog. Its infectious energy and powerful narrative make it a song built to be played at full volume, earning its place among the Thin Lizzy songs that demand to be turned up to eleven.
# 8 – Johnny the Fox Meets Jimmy the Weed – Johnny The Fox
With a groove that snakes through the speakers and a storyline that plays out like a crime drama, “Johnny the Fox Meets Jimmy the Weed” is one of Thin Lizzy’s most compelling narrative-driven songs. Recorded in the summer of 1976 at Ramport Studios in London and produced by John Alcock, the track appears on Johnny the Fox, an album written largely while Phil Lynott was recovering from a bout of hepatitis. The lineup featured Lynott on bass and vocals, Scott Gorham and Brian Robertson on guitars, and Brian Downey on drums, creating the tight yet fluid instrumentation that gives the song its distinctive swagger.
Lynott’s lyrics paint a vivid picture of a streetwise hustler and his smooth-talking counterpart, with lines like “Johnny the Fox he called to Jimmy the Weed / He said ‘Hey man, I know your name’” setting the tone for a shady backroom deal. The song’s underworld setting is enhanced by imagery such as “Tuned into and listen to the voodoo Rhythm Devils / Around the Bay,” giving it an almost mystical aura. The reference to “the beating drum for the lonely one” adds a sense of inevitability, as if the song’s characters are caught in a cycle of crime and deception they can’t escape. This storytelling element, mixed with the band’s signature twin-guitar attack, makes it a perfect track to crank up, standing alongside other high-energy selections on this list.
Comparing “Johnny the Fox Meets Jimmy the Weed” to “Bad Reputation,” both songs showcase Lynott’s ability to craft tales of rebellious figures, though this track leans more into noir-style storytelling, while “Bad Reputation” is a more straightforward rock anthem. The song’s laid-back yet sinister groove also contrasts with the upbeat, saxophone-driven energy of “Dancing in the Moonlight,” showing Thin Lizzy’s versatility. Though it was never released as a single, “Johnny the Fox Meets Jimmy the Weed” remains a deep cut that resonates with fans who appreciate Lynott’s knack for blending street poetry with rock and roll muscle.
# 7 – Chinatown – Chinatown
Blazing forward with an aggressive edge, “Chinatown” is a no-holds-barred rocker that captures Thin Lizzy’s ability to combine streetwise storytelling with an electrifying twin-guitar attack. Released in 1980 as the title track to Chinatown, the song marked a transitional period for the band, introducing guitarist Snowy White alongside longtime members Phil Lynott, Scott Gorham, and Brian Downey. The album was recorded at Good Earth Studios in London, with Lynott taking on production duties alongside Kit Woolven. Though the record didn’t reach the commercial heights of previous Thin Lizzy albums, it still charted respectably, hitting number seven in the UK and solidifying the band’s reputation for delivering high-energy rock anthems.
Lynott’s lyrics paint a dark and ominous picture of a dangerous underworld, warning, “Man, you don’t stand a chance if you go down in Chinatown.” The repetition of that phrase throughout the song reinforces the idea of an unforgiving environment where survival is anything but guaranteed. Lines like “Living and dying, there is no release” and “There is no relief, there is no beliefs” add to the song’s fatalistic tone, making it one of the grittier entries in the Thin Lizzy catalog. Compared to “Johnny the Fox Meets Jimmy the Weed,” which also tells a story of urban crime, “Chinatown” leans more into paranoia and doom rather than the slick confidence of a street hustler.
Musically, “Chinatown” is driven by a relentless rhythm section and fierce guitar interplay, a hallmark of the band’s sound. While the song’s structure is more straightforward than “Bad Reputation,” it carries a sense of urgency that makes it an essential track to turn up to eleven. The addition of Snowy White gave Thin Lizzy a slightly different dynamic, but the song still exudes the raw energy that had been their signature throughout the ’70s. Though it wasn’t released as a single, “Chinatown” remains a deep cut that showcases Lynott’s ability to merge storytelling with hard-hitting rock.
# 6 – Rosalie – Fighting
“Rosalie” is a powerhouse in Thin Lizzy’s catalog, blending their signature twin-guitar attack with a high-energy tribute to a legendary radio tastemaker. Originally written by Bob Seger and recorded for his 1973 album Back in ’72, Thin Lizzy reworked the song for their 1975 album Fighting, adding a harder edge that transformed it into one of their most electrifying live staples. The album was recorded at Olympic Studios in London, produced by Phil Lynott and Nick Tauber, and marked a turning point for the band as they refined their sound into the twin-guitar-driven rock that would define their career.
Lyrically, “Rosalie” pays homage to Rosalie Trombley, the influential music director of CKLW, a Windsor, Ontario radio station that helped break countless artists in North America. The song captures her power in the music industry, with lines like “She got the power, the teen queen, Rosalie”, highlighting her ability to make or break careers. The repeated chorus reinforces her dominance in the industry, as Lynott sings “She knows music, I know music too, you see”, acknowledging her deep knowledge and impact. The reference to “From Chattanooga to good old Booga Loosa, you can hear her fine” further cements her reach, demonstrating her influence beyond just one region. Compared to the storytelling grit of “Johnny the Fox Meets Jimmy the Weed,” this track is more celebratory, exalting a figure in music rather than depicting the dangers of street life.
Musically, Thin Lizzy’s version of “Rosalie” is more aggressive and dynamic than Seger’s original, thanks to the dueling guitar work of Scott Gorham and Brian Robertson, along with Lynott’s commanding vocal delivery. The track became a setlist staple, with a live version appearing on Live and Dangerous, where it took on an even more explosive presence. While it differs in tone from the dark atmosphere of “Chinatown,” it still carries the band’s signature swagger, making it an essential Thin Lizzy song to turn up to eleven.
# 5 – Dancing In The Moonlight – Bad Reputation
Thin Lizzy brought an infectious groove to Bad Reputation with “Dancing in the Moonlight (It’s Caught Me in Its Spotlight),” a track that stands apart from the band’s hard-hitting rock anthems by embracing a smooth, almost jazz-infused rhythm. Recorded in 1977 at Toronto Sound Studios and produced by Tony Visconti, the song features Phil Lynott’s signature melodic bass playing alongside the twin guitar work of Scott Gorham and Brian Robertson. The track also benefits from the addition of a saxophone solo by Supertramp’s John Helliwell, giving it a unique sound within Thin Lizzy’s catalog.
Lynott’s lyrics capture the carefree exhilaration of youthful nights spent out under the city lights, with lines like “When I passed you in the doorway, well, you took me with a glance” painting the image of an impulsive, romantic encounter. Yet beneath the surface, there’s a bittersweet undercurrent, hinted at when he sings, “I should have took that last bus home, but I asked you for a dance.” The tension between youthful recklessness and the looming consequences of staying out too late adds depth to what might otherwise be a simple love song. The chorus, with its hypnotic repetition of “I can’t stop it now, it’s caught me in its spotlight,” reflects the intoxicating feeling of being completely lost in the moment, a theme that resonates across Thin Lizzy’s best tracks.
Compared to the driving energy of “Cowboy Song,” “Dancing in the Moonlight” takes a more relaxed approach, proving that Thin Lizzy was as adept at crafting groove-heavy rock as they were at delivering powerful guitar-driven anthems. The track charted at number 14 on the UK Singles Chart, making it one of the band’s most commercially successful songs.
# 4 – The Boys Are Back In Town – Jailbreak
No Thin Lizzy song commands attention quite like “The Boys Are Back in Town,” a track that became the band’s defining anthem and a rock radio staple. Released in 1976 as part of Jailbreak, the song was recorded at Ramport Studios in London and produced by John Alcock. Featuring Phil Lynott on bass and lead vocals, Scott Gorham and Brian Robertson on twin guitars, and Brian Downey on drums, the track encapsulates the band’s signature blend of hard rock swagger and melodic storytelling. Upon release, it became Thin Lizzy’s commercial breakthrough, reaching number 12 on the Billboard Hot 100 and number 8 on the UK Singles Chart.
The lyrics center around a rowdy group returning to their favorite haunt, painting images of a night filled with revelry and reunion. Lines like “Guess who just got back today? Them wild-eyed boys that had been away” set the stage for an electrifying homecoming, while “Friday night they’ll be dressed to kill” captures the anticipation of a long-awaited night out. Unlike the grit of “Chinatown” or the outlaw narrative of “Johnny the Fox Meets Jimmy the Weed,” this track thrives on sheer celebration, making it one of the most high-energy selections on the list. The song’s anthemic quality is amplified by the call-and-response structure of the chorus and the infectious guitar harmonies that solidified Thin Lizzy’s reputation as masters of the dual-guitar attack.
Critically, “The Boys Are Back in Town” remains one of Thin Lizzy’s most praised compositions. The song earned a Grammy nomination for Best Rock Performance by a Duo or Group with Vocal in 1977 and has since been included in countless lists of the greatest rock songs of all time. Its influence extends far beyond its initial release, appearing in films, commercials, and sporting events, making it a track that continues to resonate with new generations. Among the songs in this article, it stands as one of the most definitive examples of Thin Lizzy’s ability to craft larger-than-life rock anthems that demand to be played at full volume.
# 3 – Jailbreak – Jailbreak
When Thin Lizzy unleashed “Jailbreak” in 1976, they delivered more than just an adrenaline-charged rock anthem—it became a defining moment in their career. Recorded at Ramport Studios in London and produced by John Alcock, the track appeared on Jailbreak, the album that propelled the band into mainstream recognition. The lineup of Phil Lynott on bass and vocals, Scott Gorham and Brian Robertson on dual lead guitars, and Brian Downey on drums provided the signature Thin Lizzy sound, blending hard rock with cinematic storytelling. Upon release, “Jailbreak” gained traction on rock radio and helped the album reach number 18 on the Billboard 200. Though not released as a single in the U.S., it has since become one of the band’s most enduring songs.
Lyrically, “Jailbreak” captures the urgency of a prison break, with Lynott setting the scene in the opening line: “Tonight there’s gonna be a jailbreak somewhere in this town.” The song’s narrative unfolds with tension, warning “don’t you be around,” reinforcing the sense of rebellion and escape. The high-energy delivery aligns it with tracks like “The Boys Are Back in Town,” but whereas that song celebrates a rowdy homecoming, “Jailbreak” revels in danger and desperation. The lyrics’ outlaw imagery echoes the themes in “Johnny the Fox Meets Jimmy the Weed,” further cementing Thin Lizzy’s ability to weave streetwise storytelling into their hard-rock framework.
Critically, “Jailbreak” remains one of Thin Lizzy’s most recognized tracks, regularly appearing on classic rock playlists and compilations. Its heavy riff, coupled with Lynott’s charismatic vocal delivery, has made it a fan favorite at live shows. The song also inspired a music video featuring the band acting out the song’s storyline in a dystopian setting. Alongside other tracks on Jailbreak, it showcases the band’s ability to merge hard rock aggression with vivid lyricism, securing its place as a track that begs to be blasted at full volume.
# 2 – Cold Sweat – Thunder And Lightning
By the time Thin Lizzy released Thunder and Lightning in 1983, the band was embracing a heavier, more aggressive sound, and “Cold Sweat” epitomized that shift. Recorded at Lombard and Boathouse Studios in Dublin and produced by Chris Tsangarides, the track was one of the standout moments from the band’s final studio album. The lineup featured Phil Lynott on bass and vocals, Scott Gorham and the late John Sykes on guitars, Darren Wharton on keyboards, and Brian Downey on drums. Sykes, who had recently joined the band, played a key role in shaping the song’s hard-edged, almost proto-metal sound. “Cold Sweat” was released as a single and charted in the UK, reaching number 27, making it one of Thin Lizzy’s last hits before their dissolution.
The lyrics of “Cold Sweat” reflect a sense of urgency and risk-taking, fitting the song’s aggressive tone. Lynott delivers lines like “I got my money in a suitcase, and I’m ready to go” and “I got nothing to lose but my life,” which emphasize a life lived on the edge, a theme that had been present throughout Thin Lizzy’s catalog but took on a more reckless, desperate feel here. The song’s pounding rhythm and rapid-fire guitar work mirror the tension in the lyrics, creating a track that stands apart from the more melodic, storytelling-driven songs like “The Boys Are Back in Town” or “Rosalie.” Instead of celebrating camaraderie or adventure, “Cold Sweat” exudes a raw energy that aligns more closely with the album’s title.
Critically, “Cold Sweat” was praised for its intensity and for Sykes’ blistering guitar work, which foreshadowed his later success with Whitesnake. The song remains one of the heaviest in Thin Lizzy’s discography and is frequently cited as a highlight of Thunder and Lightning. Compared to earlier Thin Lizzy tracks, which often featured the band’s signature dual-guitar harmonies, “Cold Sweat” strips the sound down to a more straightforward, riff-driven attack. As one of the final defining moments of the band’s career, it captures Thin Lizzy at their most urgent, a song designed to be blasted at maximum volume.
# 1 – Bad Reputation – Bad Reputation
With relentless energy and a defiant attitude, “Bad Reputation” captures Thin Lizzy at their most rebellious. Recorded in May and June of 1977 at Toronto Sound Studios and produced by Tony Visconti, the track became the defining statement of the album of the same name. Phil Lynott’s commanding bass lines drive the song forward, while Scott Gorham’s fiery guitar work injects an urgency that perfectly complements the song’s unapologetic stance. Brian Downey’s precise drumming locks everything into place, underscoring the song’s raw power, though it’s notable that Brian Robertson, due to injuries, was largely absent from the recording process and did not contribute guitar parts.
Lynott’s lyrics reinforce the song’s untamed spirit, with lines like “You got a bad reputation, that’s the word out on the town” setting the tone for a narrative of someone who refuses to conform. The protagonist seems unbothered by the whispers and judgments of others, a theme emphasized in “It follows you around, just like a ghost,” suggesting that once a reputation is established, it’s nearly impossible to shake. However, there’s also an underlying sense of isolation in “You got a bad, bad reputation, but I don’t care what they say about you,” which adds depth by implying that, despite the rumors, someone is still willing to stand by them. The song’s lyrics, coupled with its hard-hitting instrumentation, make it a natural addition to this list of Thin Lizzy songs meant to be played at full volume.
In comparison to “Dancing in the Moonlight,” which leans into a smoother groove with its saxophone-infused sound, “Bad Reputation” is unfiltered rock aggression. It captures the same spirit of independence found in “Cowboy Song,” but instead of longing for escape, it confronts the outside world head-on. Though not released as a single, the song remains a fan favorite and a staple in the band’s live performances, further cementing Bad Reputation as one of Thin Lizzy’s defining albums.
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Before the fourth album, Katy Lied, Donald Fagen and Walter Becker had retained control of Steely Dan while the live band members were mostly replaced by session guys. One of the fresh hirings was a kid prodigy, Jeff Porcaro on drums. On the previous record, Pretzel Logic, they had outed themselves a major jazz fans, and so the new tunes had permission to experiment with wry chord changes, novel moods and Fagen’s twisted character studies.
He was at his best with Black Friday, the confessions of a white-collar felon, planning a financial heist and a hasty escape to Australia. There was a return to the landscapes of New York on Bad Sneakers, a moneyed freak on the streets of Manhattan, guessing that he’s set for a tragic end.
The record was produced in Los Angeles by Gary Katz. The tunes are rich and assured, bringing the listeners over the shiny, FM listening threshold. Often, the talent seems nonchalant. Doctor Wu starts modestly and then pulls out a splendid chorus from nowhere that entertains well.
Hindsight tells us that the record was front-loaded with big tunes and that side two is not so stellar. Fagen introduces a creepy figure for Everyone’s Gone to the Movies, planning his abuse against an expressly cheerful arrangement. Any World (That I’m Welcome To) is a study in disappointment and the yearning for a reboot. As such, it’s like a sketch for the exemplary Deacon Blue, two years later.
By 1975, Steely Dan had the capacity to be both inscrutable and popular, an enviable place to be. Walter Becker plays tremendous guitar, a practice he relegated on subsequent records. Katy Lied also marked the appearance of Michael McDonald on backing vocals, a sweet balance to Fagen’s careworn style. All of this would find perfect expression on the Aja album in 1977, but much of the adventure began here.
The quest for sonic perfection led Steely Dan to experiment with new audio formatting that went awry, stressing their deadline and causing the authors to be “mental puddles”, loath to actually listen to the final pressing. For this landmark vinyl reissue (apparently the first in 40 years), Fagen supervised the process. Hopefully, he liked the result.
Stuart Bailie is a journalist and broadcaster based in Belfast. He is the editor of the quarterly Dig With It magazine, and his work has appeared in NME, Mojo, Uncut, Q, The Times, The Sunday Times, The Mirror, The Irish Times, Classic Rock and Hot Press. He was Assistant Editor of NME from 1992 to 1996 and is the author of Philip Lynott: The Ballad of the Thin Man, Trouble Songs: Music and Conflict In Northern Ireland, and 75 Van Songs: Into the Van Morrison Songbook.
Jerry Cantrell kicked off his 2025 I Want Blood tour in Niagara Falls Friday night with a 17-song set largely devoted to his solo career.
The Alice in Chains star is supporting his recent solo album of the same name, and played five I Want Blood songs during the show, including the singles “Vilified” and “Afterglow.”
You can see the full set list and fan-shot video from the show below.
In addition to performing at least two songs from each of his previous three solo albums – 1998’s Boggy Depot, 2002’s Degradation Trip and 2021’s Brighten – Cantrell also played five Alice in Chains songs including “Them Bones,” “Would?” and a set-closing “Rooster.” He performed “Hate to Feel,” from 1992’s Dirt, for the first time in over 30 years.
The I Want Blood tour continues Saturday night at Sayreville, New Jersey’s Starland Ballroom and is currently scheduled to conclude on March 9 in Seattle. You can see the complete itinerary below.
Watch Jerry Cantrell Perform ‘Down in a Hole’
Jerry Cantrell Jan 31, 2025 Niagara Falls Set List
“Psychotic Break” “Them Bones” “Vilified” “Afterglow” “Atone” “Off the Rails” “Cut You In” “My Song” “I Want Blood” “Had to Know” “Down in a Hole” “Angel Eyes” “Hate to Feel” “Would?” “Brighten” “Hold Your Tongue” “Rooster”
Jerry Cantrell, ‘I Want Blood’ 2025 North American Tour Feb. 1 – Sayreville, NJ @ Starland Ballroom Feb. 2 – Portland, ME @ Aura Feb. 4 – Boston, MA @ Citizens House of Blues Boston Feb. 5 – New York, NY @ Irving Plaza Feb. 7 – Silver Spring, MD @ The Fillmore – Silver Spring Feb. 8 – Bensalem, PA @ Parx Xcite Center Feb. 11 – Huntington, NY @ The Paramount Feb. 12 – Norfolk, VA @ The NorVa Feb. 14 – Raleigh, NC @ The Ritz Feb. 15 – Atlanta, GA @ Buckhead Theatre Feb. 16 – Louisville, KY @ Mercury Ballroom Feb. 18 – Columbus, OH @ The Bluestone Feb. 19 – Indianapolis, IN @ Murat Egyptian Room at Old National Centre Feb. 22 – St. Louis, MO @ The Hawthorn Feb. 23 – Chicago, IL @ The Vic Theatre Feb. 25 – Tulsa, OK @ Tulsa Theater Feb. 26 – Houston, TX @ House of Blues Houston Feb. 27 – San Antonio, TX @ The Aztec Theatre March 1 – Mesa, AZ @ The Nile Theater March 2 – Las Vegas, NV @ House of Blues Las Vegas March 4 – Los Angeles, CA @ The Belasco March 5 – Ventura, CA @ The Majestic Ventura Theater March 7 – Spokane, WA @ Knitting Factory – Spokane March 8 – Portland, OR @ Wonder Ballroom March 9 – Seattle, WA @ Moore Theatre
