I Went to 32 Concerts in 7 States in 2023. Let’s Talk About the Top 3.
A Review of 3 Killer Shows
7 states. 11 cities. Jam, folk, bluegrass, southern rock, psychedelic rock, psychedelic country, and blend it all up ’til it’s just one big mess of speedpicking and passing joints around. That’s how I spent most of my free time in 2023.
From closing out Dead and Company in San Francisco, to flying to New Orleans just to see Jason Isbell in the south, to hip-hop in Milwaukee, Bob Dylan on a baby grand, and Billy Strings pushing an arsenal of acoustic guitars to their outermost limits, my 2023 lineup was first-rate, if not a bit excessive. There are surely many people out there (especially w00ks) pushing much higher numbers. But as the full list of concerts at the bottom of this article reflects, it’s about quality, not necessarily quantity.
Oddly, each of my top 3 shows took place within 19 days of September 2023. Aside from that cosmic detail, there’s no need to drone on recipe-like.
Let’s dive in.
3. Tyler Childers — The Mann Center — Philly — 9/10/23
This show was originally scheduled to take place at The Met in Philly — a 3,500 capacity indoor venue. Margo Price was scheduled to open. Resale ticket prices were absurd. $400+ for pit. $300+ to get in the door. Through a relentless cycle of clicking and refreshing, I managed to scrape up a pit ticket for a bit over $200. Then, the day before the show, this:
I was obviously disappointed by the cancellation. Childers’ heart-wrenching video for his new track “In Your Love” had come out in the weeks leading up to the show, building anticipation. My disappointment, however, paled in comparison to the conspiracy theories in the now-deleted comment section from that announcement. Notably, the Mann Center — where the concert was rescheduled — is a 14,000 capacity outdoor venue. That’s 10,500 more than The Met. One comment read “he ain’t seen the light, he took the money and run!”
Margo Price couldn’t open the new date. Nevertheless, determined to see Tyler Childers in Philly, I logged on early ready to grab another pit ticket. Thwarted by a voracious fanbase and probably bots, I ended up with seats in the terrace — the uncovered but seated area in front of the lawn. That would do. It was a lot more affordable anyway.
The day of came and the skies were overcast. I packed my rain poncho, a joint, and some cash, and headed to The Mann. I grabbed a beer and headed to my seat as it lightly rained down on me from the darkening gray sky. I waited to spark my joint, unsure what the vibe would be.
Tyler Childers and The Food Stamps came out and got set. Childers leaned into the mic. “We’re real sorry about before. We never do that. Maybe 5 times over the years.” Then suddenly, there was an organ. The band dropped into “Old Country Church,” a rejuvenated and invigorated Hank Williams cover Childers’ recorded for his 2022 album “Can I Take My Hounds to Heaven?”
Childers recorded three versions of that album, a “Hallelujah” version, a “Jubilee version”, and a “Joyful Noise” version. We got the “Hallelujah” version. Aside from the joint in my pocket and the killer bass line it felt a bit like going to church in Wisconsin when I was younger. As he sang the final chorus Childers swung his arms up and down at his side, showing restrained conviction.
Precious years of memories
Oh, what joy they bring to me
How I long once more to be
With my friends at the old country church
Childers repeated the phrase “with my friends” as he looked out into the audience and the band seamlessly segued into the title track from “Can I Take My Hounds to Heaven?”
“With my friends,” he repeated. The house lights went up a bit so Childers could see everyone packed in all the way to the top of the lawn despite the rain. I noticed the light reflecting off a lot more belt buckles than I was used to seeing at shows.
Clever, lyrically solemn and spiritual, and the graveliest damn voice you ever heard when he wants to, Childers is a rarity. The crowd sang along to “All Your’n” from his 2019 album, “Country Squire,” which was co-produced by Sturgill Simpson. “All Your’n” was nominated for Best Solo Country Performance at the 2019 Grammys. He got beat by Willie Nelson. I doubt he minded. Childers also played the title track, “Country Squire,” and “House Fire” from that album.
Childers rolled out a few tracks from his 2023 record, “Rustin’ in the Rain,” which had only been out for two days by the time he played Philly. He’s described the album as a set of songs Elvis might have performed. In fact, Elvis did perform track 4 from the album — Kris Kristofferson’s “Help Me Make it Through the Night” — a yearning ballad quite straightforwardly about a man’s need for sex.
Childers played the title track to “Rustin’ in the Rain” early in the show, and “Percheron Mules” — a lighthearted and bouncy number from a bygone era — about halfway through. The Bitter Southerner named “Rustin’ in the Rain” the Best Southern Album of 2023.
Then Childers broke the show down, picked up an acoustic guitar, and played “Lady May,” from his 2017 sophomore album, “Purgatory.” Another Sturgill Simpson co-production, “Purgatory” made NPR’s list of the Top 50 Albums of 2017, among other accolades. “Lady May” is a vulnerable and intimate love song written for his wife, Senora May. Leveraging metaphors inherent to nature, “Lady May” examines self and pledges to love.
Second Verse: “Lady May”
Now I ain’t the sharpest chisel
That your hands have ever held
But, darlin’, I could love you well
Til’ the roll is called on high
I’ve seen my share of trouble
And I’ve held my weight in shame
But I’m baptized in your name
Lovely, Lady May
Still on solo acoustic, Childers then strummed out “Nose on the Grindstone” and “Follow You to Virgie.” This combination of songs is haunting and deep-reaching. It asks anyone who is listening carefully enough to examine two existential threats: addiction and death. The crowd sang solemnly along to each of these two beautiful songs.
Chorus: “Nose on the Grindstone”
Well Daddy, I’ve been tryin’, I just can’t catch a break
There’s too much in this world that I can’t seem to shake
But I remember your words, Lord, they bring me the chills
Keep your nose on the grindstone and out of the pills
Chorus: “Follow You to Virgie”
So, I will follow you to Virgie
Although it hurts me so
To lay to rest this mountain beauty
That the Lord’s called home
And I can see her up in glory
I can see her through the pines
The crowd’s voice swelled to a near yell on the final verse of “Follow You to Virgie.” His fans hold this one close. These are shared traumas. A pretty solo version from a 6-years-ago, still-bearded Childers can be found here.
The band came back out and kicked the show into high gear, rocking through “Whitehouse Road” and “Way of the Triune God” at high velocity. They played “In Your Love,” the recent release accompanied by the tearjerking video mentioned above that everyone had clearly been hoping for.
Childers talked about the show they had to cancel the month prior no less than three times between songs. He felt bad. Maybe that’s why they put on such a damn good show that night. Maybe they just do that. Either way, Childers eventually said “we only have a little more time. There’s no encore. This is a Tyler Childers show.”
The band tore into “Trudy” to finish the show, a Charlie Daniels Band cover that doesn’t need any sprucing up to get your feet moving. You can just play it how it is. They did.
It was a warm night in early fall. The rain never kicked up too bad. I left smilin’. It was worth the wait.
2. Old Crow Medicine Show and Margo Price — XPoNential Music Fest — Camden, NJ — 9/22/23
As it turned out, I got to see Margo Price anyway, and only 12 days after the Tyler Childers show at the Mann. XPoNential Music Festival, held annually by radio station WXPN, has a unique setup on a hilly outdoor park in Camden, New Jersey on the banks of the Delaware River. I took a ferry boat over from Philly. It only takes about 15 minutes.
The festival operates on a two-stage system. One band sets up on one of the stages while another band plays on the other. The stages are at the bottom of two distinct hills in Wiggins Park. Both are set to a backdrop of water, but one stage has a beautiful view of the Philly skyline. Price was set to play the skyline-backed stage at 7:15 that night.
By the time I got to the festival it was around 6PM. I walked the food trucks and bought some chili. I stopped by a brewery tent and grabbed an IPA. I don’t much like the hops, it just helps me drink slower. I sat down on some bleachers at the top of the hill by the skyline stage.
“We get the same thing?” a woman sitting on the bleachers by herself asked. Early forties. Wavy brunette hair cascading down a Grateful Dead hoodie.
“Guess that depends what you got. I got the chili,” I replied, curious.
“Ah. I got the gumbo,” she smiled back at me, dipping her spoon back into a small container from the same food truck I had gone to.
“Any good?”
“It’s delicious,” she said, offering me a spoonful. I shrugged “sure” with a grin. She leaned over, fed it to me, laughed lightly with a smile, and started to walk away. “Have fun tonight,” she said, looking back at me and taking another bite.
The early band on the skyline stage was just finishing up as I ran out of beer and chili. I walked back over to the food trucks and beer tent and recharged. By the time I came back the skyline stage was essentially empty and the crew was starting to load in Margo Price and her band’s gear.
Most everyone had migrated to the other stage to check out the band playing over there, leaving behind a whole lot of lawn chairs on the upper part of the hill. Smart, really. Get there early and stake out your spot for the day. That’ll undoubtedly be me someday.
There were a few people in front of the stage, but I was able to walk right down and up to the rail in front of the stage. I figured I might as well just stand here for the next 20 minutes and be front row for the show, so that’s just what I did.
By now the edible I took on the ferry was starting to kick in and I was feelin’ pretty good. An older man from Maryland came up to me and started talking about WXPN. George, I think. He told me his edible was just starting to kick in, too. We had timed it just right.
Margo Price came onstage around 7:15, festival sets being pretty defined, and opened with “Been to the Mountain” off her 2023 album “Strays.” The Bitter Southerner put “Strays” at number 14 on its list of the Best Southern Albums of 2023. A writer for WXPN called Price’s performance of “Been to the Mountain” that night a “psychedelic journey through the singer-songwriter’s past lives.”
Over a 10 song set, Price enthusiastically belted out “Four Years of Chances” and “Tennessee Song” from her 2016 debut album “Midwest Farmer’s Daughter.” That album has been widely praised as one of the most important albums of 2016. It is a quintessential piece of Americana and among the best albums of the last decade.
Track 4, “Since You Put Me Down,” is my personal favorite. The first two lines of the first chorus always stick in my head:
I killed the angel on my shoulder with a fifth of Evan Williams
When I found out you were never coming home
The way the band punches in on that song, too.
Mid-set Price broke out “Twinkle Twinkle” as well as the title track from her 2020 album “That’s How Rumors Get Started,” which — like Tyler Childers’ “Purgatory” and “Country Squire” — was co-produced by Sturgill Simpson. In the middle of “That’s How Rumors Get Started,” Price ran backstage to change from a white jumpsuit with flowing side-capes to a little red one-piece with shining fringes. When she came back on stage she hopped on her drum kit for the second time in the show. Margo Price really, truly gives her audience her all.
Price’s set closed with the smash hit from “Midwest Farmer’s Daughter,” “Hurtin’ (on the Bottle).” She rolled “Hurtin’” right into Merle Haggard’s “I Think I’ll Just Stay Here and Drink,” and rolled from Merle right into Willie Nelson’s “Whiskey River.” This medley of Outlaw Country — of which Price is a torchbearer and proselytizer — was reminiscent of the late Anthony Bourdain’s thoughts on Price:
Her songs ain’t pop tunes with a cowboy hat. They’re coming at you from the same bar room floor, busted car, broken heart where Hank Williams, George Jones and Johnny Cash bared their souls. Real deal. And we were lucky enough to spend time with her and capture her music just as the rest of the world was catching on to how great she is. — Bourdain for CNN
As Price closed out her set she was handed a bouquet of roses that she promptly threw one by one into the audience. Still being in the front row I caught one. I dried and preserved it. A memory worth a memento.
After Price finished her set the crowd moseyed again to the other hill stage for an interim act before Old Crow Medicine Show was set to start at 9PM. I re-upped at the beer tent and checked out the other band. Say She She is a disco-delic soul band from London and New York according to their bio, and I dug the few songs of their set I took in from the back of the hill. I wanted to get a good spot for Old Crow, though, and I could see a lot of other folks starting to get the same idea, so I went back and posted up by the skyline stage, now comfortably buzzed from the edible and a few IPAs.
I don’t know where the hell Old Crow frontman Ketch Secor gets all that energy but good lord does he put on a fun show. He came out talkin’ a mile a minute while noting that he had to temper his usual comments since the show was being simulcast over WXPN, meaning his words were subject to FCC regulation. As he made clear, he’s somewhat experienced with not saying everything that’s on his mind.
“It’s kinda like opening for Hank Jr.,” he mused. “Can’t just say everything you’re thinkin’.”
A writer for WXPN described Old Crow’s set as calling “on a whole host of ghosts,” and “putting their bluegrass spin on songs from recently deceased icons Jimmy Buffet (“Margaritaville”), Tina Turner (“Proud Mary”), and Robbie Robertson (“The Weight”).”
This holds truth. Any good set is haunted by a few.
The unrivaled highlight of the night came early in Old Crow’s set. Three songs in Margo Price returned to the stage with husband and guitarist Jeremy Ivey for a tribute to Robbie Robertson, who had passed only one month prior. Secor told the audience the band was “doing their encore now,” only three songs in.
Old Crow dropped into an instantly recognizable classic by The Band. The first chords of “The Weight” are enough to make any classic rock junkie smile wide. I sure did. After a quick look to Secor to make sure he didn’t mind, Margo took the second verse herself.
I picked up my bag, I went lookin’ for a place to hide
When I saw Carmen and the Devil walkin’ side by side
I said, “Hey, Carmen, come on let’s go downtown.”
She said, “I gotta go, but my friend can stick around.”
That verse was sung by Levon Helm on The Band’s album “Music from Big Pink” and by Mavis Staples on The Last Waltz. Price is in good company. It was perhaps my favorite musical moment of 2023.
The rest of Old Crow’s set was lively, featuring “Take ’em Away,” “Wolfman of the Ozarks,” and “One Drop,” among others. Then the welcome and inevitable time came and the penultimate song of their festival set was “Wagon Wheel.” Arms went around shoulders and seemingly everyone opened their mouths to sing. You know the one.
Their last song was “I Saw the Light” by Hank Williams. That’s the very same light someone in the comment section of Tyler Childers’ cancellation notice claimed Childers had never seen.
I finished my beer and got the ferry back to Philly. Some chili, a little beer, an edible, and a Robbie Robertson tribute outside on a hill in the crisp sweatshirt weather of late September. A night well spent.
- Tedeschi Trucks Band w/ Trey Anastasio, Norah Jones, Lukas Nelson and Promise of the Real — Madison Square Garden — 9/29/23
The worst seats I had all year ended up being the most unexpectedly iconic lineup I have maybe ever seen. When I bought the tickets the only band on the bill was Tedeschi Trucks Band, certainly reason enough to take Amtrak from Philly up to Penn Station, located conveniently directly below Madison Square Garden.
The destruction of the old Penn Station to make way for Madison Square Garden was controversial at the time. I get it. MSG isn’t the prettiest building in New York City from the outside. Inside, however, there really isn’t a bad seat in the house. If there are any bad seats, though, my friends and I had them that night.
Located in Section 309 on the Chase Bridge, suspended high above the balcony, there is a protective plexiglass barrier that serves as a safety precaution. It also serves to bounce all the damn acoustics right over your head. Though TTB for some reason tends to be a sit-down show in the balcony, standing was really the only option for any decent sound quality in our section.
The show had been billed as TTB and “very special guests,” but it wasn’t until mid-September that those guests were announced. I about jumped through the roof when I saw the poster:
Now just one week to the day since I had seen Margo Price perform Willie Nelson’s “Whiskey River,” down there on the stage below me at Madison Square Garden was Willie’s son Lukas, cowboy hat and energy for miles, crooning away in that soft voice sort of like his dad’s.
“Is that Willie’s son?” my friend asked.
“Yep.”
“Kinda sounds like him.”
“Mmhmm.”
Midway through the set, Nelson played “Icarus,” a song about that old mythological warning to never fly too close to the sun.
Chorus: “Icarus”
My mama said, everybody thinks they’re wiser than Icarus
Flirting with the big old sun, go and find someone
Why don’t you settle down, baby?
Yeah, you had your fun
This metaphor has found life in many places, including my own writing. I recently completed a novel entitled “Icarus Also Flew,” saying in 87,000 words something similar to what Lukas Nelson managed to say in less than 3 minutes.
People kept trickling in and filling up the place as Nelson played on earnestly. The man in the seat to my left — who later said he had lived down the street from late Allman Brothers drummer Butch Trucks — thoroughly enjoyed Nelson’s set. We got to talking while waiting for TTB to come on. He was a nice older guy not too big on standing up for long periods of time. That meant I kinda had to lean back so he could still see when I stood up to hear.
Then out came Derek and Susan. What praise can I lay at their feet that hasn’t already been cemented into the southern rock annals. Derek is easily the best slide guitarist since Duane Allman. Maybe — probably — better. An official member of the Allman Brothers since 1999, Derek Trucks’ hands and his slide know no bounds.
And Susan. Oh, Susan. That voice. Inspired by gospel music from a young age, her voice is a beacon of light in any storm. Graduating from Berklee College of Music where she continued her passion for gospel-style singing, Tedeschi formed her own band in ’93, had a gold record by ’98, opened for the Allman Brothers by ’99, and married Derek Trucks in 2001. Good for Derek.
TTB opened with “Anyhow,” “Playing with My Emotions” and “Ain’t That Something” from their 2022 release “I Am the Moon” — an ambitious four part album clocking in at over 2 hours and 24 songs.
Then the first cover of the night, “Doo Doo Doo Doo Doo (Heartbreaker)” by the Rolling Stones with Mike Mattison on soulful vocals while Derek and Susan traded off licks and solos. Then, after the title track and “Pasaquan” from “I Am the Moon,” it was time for the first special guest.
The band fell away as Norah Jones took her spot at the keys and mic. Just Susan and Norah left on stage now, they sang an ambrosial duet on John Hiatt’s “Have a Little Faith in Me.” Trading verses and coming together on the chorus, Susan and Norah brought the room to an enraptured mellow, broken only by their own passionate delivery of the final verse.
The band came back on with Norah still on the keys and vocals for Tom Petty & The Heartbreakers’ “You Wreck Me.” The first chords were instantly recognizable. There were hoots and hollers. After that lively TTB debut of Tom Petty’s 1994 hit from the album “Wildflowers,” Norah exited the stage and the band fell back into originals like “Midnight in Harlem” and “Made Up Mind” before turning back more directly to their influences.
Derek Trucks brilliantly channeled Jeff Beck on “Beck’s Bolero.” Then Derek stepped off stage and Susan led the crowd through a true-to-form version of John Prine’s “Angel From Montgomery” and a welcome souled-out rendition of Jerry Garcia’s “Sugaree.” By the time Susan and the band wound down “Sugaree,” with seemingly the entire audience singing along, Derek was headed back to the stage, and he wasn’t alone.
There he was. The man who had helped me out of a bad trip or two, the man whose voice dripped out of my speakers as I drove from park to park sparking bowls as a ne’er-do-well teen in suburban Wisconsin. The ever-smiling Phish frontman, Trey Anastasio.
As tempting as it is to delve into the ways Trey’s compositions on Phish’s “Divided Sky” or “Stash” influenced my love of the guitar, his trade-offs with Derek Trucks are perhaps even more intriguing.
TTB opened their Trey mini-set with “The Seeker” by The Who. Trucks took Pete Townshend’s lead guitar parts and Trey took Roger Daltrey’s vocals. The sold out MSG crowd ate up the unexpected throwback.
As the crowd was still cheering, a few mournful notes floated from the stage out onto the air. This could only be Eric Clapton’s “Bell Bottom Blues.” Recorded in September 1970 by Derek and the Dominos — but prior to Duane Allman joining the recording session for the album “Layla and Other Assorted Love Songs” — “Bell Bottom Blues” tells a story of unrequited love. Trey, Susan, and TTB’s backup singers took vocals.
After the third chorus Trey took on some soloing that sounded deeply like Clapton’s tone and phrasing on the album — which verges on sounding like George Harrison’s signature sound. Perhaps this similarity is the result of Clapton playing on so many of George Harrison’s studio tracks. Perhaps it was even more purposeful than that, since Clapton wrote “Bell Bottom Blues” about George Harrison’s then-wife Pattie Boyd.
Without hesitation, Trey, TTB, and Lukas Nelson — who had now returned to the stage — broke into the song that is perhaps more notoriously about Pattie Boyd. It was Derek and the Dominos’ “Layla.” The signature riff of the song — the one you’re hearing in your head at this moment — was written by Duane Allman. The words by Clapton.
Being deeply influenced by Clapton and Allman, Derek Trucks even supposedly derives the spelling of his name from Derek and the Dominos. He also toured with Clapton’s band in 2006. Trucks has a birthright as well as an earned right to this music. What’s more, Susan Tedeschi was born on the exact day “Layla and Other Assorted Love Songs” was released. This makes it somewhat surprising that TTB apparently hadn’t played “Layla” in more than 4 years. The last time they did was with Trey Anastasio.
Trucks took Duane Allman’s iconic riff while Trey and Nelson played rhythm underneath. Susan Tedeschi belted out “what do you do when you get lonely?” in that powerful blues voice she so effortlessly masters.
About 3 minute into “Layla” Trucks brought Trey along for some high-flying dual-solo acrobatics. After a deeply incendiary crescendo, Trucks looked over to Gabe Dixon on the keys to segue into the song’s second movement, commonly referred to as the “piano exit.”
Featured prominently in the movie “Goodfellas,” the second movement of “Layla” is a gentle, almost classical melody improvised by Clapton and Allman in the studio over steady piano. I will never see a better interpretation of this second movement than Trucks and Trey offered that night at Madison Square Garden.
With Trey playing Clapton’s parts and Trucks channeling Duane Allman, that second movement of “Layla” is the precise musical moment that makes this the best concert I saw all year. Unparalleled in its refinement and musicality.
“Layla” is a set closer. There’s simply nothing to follow it up with. The band left stage and the crowd cheered deafeningly.
Susan Tedeschi and Lukas Nelson came back out to encore with a vocal duet on Leon Russel’s “A Song For You,” with Nelson calling beautifully on some of his father’s vocal phrasing. Then the band came back out for TTB’s “Soul Sweet Song.” Finally, Trey, Norah Jones, and Lukas Nelson all came back on stage for two horn-filled Sly and the Family Stone hits: “Sing a Simple Song” and “I Want to Take You Higher.”
Then all at once, the show was over. I walked downstairs to catch the midnight train back to Philly with the second movement of “Layla” echoing nostalgically through my mind. It echoes still.
Honorable Mentions
Jason Isbell and the 400 Unit played a hell of a gig at the Orpheum in New Orleans on 9/15/23 (also in September). I was tempted to put that show at any of the above spots, including number 1. There are few performances as powerful as seeing Isbell perform “If We Were Vampires” or “King of Oklahoma.” A well-written and vulnerable interview with Isbell for The Bitter Southerner can be found here.
The Allman Betts Family Revival at the Beacon Theater on 12/2/23 was a beautiful celebration of the music of Gregg Allman and Dickey Betts performed by their sons, Devon Allman and Duane Betts. I have to admit, though, I went to that show primarily to see supremely talented mandolin player Sierra Hull, on whom I have a massive crush. If she’s in your area, with her band or sitting in, I cannot recommend seeing her enough. I’ll be seeing her at Harvard University in March and Carnegie Hall with Béla Fleck in May.
Billy Strings is always an incredible, high energy show. It’s where I am happiest. My three night Atlantic City run in February was a wonderful escape from the real world. If you’re ever there, look up The Irish Pub off the Boardwalk. You can get a burger and a couple Yuenglings for about $20. But stay away from the “ice cold fatties.”
Dead and Company tour is an era of music I will always hold dear, but it’s a rabbit hole I decided not to go down for this article. Plus, they’ll probably have a few more “final” performances.
Lastly, Daniel Donato can fucking rip. Check him out.
Full List of Concerts Attended in 2023
1/14/23 — Umphrey’s McGee — The Fillmore — Philly
1/15/23 — Umphrey’s McGee — Wind Creek Event Center — Bethlehem, PA
2/17/23 — Billy Strings — Hard Rock Hotel and Casino — Atlantic City, NJ
2/18/23 — Billy Strings — Hard Rock Hotel and Casino — Atlantic City, NJ
2/19/23 — Billy Strings — Hard Rock Hotel and Casino — Atlantic City, NJ
4/14/23 — Ripe — Brooklyn Bowl — Philly
6/2/23 — Unlimited Devotion (Steve Kimock, Karl Denson, Marc Brownstein (Disco Biscuits), Jackie Greene (Phil Lesh & Friends), Ray Paczkowski (Trey Anastasio Band), Russ Lawton (Trey Anastasio Band), Kanika Moore (Doom Flamingo), Aaron Magner (Billy & the Kids), Reed Mathis (Billy & the Kids), Mark Lettieri (Snarky Puppy), Johnny Kimock (Mike Gordon)) — Ardmore Music Hall — Ardmore, PA
6/14/23 — Dead and Company — Citizens Bank Park — Philly
7/14/23 — Dead and Company — Oracle Park — San Francisco, CA
7/15/23 — Dead and Company — Oracle Park — San Francisco, CA
7/21/23 — Billy Strings — Hartford Healthcare Amphitheater — Bridgeport, CT
8/5/23 — Outlaw Music Festival (Willie Nelson & Family, The Avett Brothers, Marcus King Band) — The Mann Center — Philly
9/2/23 — Fall Concert in the Park — Penn Treaty Park — Fishtown — Philly
9/10/23 — Tyler Childers — The Mann Center — Philly
9/15/23 — Jason Isbell and the 400 Unit — The Orpheum — New Orleans, LA
9/16/23 — The Preservation All-Stars — Preservation Hall — New Orleans, LA
9/17/23 — The Dukes of Dixieland — The Riverboat City of New Orleans — New Orleans, LA
9/22/23 — Old Crow Medicine Show, Margo Price — XPoNential Music Festival — Wiggins Park — Camden, NJ
9/27/23 — Bobby Weir and Wolf Bros — The Met — Philly
9/29/23 — Tedeschi Trucks Band w/ Trey Anastasio, Norah Jones, Lukas Nelson and Promise of the Real — Madison Square Garden — NYC
10/12/23 — Bob Dylan — The Riverside Theater — Milwaukee, WI
10/19/23 — Daniel Donato’s Cosmic Country — Ardmore Music Hall — Ardmore, PA
10/25/23 — Les Claypool — The Fillmore — Philly
10/28/23 — Cosmic Jerry Band — Asbury Lanes — Asbury Park, NJ
11/10/23 — Trouble No More — Brooklyn Bowl — Philly
11/22/23 — Atmosphere — The Rave — Milwaukee, WI
11/25/23 — Undercover Organism — Mad Planet — Milwaukee, WI
12/1/23 — LCD Soundsystem — Terminal 5 — NYC
12/2/23 — Allman Betts Family Revival ft. Sierra Hull — Beacon Theater — NYC
12/29/23 — Gov’t Mule — The Met — Philly
12/30/23 — Phish — Madison Square Garden — NYC
12/31/23 — The Disco Biscuits — Franklin Music Hall — Philly
Peace, love, truth, beauty ✌🏻
