Walking the Cow
Around the Bend
I Am Mine
Dead Man
MOTH
Guaranteed
No Ceiling
Far Behind
Rise
Millworker
Goodbye
Brokenhearted
You're True
Driftin
Hide Your Love Away
Picture In A Frame
Trouble
I Won't Back Down
Forever Young

Encore 1
Society
Growing Up
No More
Porch

Encore 2
Hard Sun

Rolling Stone / Kaitlin Fontana

“There’s something about the first time,” said Eddie Vedder, a few songs into his set at the Centre in Vancouver, Brtish Columbia. “Whether it’s good or bad. There’s nothing else like it.” For Vedder, this first time meant a sold out, two-night residency in a city not too far north of his native Seattle for the opening of a solo tour.

On a stage set like a living room jam session, Vedder perched on a stool in a Butthole Surfers tee he’d brought out of “semi-retirement” for the gig (”I think I wore this shirt the first time the band played,” he mused). And with that, he proceeded to play songs from his rapidly expanding solo catalogue: “Guaranteed” from Into the Wild stirred the crowd, as did protest ballad “No More War,” which brought Vedder to tears. Covers were plentiful, including a brilliant reworking of Emmylou Harris’ version of James Taylor’s “Millworker,” which was nearly matched by a shot at Springsteen’s “Growin’ Up.”

While roadies in labcoats tinkered with the instruments (guitars, a mandolin and a ukelele called “Luke” among them), Vedder played much and talked little, keeping banter swift and funny: “Thank you for the encouragement,” he said after the crowd applauded a flubbed lyric. “But you don’t want to promote that behaviour.”

After multiple encores, Vedder — now clad in labcoat himself — welcomed opener Liam Finn back to help out on “Hard Sun” (the backing instrumental track courtesy of an onstage reel-to-reel). As his opening night drew to a close, Vedder smiled and waved goodbye. “Thanks for being here for this different kind of conversation,” he said. And for the first time on this tour (and certainly not the last), Eddie Vedder got a standing ovation.

Eddie Vedder quickly gets comfortable on solo tour opener in Vancouver / By Nicole Brodeur

VANCOUVER, B.C. — Not long ago, director Sean Penn and Pearl Jam frontman Eddie Vedder sat on a Seattle floor, shared an ashtray and watched Penn's just-finished film, "Into the Wild."

Vedder took a few notes, they drank a few beers, and Penn left "hopeful that a bolt of lightning had hit," and that Vedder would compose and perform the film's soundtrack.

Not long after, Penn and his film editor started receiving music from Vedder "like kids on Christmas morning," Penn writes in the liner notes to the soundtrack.

" ... This collection of songs is freedom as we need it most today," he writes, "speaking to youth and hunger and freedom, and most important, love."

There was nothing but that at the Centre for Performing Arts Wednesday night, when Vedder kicked off a two-week solo tour to support the soundtrack that Penn calls "the ideal road tape." (The tour moves to California, ending in San Diego April 15.)

But it was more than that; it was Vedder, on stage, on tour, alone, for the first time in 17 years.

It took Vedder three songs ("Walking the Cow," "Around the Bend" and "I Am Mine") to shake off the anxiety, look up at the crowd, smile and ask for some kind of mercy.

"Something about the first time you do something," he said. "You always remember it. Even when it's bad, you remember it."

He revealed that under his flannel shirt and Boy Scout jersey he was wearing the T-shirt he wore the first time he ever played with Pearl Jam.

"Since tonight is special, I thought ... "

And it was. People in the seats looked at each other and smiled. They professed their love and called out requests. ("Duly noted," Vedder said.) Though Vedder has stood before stadium crowds around the world, it was a lot for him to be up there alone. The intimacy of the venue, the sparse stage. He kept close his trusty suitcase and introduced the crowd to his ukuleles, "which have really become friends," he said. "Better than friends. Even though the conversations can be one-sided, they can help you through some stuff."

He wrapped himself in the songs that are his own — "movie songs" such as "Dead Man Walking," and "Man of the Hour"; four songs from "Into the Wild"; "Goodbye," from the 2004's 16mm surfing short, "A Brokedown Melody"; and "No More" from the documentary "Body of War."

He played gems like "Broken-Hearted" and "You're True."

And he played some favorite, familiar covers: James Taylor's "Millworker," Tom Wait's "Picture in a Frame," Cat Stevens' "Trouble"; Tom Petty's "I Won't Back Down" and Bob Dylan's "Forever Young," as well as Bruce Springsteen's "Growing Up."

And, just to scratch that itch, he played the classic "Porch." He hardly had to sing.

Opener Liam Finn came out to help close the show, accompanying Vedder on "Society" and "Hard Sun," which got some backing from a reel-to-reel tape, and some moodiness from dry ice. But by then, Vedder couldn't have been warmer.

"I never would have thought that after all these years ... ," he said, then paused. "Thanks for being here for a different kind of conversation."

Nicole Brodeur: 206-464-2334 or nbrodeur@seattletimes.com

The Pearl Jam frontman opens his first solo tour with an intimate yet powerful performance in Vancouver.
By Ann Powers, Times Pop Music Critic

VANCOUVER, B.C. — BEGINNING his first-ever solo tour Wednesday, Eddie Vedder gave a lesson in how to hush a screaming crowd. Not literally: The 1,800 or so Pearl Jam fans who'd snapped up the night's tickets spent little time being quiet, instead granting their band's beloved singer endless ovations, singing along (only when asked) and shouting requests.

Within this charged atmosphere, Vedder, perhaps rock's most introspective lead singer, created a zone of shared reflection that made all the praiseful fuss seem irrelevant. He could have been in his own basement, alone or with some close friends. The stage set at the performing arts center here had the faux-casual design common to "unplugged" shows -- a funky reel-to-reel player sat near the chair where Vedder sat for most of the night, and a Corona box served as an ersatz stool. But Vedder's thoughtful, sociable performance made the intimacy real.

Immersed in his songs, Vedder half-closed his eyes and let the music take its course. In Pearl Jam, he's expert at playing the surfer, finding one wave within the many that that big ensemble generates and riding it to glory. On this tour, which comes to the Wiltern in Los Angeles April 12-13, he has to be more delicate.

Exploring his songbook of originals and favorite cover versions, Vedder's big baritone found smaller streams to follow, letting his circuitous grooves and melodies undulate toward their conclusions. Some songs, like the recent "Guaranteed," were hymn-like and lovely. Others hit harder, showing the influence of the Who and hard-core punk.

While his vocals were often tender, Vedder's guitar playing pointed to his love of noisy rock. He doesn't often get to show off his chops alongside flashy Pearl Jam axemen Mike McCready and Stone Gossard. He took the opportunity here, playing fast and clean even on the tiny electric ukulele he laughingly called "better than a friend, because it doesn't talk back."

Such asides emerged only after Vedder calmed his first-night nerves; it took him five songs to even pause and address the audience. Pulling aside his long-sleeve flannel to reveal a battered Butthole Surfers T-shirt, he announced it as a talisman: It was the same one he'd worn during Pearl Jam's first show.

After this ritual moment, Vedder relaxed, steering the evening toward the "different kind of conversation" he wanted it to be. He read from a newspaper, commenting on issues ranging from the proposed removal of a local statue to the current crisis in Tibet. He told a mildly dirty joke and then worried that it might turn up on YouTube.

"Bruce Springsteen would never say something like that," he moaned. "That's why he's the Boss and I'm just the employee."

Vedder's set list was carefully organized, with Pearl Jam favorites such as "I Am Mine" leading into selections from his soundtrack for "Into the Wild," some sweet songs for ukulele, a long block of covers, and a bit more Pearl Jam.

Unlike his elders Springsteen and Ray Davies, who staged breakthrough solo tours a decade ago, Vedder didn't resort to a specific narrative or a highly crafted persona. He aimed for an arguably more daring goal: to present himself as himself, unconstructed, turning inward before reaching out to the audience.

He let himself make mistakes too. Flubbing the first chords of the intricate "No Ceiling," Vedder first muttered his discontent, then joked, "If I'm going to play this properly -- it's a very difficult song -- I need complete and utter silence." Playing electric ukulele on "Brokenhearted," he stopped himself, saying, "Let me just check the second chord on this song." Integrating such small missteps into the night's story, Vedder added to the sense of emotional openness.

That's where Vedder's charisma lives -- in the moment when feeling finds its way forward, growing more articulate as it is shared. His songs have a different quality than the usual pop revelations. They show instead of telling, putting listeners inside the consciousness of his characters. The covers Vedder performed, including James Taylor's "Millworker," Springsteen's "Growin' Up," "You've Got to Hide Your Love Away" by the Beatles and "Trouble" by Cat Stevens, served to highlight the uniqueness of his own talent.

Vedder doesn't want to stand apart from the lineage of big, singalong pop; his zealous take on Tom Petty's "I Won't Back Down" further asserted that connection. This tour is a way for him to consider what new paths he's forged alongside the ones he follows. His ruminative mood may change as he travels through California this month, but he's sure to only refine what he's learning -- and sharing -- about his place in the world.

When Vedder considers his legacy, he'd surely be happy to include Liam Finn among his protégés. The son of singer-songwriter (and Ed's pal) Neil Finn, this shaggy 24-year-old New Zealander is making an impression with his fiery, slightly psychedelic solo debut "I'll Be Lightning." Performing an opening set in collaboration with Australian singer-songwriter Eliza Jane Barnes, Finn moved between guitar and drums, and was best at his loudest and most unbound. He has a knack for poppy songcraft, but spending this tour with Vedder might turn Finn a little wilder, and that would be a fine development.

ann.powers@latimes.com

An intensely personal conversation
MARSHA LEDERMAN
April 4, 2008
Eddie Vedder
At the Centre in Vancouver for Performing Arts on Wednesday

Can you think of a concert experience - ever - where a musician - whether of rock-star status or a newbie in a club - has stopped in the middle of a song because he or she made a mistake? How about three times in the same night? This was part of the Eddie Vedder experience in Vancouver Wednesday but, incredibly, it only served to heighten the experience, enhancing the feeling of intimacy the Pearl Jam front man is clearly trying to achieve with this solo show.

Vedder kicked off his North American tour (West Coast only) at The Centre in Vancouver for Performing Arts, an 1,800-seat concert hall where you're generally more likely to hear Gershwin than Grunge. The sold-out crowd was treated to Vedder alone on stage, in a re-creation of an aspiring musician's basement, circa 1980: Vedder (dressed in a plaid shirt and off-white jeans) sat on a stool in the centre of a round Persian rug, surrounded by a case of Corona (with kick drum pedal attached), some old-fashioned suitcases and a reel-to-reel tape machine.

When four songs into it, Vedder still had not spoken a word, one began to wonder what kind of night was ahead. But after Dead Man, he spun around on his stool, took off the plaid shirt, and began what he later in the evening called "this different type of conversation."

"I should probably say hello since you're being so kind to me," he said to the audience, filled with twenty- and thirtysomething devoted fans - many also sporting the Grunge look: plaid shirts, knit caps, rips in various spots. "There's something about the first time you do something. You kind of always remember it," he said, and then revealed that he was wearing the same surfer T-shirt he wore the first time he played with "the band" (as he referred to Pearl Jam throughout the evening). This got a huge reaction from the crowd, like pretty much everything else Vedder did Wednesday night.

Except for perhaps the music. While the audience was exceedingly polite in terms of cheering after each song, it was clear the level of familiarity with much of the material was not exactly high (there was at least one moment when Vedder paused to allow the audience sing-along to be better heard, but nobody was really singing along). And anyone hoping to hear acoustic versions of Pearl Jam mega-hits like Jeremy or Even Flow would have left disappointed. Vedder instead stuck mostly to his solo material (from the Into the Wild soundtrack) and cover tunes - including music by the Beatles, Bruce Springsteen, Bob Dylan, James Taylor, Tom Petty and Tom Waits. He did, however, throw in a few Pearl Jam tracks, including Around the Bend and I Am Mine.

His gorgeous, trademark voice was in excellent form. His guitar playing (both acoustic and electric) thrilled. He also played mandolin, ukulele and harmonica. Above all, Vedder was a generous, entertaining host.

In the intimate setting, people in the crowd felt comfortable yelling comments or even instructions to Vedder on stage. While early on, Vedder had trouble hearing them ("I don't understand the Canadians," he joked), by the end of the night, audience members were able to call out and register complaints directly with Vedder about what they felt was too-tight security. "Security, the people have spoken. You can lay back a bit. They don't look like they're doing anything too crazy to me," Vedder instructed.

Vedder's first musical miscue occurred six songs in, with Guaranteed. The flub got a huge ovation, to which Vedder said "thanks for your encouragement, but you don't want to promote that behaviour."

He again stopped in the middle of the next song, No Ceiling, saying he knew he'd mess that one up. "It's a very short song, so I'm gonna start it over in order to play this properly. It can be a fairly difficult song. I need complete and utter silence," he instructed.

His third mess-up came on Society, when he began singing the lyrics he had already done. "Sorry, wrong verse," he said, then moved to the next one.

The night felt intensely personal. When Vedder brought out his ukulele, which he calls "Luke," he told the audience it was like a friend: "It can help you get through stuff."

"Just like your music, man!" an enthusiastic audience member shouted back.

Vedder then played some downer break-up songs, including Goodbye and Broken Heart, before moving to the happy stuff. "This is the other side of love. This is the beginning. This is the first two weeks," he said, and then launched into You're True.

Vedder brought some local newspaper clippings on stage with him, and expressed disappointment at a Vancouver Park Board decision to remove a work of public art called Device to Root Out Evil (commonly referred to as the upside-down church). "If they're going to spend money to take it down, why not just let God do it?

"I read something else in the paper," he said a few songs later. "This is what separates me from the current United States president. You know, I can read." He then expressed skepticism about an article quoting Chinese officials who said they were worried about suicide bombings by Tibetan monks. "Sounds like a page out of the Republican playbook to me."

One item Vedder apparently missed when scanning the papers was anything about the new tougher anti-smoking bylaws that came into effect in Vancouver on April 1. Returning to the stage for his encores, he was smoking both times.

He also brought out the opener both times, Australian musician Liam Finn, to jam with him on two songs. (As the opening act, Finn had delighted the sparse crowd when he broke his own drum kit and repeatedly called for gaffer tape for an on-stage fix, before he and backup singer E.J. Barnes improvised a magnificent Does the Drum Kit Work? jam, looping her vocals to thrilling effect).

For the final tune of the night, Hard Sun, Finn, Barnes and Vedder all walked out on stage wearing the white lab coats the technicians had been wearing all night. It was a good sight gag.

After two hours, any fan feeling disappointed by the absence of Pearl Jam hits seemed willing to forgive. This crowd was quite in love with Vedder. It was like the first two weeks, and really, he could do nothing wrong.

Vedder seemed to feel the same way. "I was thinking that Vancouver would be a good place to start and I think this time we got it right."

Hits and misses

The Scene

Neo-grunge meets concert hall.

Hits

The covers (especially

James Taylor's Millworker)

and the onstage gab.

Misses

The pointed absence

of Pearl Jam hits.

M.L.

Eddie Vedder goes solo in Vancouver
By Adrian Mack
At the Centre in Vancouver for Performing Arts on Wednesday, April 2

Let’s consider how fantasy stacks up next to reality. There’s a bootleg going around called Eddie Vedder—Walks On His Own, and it’s compiled from a variety of solo outings, B-sides, and warm-up slots for Pearl Jam. The album is all edited together with crowd noise to sound like one fan’s dream version of a complete show. Starring in that show is the man whose voice launched a thousand gonad-herniating faux-grunge rockers—the kind you can’t go six minutes without hearing on CFOX.

It’s not bad. And it features enough tasty covers to rise above the artist’s shortcomings, be it the insufficiency of his own material, such as the brazenly emotive and strained "Dead Man", or the occasionally wearying effect of his mannered and tremulous vocal delivery.

In contrast, Vedder’s first solo show proper, on Wednesday at the Centre in Vancouver for Performing Arts, relied as heavily on Vedder’s solitary studio experiments (a large handful of numbers from the recent Into the Wild soundtrack, "Goodbye" from the A Brokedown Melody movie) as it did on much-needed covers and unusual picks from the Pearl Jam catalogue. Chief among them, amazingly, was a powerful take on James Taylor’s "Millworker"; an artful protest song where incisive lyrics cut deep, especially compared to Vedder’s gauzy poetics. Bruce Springsteen’s "Growin’ Up" was also aired, after the crowd cajoled Vedder into reciting a particularly filthy line from Walk Hard: The Dewey Cox Story (it’s a long story).

"Springsteen would never say anything like that," said Vedder, once the offending words had left his mouth. "That’s why he’s the Boss and I’m just an employee."

The Beatles’ "You’ve Got to Hide Your Love Away" also roused an audience that was prepared to blow Vedder, no matter what he did. That included him fucking up—twice—during the pretty "Guaranteed" from Into the Wild, and then immediately afterwards in the intro to "No Ceiling".

It was that kind of show, though. Vedder promised intimacy, and that’s what we got, all 2,000 of us, as he took his time between songs and ambled around a stage decorated with a circular throw rug, a Corona beer crate with a kick-pedal attachment (it was never used), a table, and an enormous statue of a bat.

He also stopped to read a couple of items from the Vancouver press that got his blood boiling. One related to the removal of the Device to Root Out Evil art installation in Coal Harbour ("Why should the city pay to do that," he pondered. "Why don’t they just let God do it?"), and the other concerned China’s announcement that exploding Tibetan monks might attempt to disrupt the Olympics. "If they say something about suicide attacks, I’m calling bullshit," he said, before belting out an impressive acoustic version of the Pearl Jam B-side "Drifting".

There were significant problems with the show, mostly related to the weakness of either Vedder’s or the Pearl Jam material. The alt-rock icon hauled out an electric ukulele for "Goodbye", but the song needs a better chorus more than such an aimlessly alien treatment. All the same, after two encores, both Vedder and his faithful fans walked away happy, leaving, I’m guessing, only one audience member with a marginal preference for that Walks on His Own bootleg.

I found a review from the city's more reputable newspaper. Of course, the review can be a bit harsh at times. Here it is:



Review: Eddie Vedder shows he's still a vocal social activist
By AMY O'BRIAN, Vancouver Sun
Published: Thursday, April 03, 2008
VANCOUVER - Eddie Vedder is quieter now than he was during Pearl Jam's noisy breakout on the Seattle grunge scene 15 years ago.

But his toned-down sound and mellowed out stage presence should not be mistaken for complacency.

The Pearl Jam front man gave a solo performance Wednesday night at the Centre in Vancouver for Performing Arts that proved he is still able to sing and wail like he used to and is still a vocal social activist.

The two-hour show was an intimate affair that saw Vedder chatting back and forth with the audience, touching on local news items - including his disapproval of the removal of the upside-down church sculpture at Coal Harbour - and flubbing lyrics as though he was singing to a group of friends.

But Wednesday's sold-out show was the first of Vedder's brief West Coast solo tour, which explained and excused - to some degree - his brief memory lapses.

Sitting on a stool, surrounded by retro suitcases, an old reel-to-reel audio recorder, and an upturned case of Corona, Vedder created the illusion that you were watching him play in his basement.

The grunge-era icon was relaxed and calm as he worked his way through a set list that covered all the bases. He started things off with a few Pearl Jam songs, including Around the Bend, I am Mine, and Dead Man. The songs were solid, but far from the best of the night, as he seemed to rush through them.

Next was a set of songs from the soundtrack for the film, Into the Wild, which is the promotional reason for the tour.

The songs are poetic and emotional - perfect for an intimate solo performance.

When Vedder stopped abruptly part way through Guaranteed, a gorgeous song from the soundtrack, the vocal crowd didn't seem to mind, yelling out, "We love you Eddie."

The audience of 1,800 was so loud that Vedder had to ask for complete silence as he concentrated on the lyrics for No Ceiling, another highlight from the soundtrack.

There was plenty of random banter between songs, but Vedder used it to take shots against China - regarding the situation in Tibet - and George W. Bush.

"I read something else in the paper today. And this is what separates me from the current United States president. I can read," he said.

The show was divided - slightly awkwardly - into sets. After Vedder finished with the Into the Wild portion of the show, he launched into the covers set.

He did a heart-wrenching rendition of James Taylor's Millworker, which tells the story of a hard-working, but soul-dead labourer with lyrics such as: "My life has been wasted and I have been the fool, to let this manufacturer use my body for a tool."

The crowd rallied and sang along to the Beatles' You've Got to Hide Your Love Away and for Tom Petty's I Won't Back Down.

But Vedder's version of Cat Stevens' Trouble nearly brought tears to my eyes. It was visceral and pained.

Vedder wasn't going to let anyone go home feeling blue though. He ended the show - on the second encore - with the best performance of the night (spoiler alert for anyone who's planning to see Vedder on this tour).

A drum kit was rolled out for Liam Finn, who had opened the show (and who happens to be the son of Neil Finn, of Split Enz and Crowded House.) And a sunnier, beach-themed backdrop was revealed to liven peoples' spirits.

The familiar beat of Hard Sun - which is a song I loved when it was first released by Canadian singer-songwriter Indio back in 1989 - began and the crowd jumped to its feet.

It was the first real heart-thumping performance of the night, and sadly the last.

Vedder on his own was moving and, at times, quite stunning. He was amusing and endearing, but the show fell flat in places.

Then again, Eddie Vedder probably doesn't feel the need to prove anything to anybody. He's an icon. And a respectable, active and talented one at that.

aobrian@png.canwest.com

Here's the link complete with a released photo:
http://www.canada.com/vancouversun/news ... 5a&k=99796

'Wild' night as Eddie Vedder unveils campfire-friendly solo tunes
Pearl Jam frontman's voice can pass for folksinger's
Stuart Derdeyn, The Province
Published: Wednesday, April 02, 2008
With Luke the electric ukulele as his new best friend, Pearl Jam vocalist Eddie Vedder is ready to take his solo show Into the Wild.

That it took this movie by Sean Penn - based upon Jon Krakauer's 1996 book of the same name about 24-year-old Christopher McCandless, a kid who dropped out of society to go to Alaska - to get Vedder to finally compile his first album of original album is clearly a big hit with fans.

Of course, Eddie could sit on stage in his plaid shirt, worn jeans and work boots and pass gas into a microphone to a standup ovation. Even before he got on stage at the Centre last night, his labcoated guitar tech had people cheering wildly merely putting glasses of water down. This guy's head - Vedder's, not the guitar tech's - may be so swelled it explodes by the end of this short solo tour.

Vedder appears far more levelheaded. He admonished the audience's adulation when they wildly applauded a complete screwup in a song, telling them, "Don't do that. It promotes bad behaviour." No one cared. He had a standing ovation just walking on the stage.

In this situation, doesn't an artist have to work at all? Apparently, Vedder thought so, as he proved that brilliant, wavering baritone voice was made for solo acoustic guitar or single electric with an occasional tape loop or boot stomp thrown in. Clearly, the crowd has soaked up all nine originals and the two covers from the Into the Wild soundtrack, singing along and cheering madly to the choruses of "No Ceiling," "Far Behind" and "End of the Road."

However, when he dipped into less-recent solo jaunts, such as the theme to the film Dead Man Walking, the wildly enthusiastic audience members were clapping in confusion.
"Uh, yeah, dude this is like a B-side to some old Pearl Jam single. Yeah, yeah, that's it," said one besotted fan.

I wonder if they will think to chase down James Taylor's "Millworker," one of the high points of the evening. Vedder unplugged could well build a career as a fine everyman folksinger. There were too many round-the-campfire-strumming songs in his set to deny.

But if you don't like this material, you may hate it around campsites everywhere this summer.

One surprising rock-star element of the show was the vigorous security around cellphone and camera usage. Now so common as to be unavoidable at a concert, security personnel were freaking out if they even saw a light from a journalist's phone so they could see their notepad in order to write this review. I'd be amazed if there aren't 20 YouTube videos of this tour online today.

Grade: B+
sderdeyn@png.canwest.com

lotto #s?

I cant believe there's nothing on about this here. What was the show like? Setlist? Photos? Torrent link?:P

No Ceiling
I am mine
No way
Aye Davanita


the lack of interest in this show on TSIS is deafening.. maybe everyone is asleep

edit: fake setlist


the lack of interest in this show on TSIS is deafening.. maybe everyone is asleep

OH MY GOD!!!!! The show was SO AMAZING I can't even describe it.

I dont know all the songs he played but I remember:
Walking the Cow (opened)
In random order:

MOTH
Porch (acoustic version towards the end and the crowd helped)
Society (with Liam Finn)
No Ceiling (he fucked it up and had to start again LOL)
Guaranteed (he fucked the one up too but got back onto it after a good laugh)
Picture in a Frame
Forever Young
Diftin'
Dead Man
Trouble
Far Behind
I am Mine

Hard Sun was the closer after the second Encore (Lima Finn on drums and the girl that sings with Liam on vocals)

Hide your love away
Won't back down
Rise

He joked a lot.... it was so great... crowd was good

Goodbye and No More

I'm trying to remember as much as I can.... Ill edit if I remember more songs ..

Poster has all the dates on it..... I'll try and post a picture of it in a little bit of the poster.... and the really cool zippo lighter they were selling ..

The show WAS FUCKING AMAZING!!!!!

[/QUOTE]