Word and Live Photos: DJ
Myglobalmind and Screaming Digital Productions
The Gaslight Anthem kicked things off with the kind of energy that makes you remember why live music matters. Brian Fallon’s raspy vocals cut through the Alabama heat as the New Jersey quartet tore through twelve songs of working-class anthems. Opening with “Autumn” and building to the fist-pumping finale of “45,” they proved why they’ve become festival favorites. The real treats came with their covers – Tom Petty’s “Honey Bee” sounded like it could’ve been written for them, while their take on Mother Love Bone’s “Chloe Dancer” brought some unexpected Seattle grit to the evening. If you’ve never caught these guys live, consider this your wake-up call.
By the time Adam Duritz shuffled onto the stage with that familiar intensity, the crowd was primed and ready. What followed was two hours of proof that some bands just get better with age, even when conventional wisdom says otherwise.
Kicking off with “Spaceman in Tulsa” – the lead single from their latest album Butter Miracle, The Complete Sweets! – Duritz’s voice immediately put to rest any doubts about whether he could still deliver. This wasn’t the strained, weathered sound you might expect from a frontman pushing thirty-plus years in the game. Instead, his vocals rang clear and strong, carrying all that familiar ache without the wear. When he dove into the song’s exploration of finding yourself in places where you don’t belong, it felt less like nostalgia and more like lived wisdom.
The energy shifted into overdrive with “Hard Candy” before the inevitable singalong eruption during “Mr. Jones.” Three decades later, and that song still transforms any venue into a massive karaoke bar – but somehow it never gets old when a few thousand people are belting out every word with you.
What really impressed was how naturally the new material sat alongside the classics. “Virginia Through the Rain” flowed seamlessly into “Omaha,” while “With Love, From A-Z” became an unexpected highlight. Before launching into the latter, Duritz paused to share something that made the whole room lean in: his entire life story, he said, was written into that song. It’s the kind of moment that separates good concerts from memorable ones – suddenly you’re not just hearing another track, but witnessing something genuinely personal unfold. The acoustic “When I Dream of Michelangelo” provided a gorgeous stripped-back moment that showcased just how solid this band still is. No bells, no whistles – just Duritz and his guitar, proving that sometimes the simplest moments hit hardest.
Speaking of surprises, who had “Counting Crows covering Taylor Swift” on their 2025 bingo card? Their take on “the 1” shouldn’t have worked, but somehow it absolutely did. It’s proof that when you’re dealing with genuine songwriters, great melodies transcend genre boundaries. The Grateful Dead’s “Friend of the Devil” felt more expected but no less satisfying – a natural fit for their rootsy sensibilities.
The real magic happened during “A Long December,” where Duritz’s voice carried the weight of every winter he’s ever sung about. The extended “Rain King” that followed built to one of those cathartic climaxes that reminds you why some songs become anthems in the first place. The three-song encore kicked off with “Under the Aurora” – the sweeping, piano-driven album closer that balances pandemic loneliness with hope for connection. It was the perfect bridge between their introspective new material and the crowd-pleasing “Hanginaround” that had everyone dancing their way to the parking lot.
Here’s the thing about the Orion Amphitheater: the acoustics are absolutely pristine. Every guitar layer, every vocal harmony, every subtle keyboard flourish came through crystal clear. Combined with a band that was firing on all cylinders – seriously, these guys were tight – it made for one of those rare live experiences where the sound actually enhances the songs rather than muddling them.
Fresh off releasing Butter Miracle, The Complete Sweets! in May, Counting Crows proved why critics have been calling it a “spirited addition to their legacy.” The new songs didn’t just fit alongside the classics – they felt essential, like missing puzzle pieces finally clicking into place. After three decades, they’re still finding fresh ways to explore life’s beautiful complications, whether that’s the loneliness of the road or the search for genuine connection in an increasingly disconnected world.
For anyone who’s never caught Counting Crows live, this tour is your reminder that some bands simply know how to deliver when it counts. They’ve got nothing left to prove, which might be exactly why they’re still so good at proving it.
https://www.countingcrows.com/tour
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