zz top recycler tour stage

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How ZZ Top Came Full Circle With ‘Recycler’

Recycler probably would have been another modernized ZZ Top album, very much in the style of Eliminator and Afterburner , if fate hadn't intervened.

Instead, Billy Gibbons and company arrived at the studio a couple of days ahead of their equipment, so they ended up borrowing some gear and participating in a series of loose jams. Along the way, ZZ Top found a pathway back to their long-ignored roots.

"We started playing the blues," Gibbons told the Associated Press in 1991. "Two days later, we had scrapped everything we had done up to that point and started writing all new material to do in a more traditional blues style. In just 48 hours we had dramatically changed the direction just because it was so natural for us."

ZZ Top's 10th album, released on Oct. 16, 1990, kept their platinum streak alive, while spinning off a trio of No. 1 hits on the Billboard  Album Rock chart, including "Doubleback," "Concrete and Steel" and "My Head's in Mississippi." Only "Doubleback," which was recorded earlier for use in Back to the Future, Part III , made use of sleek, now-familiar processed sounds. Elsewhere, deep cuts like "Decision or Collision" rattle along like a classic music car that’s a can or two short of oil.

They'd "started jamming the same three chords we always use," Gibbons told the Los Angeles Times . "It felt so good, it redirected our angle."

Listen to ZZ Top Perform 'Decision of Collision'

ZZ Top's immediate surroundings – a studio in the Beale Street blues district of Memphis, Tenn. – added another dimension. "At any given hour, you could walk out and get an earful of the cotton fields," Gibbons said. "The street singers are always there, so it's like constant input."

This back-to-basics approach dovetailed with the band's efforts in promoting a then-fledgling Delta Blues Museum in Clarksdale, Miss., about an hour and a half south of Memphis. ZZ Top first visited the exhibit space, then located inside a local government building, some three years before. By the time Recycler arrived, they were actively helping the museum's curator gather material – and doing stand-alone publicity, as well.

"It's just a very special little place that not many people know about because no one really has a reason to go to Clarksdale," Dusty Hill said in '91. "It's in the back of a library and it has all kinds of pictures, records and history of the people who made it all happen."

They'd come full circle. ZZ Top would continue down this rootsier path, ultimately abandoning the high-tech feel of their '80s era completely. And it's a good thing, Gibbons argues. "What we did with Recycler just felt better," he told the AP back then. "If we had stayed on the synthesizer journey, we might have ended up as a rap band or something."

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30 years ago today: ZZ Top plays the Pacific Coliseum on its Recycler tour, with Colin James opening up

Remember concerts?

Thirty years ago today--on October 2, 1990--ZZ Top played the Pacific Coliseum. It was the first date of the band's Recycler World Tour, and the opening act was 26-year-old Colin James .

Maybe you were there?

To jog your memory, here's my review, which was originally published in the October 4, 1990, issue of the  Georgia Straight:

ZZ Top has always been one of the coolest bands in the land. Those wacky beards, those nifty suits, those fuzzy guitars—not to mention those barnstormin’ boogie tunes that make you wanna rock ’n’ roll all night and party every day.

But after last Tuesday’s (October 2) concert at the Coliseum, I’m left wondering if the Texas trio will be able to maintain that super-coolness in the eyes of its fans. Even though the band drew a sell-out crowd of 14,000, that audience’s response was downright lame in comparison to the unbridled frenzy of past shows.

What happened to the flailing sea of fists and arms you usually see covering the floor area at ZZ shows? Where were the large numbers of fans standing up in their seats and shaking their moneymakers? Had every last ZZ Top fan in Vancouver grown old and timid since the group’s last visit?

Not likely. But it could be that folks have become just a little too familiar with the ZZ Top of recent years. The novelty of the band’s image—which has been played up so much in its videos—might be wearing off. Or it could be the simple fact that the band hasn’t released anything new since the less-than-spectacular  Afterburner  LP of ’88. (A new album,  Recycler , is expected shortly.)

At any rate, the relative drought of enthusiasm at Tuesday’s show certainly wasn’t due to any lack of trying on the band’s part, because guitarist Billy Gibbons, bassist Dusty Hill, and drummer Frank Beard did deliver the goods with two hours worth of Texas-fried treats like “Legs”, “Tush”, “Tube Snake Boogie”, “La Grange”, “Sharp Dressed Man”, “I Heard It on the X”, “Got Me Under Pressure”, and “Gimme All Your Loving”.

As usual the band thought BIG when it came to their stage, which resembled a junkyard with trashed cars and auto parts, a flat-bed truck for the drums to sit on, and a huge yellow crane that picked stuff up with a magnet and dumped it in a compactor. Two built-in moving walkways ran the length of the stage and allowed Hill and Gibbons—identically decked out in black suits, shades, white caps, and oversized white guitars—to take effortless moonwalks whenever they desired.

That old concert stand-by, laser-on-mirror-ball, turned the rink into a glittering rock palace for the slow-blues portion of the night.

Colin James, who’ll be touring with ZZ Top in the coming months, opened the show with real verve, looking totally at ease on the big stage. Mixing up tunes from his debut LP and the recent  Sudden Stop , the youthful blues-rocker showed snatches of the guitar prowess that so impressed his good friend and mentor, the late Stevie Ray Vaughan. When the crowd called for an encore (which James wasn’t allowed to give), it was nice to think that maybe Vaughan was somewhere up there, smiling in approval.

He’d probably have given his fellow Texans the thumbs-up too.

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Happy 30th: ZZ Top, RECYCLER

30 years ago today, ZZ Top released an album which is probably better known for its first single's ties to the band's guest appearance in Back to the Future Part III than for anything else on the album, including the single itself.

(That would be “Doubleback” we're referring to, in case you were wondering.)

After reinventing and somewhat de-blues-ifying their sound for the MTV generation with their 1983 album, ELIMINATOR, ZZ Top gained numerous new fans, but they also fell victim to the mantra that drives so many other artists into the ground: “If it ain't broke, don't fix it.” Now, granted, the fact that 1985's AFTERBURNER earned the band four additional top-40 hits - “Sleeping Bag” (#8), “Rough Boy” (#22), “Stages” (#21), and “Velcro Fly” (#35) - makes it hard to argue with their decision to stay the course through that album, the same can't necessarily be said for RECYCLER, the title of which was a dream come true for any critic who felt that the band's '80s sound was becoming too same-old, same-old as they entered the '90s.

Of course, the band had enough new fans by 1990 that RECYCLER still proved to be a pretty big hit, with “Doubleback,” “Concrete and Steel,” and “My Head's in Mississippi” all ascending to the top of the Album Rock Tracks chart for multiple weeks each, and you certainly can't call a platinum-selling album a failure. When you consider, however, that AFTERBURNER had gone platinum five times over, it becomes clear - much as it did to the members of ZZ Top themselves - that the time had come for a change.

So they made one: when ZZ Top released their next album, 1994's ANTENNA, it was on a new label (RCA) and featured material which – to the relief of the band’s old-school fans – was far more bluesy than pop.

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• February 9, 1991 Setlist

ZZ Top Setlist at Carrier Dome, Syracuse, NY, USA

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Tour: Recycler Tour statistics Add setlist

• Planet of Women Play Video
• Sleeping Bag Play Video
• Tell It Play Video
• Waitin' for the Bus Play Video
• Jesus Just Left Chicago Play Video
• Ten Foot Pole Play Video
• Gimme All Your Lovin' Play Video
• Concrete and Steel Play Video
• My Head's in Mississippi Play Video
• Manic Mechanic Play Video
• Heard It on the X Play Video
• 2000 Blues Play Video
• Blue Jean Blues Play Video
• Just Got Paid Play Video
• Lovething Play Video
• Got Me Under Pressure Play Video
• Sharp Dressed Man Play Video
• Give It Up Play Video
• Legs Play Video
• Tube Snake Boogie Play Video
• La Grange ( with Sloppy Drunk Jam ) Play Video
• Tush Play Video

Edits and Comments

5 activities (last edit by ExecutiveChimp , 21 Mar 2020, 16:06 Etc/UTC )

Songs on Albums

• Concrete and Steel
• My Head's in Mississippi
• Gimme All Your Lovin'
• Got Me Under Pressure
• Sharp Dressed Man
• Blue Jean Blues
• Heard It on the X
• Jesus Just Left Chicago
• Waitin' for the Bus
• Planet of Women
• Sleeping Bag
• Ten Foot Pole
• Tube Snake Boogie
• Manic Mechanic
• Just Got Paid

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Carrier Dome

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• ZZ Top This Setlist Add time Add time

ZZ Top Gig Timeline

• Feb 06 1991 Providence Civic Center Providence, RI, USA Add time Add time
• Feb 07 1991 Hersheypark Arena Hershey, PA, USA Add time Add time
• Feb 09 1991 Carrier Dome This Setlist Syracuse, NY, USA Add time Add time
• Feb 11 1991 Richfield Coliseum Richfield, OH, USA Add time Add time
• Feb 12 1991 Richfield Coliseum Richfield, OH, USA Add time Add time

8 people were there

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O.C. POP MUSIC REVIEW : ZZ Top: Recyclers, Indeed : In an Irvine Meadows show carefully crafted to uphold its well-defined sound and video identity, the Texas trio has about as much freedom to depart from the script as a Disney mannequin.

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Its prevailing raunchiness aside, ZZ Top’s “Recycler” tour stop Sunday night at Irvine Meadows Amphitheatre had all the trappings of a Disneyland attraction.

Virtually every moment of the Texas blues ‘n’ boogie trio’s show was dictated by cued staging effects, choreographed moves and a techno-conscious concept that stanched spontaneity.

This was concert-as-theme-ride, which is fine if “Pirates of the Caribbean” is your idea of excitement. Locked into prerecorded rhythm and synth parts on many songs, hemmed in by the demands of computerized lighting design and mechanized gags, committed to a near-constant sequence of movements and gestures related to its well-defined video identity, ZZ Top had about as much freedom to depart from the script as a Disney mannequin.

(ZZ’s theme ride did contain a lot of un-Disneylike sex. At one juncture, small onstage TV screens offered a nude video sequence that could have been culled from the Playboy Channel.)

On its three latest albums--”Eliminator,” “Afterburner” and “Recycler”--ZZ Top has built a better boogie machine, one that churns out a sleek but forceful brand of turbo-blues. In concert, the only thing freshly applied to that formula was a stage set done up like an automobile graveyard.

ZZ delivered true-to-the-record renditions of its songs, which frequently meant resorting to canned synthesizer buzzes and programmed rhythm embellishments. Under those conditions, the chances of sweat and fire were squeezed as badly as the prop autos that got compacted during the show’s most elaborate junkyard joke sequence.

A real keyboards player and extra percussionist might have given the proceedings a chance for some real-time immediacy. While the show never completely broke through its restraints, most of the freest moments came on such older numbers as “Waitin’ for the Bus,” “Jesus Just Left Chicago,” “La Grange” and “Tush,” which drummer Frank Beard, guitarist Billy Gibbons and bassist Dusty Hill could play without the help of invisible hands.

ZZ Top did have some extra personnel on the payroll, but none of them so much as shook a tambourine, including the five female extras who turned up to cavort toward the end of the 100-minute show.

Gibbons and Hill spent the concert going through ambling, synchronized paces intended to play up to their video image as cool, wryly humorous, long-bearded twin shamans. In an apt metaphor for the entire concert, they did some of their pacing on a conveyor belt that allowed them to moonwalk without actually having to move an inch. Why bother to exert yourself when all that technology is working for you?

At least Gibbons provided the throbbing, simultaneously corrosive and gleaming guitar sound that is ZZ’s main feature. But there was nothing to challenge or prod him in unexpected directions. ZZ’s musical palette of chugging rockers, boogies and the occasional slow blues is narrow; under the weight of by-the-numbers arrangements, sameness was bound to set in.

In one of his few asides to the audience, Gibbons practically acknowledged that the show really was about recycling, rather than fresh approaches. After trilling a few notes during “Blue Jean Blues,” he commented: “That (lick) wasn’t on the record. That was just something special for tonight.” In this clockwork concert, those special somethings were rare. Sticking to the record and to the script was about all that mattered.

It should be noted that ZZ Top was playing under sad circumstances. Last week, a murder suspect led Houston police to the body of Cecile Ham, wife of Bill Ham, ZZ Top’s manager and record producer since the band’s inception 22 years ago.

It would be presumptuous to suggest that ZZ Top should somehow have touched on the killing during its show (it went unmentioned). But say the band members had wanted to use music as a way to convey their feelings of the moment--which is, after all, a primary purpose of music, especially the blues. The straitjacket of image and staging that ZZ Top has locked itself into would have made that virtually impossible (the show did include the existential lament, “2000 Blues,” but it turned into just another excuse for visual dazzle, with emotion taking a back seat to fancy laser effects).

Like Disneyland, ZZ Top’s concert world was a safely enclosed, carefully regulated, absolutely predictable fantasy place where anything terrible and real could never be allowed to intrude.

Extreme, a platinum-selling pop-metal band from Boston, met with a tepid crowd response, despite turning in a lively opening set that was well-sung and well-played, though not especially original.

While it is hard to get excited about yet another guitar pheenom dealing out post-Eddie Van Halen squeals and squiggles and classically influenced flurries of notes, Extreme’s Nuno Bettencourt is one of the genre’s more listenable players. Within an inherently profligate genre, he showed a sense of proportion that gave his playing a honed thrust to go with more typical flash.

What’s unusual about Extreme is its sensibility: On the hit concept album, “Pornograffitti,” the band takes ironic potshots at casual sex (almost heresy for a pop-metal band) and extols true romance. The 45-minute opening slot didn’t allow for much exposition of ideas; instead, the set turned into a pastiche of clashing styles. There were rockers that could have been done by Aerosmith, Def Leppard or Van Halen, a hit acoustic ballad, “More Than Words,” that could have been crooned by Bread, and a mid-tempo number, “Hole Hearted,” that could have belonged to Supertramp.

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• ZZ TOP | DUSTY HILL RECYCLER TOUR MODEL

The Collection of Dusty Hill of ZZ Top (Day Sale - Sessions II & III) (#3377) 12/08/2023 10:00 AM CST Closed

Lot #350 zz top | dusty hill recycler tour model.

"And as Dusty stepped to the stage, he was strapping up and he said 'What key?' " Gibbons recalled from Memphis earlier this week. "I thought, 'This is a novel approach -- the guy doesn't want to know what song, just what key.' So we launched into a shuffle and an hour and a half later we all shook hands and said 'This works.' "

It certainly has. By the mid-'70s, the Lil' Ole Band from Texas had taken its act nationwide, setting concert attendance records for an American band that were not broken until Springsteenmania in the '80s. The '76 tour took a little bit of home on the road (vultures, rattlesnakes and buffalos vied for space on a huge Texas-shaped stage), but folks attending concerts Sunday and Monday at Capital Centre will have to settle for the auto junkyard theme that ties into ZZ Top's "Recycler," their first album in five years.

The Capital Centre shows are part of the group's first official tour in three years, during which their only appearances have been on behalf of the Delta Blues Museum in Clarksdale, Miss. Last weekend, the Texas trio was honored in nearby Memphis, its second home and the city where the band has recorded all of its albums. Before a Saturday concert, the three Tops received keys to the city, citations from the city and state, a proclamation of ZZ Top Weekend in Memphis and the Blues Foundation's first Keys to the Highway Awards, created to honor mainstream artists rooted in the blues.

"We felt that a gesture of repayment to the art form of the blues was in order," Gibbons explains. "Our opportunity arrived rather inauspiciously during a break in the 'Recycler' recording sessions. We had a free weekend to visit the museum {it occupied a room in the town library} and the day we arrived, there was an inspection nearby of Muddy Waters's cabin home."

The band was given a stick of lumber taken from a portion of cabin being hauled off and they had it turned into an electric guitar, donating it to the museum as "the Muddywood guitar" and starting an ongoing association with the museum. While the band was on hiatus, the guitar toured the country's Hard Rock Cafe circuit to raise both funds and awareness of the museum.

"We use the word 'interpreters' of the art form," says Gibbons of the group's blues roots. "I don't think that ZZ Top is easily mistaken as a stone-out blues band but there's a B. B. King lick here, or a Jimmy Reed riff there, and maybe a taste of Howlin' Wolf that creeps through and that's enough to say 'Hey, where are we coming from? Where did we learn from?' And in some small way our involvement with the Delta Blues Museum and referencing the blues as an influence helps keep it alive. It's a changing art form, it's not static, and it keeps showing up in weird places."

It shows up on "Recycler," which Gibbons describes as "Tres Hombres" meets "Eliminator," a reference to the grungy roots sound of the first album (recorded in 1973) and the technogarage nature of the later (from 1983). It was, Gibbons confesses, "accidental -- we arrived two days before our equipment truck showed up and so we were forced to play on some scrounged-up instruments. It was just enough to temper the direction of the sessions themselves. After several months on Beale Street, gone were the synthesizers from their previous prominency, and hello blues! We had some material prepared closer to 'Afterburner,' but there was a quick revamping of the material and it felt good. Once the groove set in, it was straight ahead, bound for bluesland."

And now bound for the concert stage, MTV and even films, where the band has established a memorably hirsute image. In "Back to the Future Part III" they appeared as a desperado band.

"We call that our one acoustic concert for the year. . . . . I wish we could take full credit for some mastermind plan, but it was a rather of-the-moment evolution," says Gibbons. The image so clearly defined in three Tim Newman videos ("Gimme All Your Lovin'," "Sharp Dressed Man" and "Legs") involves pretty girls, cars and a key ring that unlocks the door to some fantasy-bred paradise. Not surprisingly, it has been revived on the new video, "Give It Up," featuring the band's latest four-wheel mascot, Cadzilla.

"We're the band that takes old cars and tries to make them run again," Gibbons says, which partly accounts for the new album's title. ZZ Top also finds new uses for old riffs "and as we get deeper into the issues surrounding this generic term, we find ourselves as a band becoming educated to some of the deeper aspects of the environmental cause. It's been real interesting."

Not that ZZ Top is turning into Billy Bragg. "We're known for weird cars and guitars," Gibbons admits, saying ZZ Top might unveil in concert the futuristic guitars-with-Sony Watchman seen briefly in their "Sleeping Bag" video. "Right now we're suffering under the ridiculous notion that we need to be playing giant cowboy guitars, the antithesis to the pointy guitar era. But they weigh 20 pounds apiece, so we're doing weightlifting and blues shouting at the same time."

ZZ Top will have lots of time to practice since they are but three months into a 16-month world tour.

"It's demanding but we're still those guys in a joint playing music," Gibbons says. At one point in the concert, Gibbons, Hill and Beard (ironically, he's the one without the beard) will squeeze together near the drum kit, recreating the cramped quarters they once worked in.

"These large venues can become somewhat overpowering and we figured why not continue this 'recycler' theme, this return to rootsiness? So there's a portion of the program where we 'shoulder up' and it feels quite good because it is the same and it turns a 20,000 seat arena into an intimate club. ZZ Top is simply three guys that enjoy playing music and that part of it hopefully will never change."

ZZ TOP -- Appearing with Black Crowes Sunday and Monday at Capital Centre. Call 202/432-0200.

ZZ Top Afterburner World Tour includes dates in America, Europe, Australia, Japan and New Zealand. ZZ Plays few first shows with "eliminator setlist, but those shows includes "Can't Stop Rockin' from the Afterburner album. In december -85 starts Afterburner Tour with stageshow ,which includes lazer shows, "egyptian head" (from Sleeping Bag single album cover) on the stage, fuzzy guitars etc. Really cool and setlist includes new songs. Specially -85 gigs includes lot of Afterburner stuff. Delirious, Planet Of Women etc. Also "Stages" was there for a while. Frank's drum kit where higher than before and Billy And Dusty plays custom made Dean Explorel style guitars and Explorel guitars with different neck.  But yeah this tour was really awesome and there are lot of recordings.

Festival at Ostend Airport - Ostend, Belgium - 08/15/1985

• Gimme All Your Lovin'
• Got Me Under Pressure
• I Got The Six
• Waitin' For The Bus
• Jesus Just Left Chicago
• Sharp Dressed Man
• Ten Foot Pole
• Manic Mechanic
• I Heard It On The X
• I Need You Tonight
• Pearl Necklace
• Cheap Sunglasses
• Tube Snake Boogie
• Jailhouse Rock
• Can't Stop Rockin'

Castle Donington Raceway, - Derbyshire, United Kindom - 08/17/1985

Notes: This is "Rockin' The Castle" Bootleg.  I think keyboard is used during " TV Dinners " and " Legs ".  Sounds  really cool!

RDS Arena - Dublin, Ireland - 08/18/1985

Setlist coming soon, when i transfer old casette tape.

Montreal Forum - Montreal, Quebec, Canada - 12/01/1985

Notes:  Techno intro before "Planet Of Women". This intro was used later that tour usually before "Sharp Dressed Man" with 10 second countdown.  Really cool show, laser lighting used during few songs.

• Sleeping Bag
• Heard It On The X
• Arrested For Driving While Blind
• Party On The Patio
• Planet Of Women

Dane County Coliseum - Madison, Wisconsin - 02/05/1086

• Arrested For driving While Blind

  Civic Center Arena - St. Paul, Minnesota - 02/07/1986

Notes: ZZ plays 3 shows at Civic Center (february 6-8th).  If you have february 6th or 8th show, please let me know.

Hilton Coliseum - Ames, Iowa - 02/14/1986

• Part On The Patio

Civic Arena - Pittsburgh, Pennsylvania - 04/10/1986

Civic arena - pittsburgh, pennsylvania - 04/11/1986, joe louis arena - detroit, michigan - 04/18/1986.

Market Square Arena, Indianapolis, Indiana - 04/30/1986

Notes: Video recording is incomplete, but audio recording is the full show.

• Sleeping Bag (Start in the Middle)

"Mountain Aire '86 Festival" -  Calavaras County Fairgrounds, Angels Camp, California  -  07/20/1986

Isstadion - stockholm, sweden - 09/13/1986, scandinavium - gothenburg, sweden - 09/14/1986, icehall - helsinki, finland - 09/16/1986.

Notes: This recording is on an Tape record . I haven't digitized it yet.  Super Rare recording.

Eisstadion - Mannheim, West Germany - 09/22/1986

Eissporthalle - frankfurt, germany - 09/23/1986.

Notes:  This show includes very rare live performance of "Delirious".  Last concert recording, which I have heard of this song was at Montreal december 1985.  This recording is on an Vinyl record. (Afterburnin´ Frankfurt Bootleg)  I haven't digitized it yet.

Palais Omnisports de Paris-Bercy - Paris, France - 09/29/1986

Les arenes - nîmes, france - 10/05/1986, rijnhal, arnhem, holland - 10/13/1986, deutschlanderhalle, berlin, west germany - 10/25/1986.

• Gimme All Your Lovin` 
• Manic Mechanic 
• Cheap Sunglasses 
• Sharp Dressed Man 
• Can`t Stop Rocking
• Velcro Fly 
• La Grange 

Notes :   This is a bootleg LP/CD  "Top Guns".  This is shorter than a normal show. They skip "Wait/Jesus, Ten Foot Pole, etc". First I think that there may be something missing from this recording. But when listening show, Billy talks very little between the songs and there´s no any "cutting" between songs.   it sounded like they were in a little hurry. 

Osaka Jo-Hall - Osaka, Japan - 02/19/1987

Note: This recording is released two different bootlegs "Live In The Usa & "Una Hermosa Noche". Sounds like soundboard recording. Really nice.

Olympic Park - Melbourne, Australia - 02/25/1987

Notes : Rare recording from Australia!  

Interviews & TV Appearances 1985-1987

• "Sleeping Bag" - Japan TV
• "Stages"- Rock TV Japan
• "Stages" - Japan TV (filmed at Lousiana swamp) 1986
• "Sharp Dressed Man" & "Tush" - NBC Studios, Los Angeles, CA (Tonight Show with Johnny Carson) 05/16/1986"
• Can't Stop Rockin'" - Noel Edwards Show 1986
• MTV Promo, MTV Liberty crusie promo 1986
• Interview England TV 1986 & "Stages" live.
• "Can´t Stop Rockin´" - The Tube 1987

• Apple Music

Abraham Chavez Theater

Findley toyota center, harrah's resort socal - the events center, vina robles amphitheatre, silver legacy resort casino, thunder valley casino resort, pearl concert theater at palms casino resort, beachlife festival, dalhalla festival, tons of rock festival, peissnitzinsel, kunstrasen, le zenith paris - la villette, ovo arena wembley, autostadt festival, tollwood festival, sion festival, soaring eagle casino & resort, noen nights festival, wind creek steel stage at pnc plaza, empower federal credit union amphitheater at lakeview, bethel woods center for the arts, xfinity center, 1st summit arena, northwell health at jones beach theater, banknh pavilion, the xfinity theatre, treasure island amphitheater, spirit lake casino & resort.

Tres Hombres Presale: 1/31 at 10am local

Ameris Bank Amphitheatre

Veterans united home loans amphitheater, jiffy lube live, salem civic center, darien lake amphitheater, pine knob music theatre, ruoff music center, toyota pavilion at concord, white river amphitheatre, rv inn style resorts amphitheater, utah first credit union amphitheatre, sunset amphitheater.

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