stars dance tour setlist

Stars Dance Tour

• Hollywood Records
• Selena Gomez
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The tour was scheduled to continue in 2014 through Asia and Australia, but these legs were cancelled by Gomez due to personal reasons. The tour has a box office of over $36,000,000 which was expected to reach $45,000,000 but failed to do so due to Gomez's personal issues therefore which resulted in cancellation of the Asian and Australian legs of the tour.

• 1 Background
• 2 Opening acts
• 6.1 Cancelled shows
• 7 References

Background [ ]

On April 15, 2013, Selena Gomez announced that she would be touring North America and Europe from August to November in support of her album Stars Dance . When asked about the tour, Gomez stated:

Opening acts [ ]

• Emblem3 [1] (North America)
• Christina Grimmie (North America)
• Anton Ewald (Sweden)
• The Vamps (England)
• Union J (Portugal)
• Timeflies (Belgium & France)

Gallery [ ]

Setlist [ ]

• " Bang Bang Bang "
• " Round & Round "
• " When the Sun Goes Down "
• " Like a Champion "
• " B.E.A.T. " (contains elements of " Work ")
• " Stars Dance "
• " Write Your Name "
• " Birthday " (contains elements of " Birthday Cake ")
• " Love You Like a Love Song "
• " Love Will Remember "
• " Royals " (Canada and Europe only) / " Roar " (USA only)
• " Who Says "
• " Whiplash "
• " Naturally "
• " Intuition "
• " Save the Day "
• " Undercover "
• " A Year Without Rain "
• " Come & Get It "
• " Slow Down "

Tour dates [ ]

Cancelled shows [ ], references [ ].

• ↑ Emblem3 announcing that they are going to work with Selena
• 1 Selena Gomez
• 2 Scarlett Teefey
• 3 Rick Gomez

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Selena Gomez

Stars Dance (Deluxe Edition)

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Stars Dance Tour

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The Stars Dance Tour was a world tour by Selena Gomez in support of her solo debut studio album Stars Dance. The tour was her fourth overall tour and her first solo world tour, due to Selena Gomez & the Scene's ongoing hiatus. The tour visited North America and Europe in 2013. The Vamps appeared as an opening act for the UK shows of the tour.

Setlist [1] [ ]

• Cecilia (Simon & Garfunkel cover)
• Year 3000 (Busted cover)
• Mr Brightside (The Killers cover)
• Can We Dance

Tour Dates [ ]

References [ ].

• ↑ setlist.fm

Selena Gomez Sizzles In Sexy ‘Stars Dance’ Tour Outfits: 12 Pics & Opening Night Setlist

Selena Gomez kicked off her Stars Dance tour in Vancouver last night (August 14), effortlessly wowing fans with a couple of unexpected cover versions and an array of sexy costumes. The “Slow Down” diva rocked a gold fringed skirt, white pants and a sleek black dress among other stunning outfits. I particularly love Sel’s saucy burlesque look. She’s comes a long way from Wizards Of Waverly Place ! See all of the budding diva’s hottest looks (above) and the Stars Dance setlist after the jump.

Stars Dance — Opening night Vancouver setlist

Bang Bang Bang Round & Round Like a Champion B.E.A.T. (excerpts from “Work” by Iggy Azalea ) Stars Dance Write Your Name Birthday (excerpts from “Birthday Cake” by Rihanna ) Love You Like a Love Song Love Will Remember Dream ( Priscilla Ahn cover) Royals ( Lorde cover) Who Says Whiplash Naturally Undercover Save the Day A Year Without Rain Come & Get It Slow Down

What is Selena’s best look? Tell us in the comments below.

• Entertainment
• Local Business
• Remlinger Farms, WA’s most exciting new concert venue, opened in down-home style

The chunky riffs roared through the field. Portugal. The Man, genuinely delighted to be back “home” in the Pacific Northwest, took the stage nestled against a bank of trees at Remlinger Farms, the most highly anticipated new concert venue of the year, with an unholy heavy metal medley featuring snippets of thrash metal masterpieces like “For Whom the Bell Tolls” and Slayer’s “Raining Blood.” The latter was a precursor to the actual rain — magically kept at bay until halfway through the Northwest alt-rockers’ set — which sprinkled the hoodie-clad crowd spread out on the lawn .

In case anyone hadn’t gotten the memo, the self-described Lords of Portland and their kick-your-door-down intro delivered the notice: Remlinger Farms, long known as a rural King County destination for pumpkin-picking families and company picnics, is now one of the top places to catch a big-time summer rock show.

Save for a few stretches of guitar fury, Friday’s opening night with Portugal. The Man and Colombian psychedelic dance band Bomba Estéreo was far less menacing than those opening PTM riffs. Thanks to their distinct yet harmoniously infectious spirits and a willing, muddy-booted crowd of 3,100, the kickoff of Remlinger Farms and Seattle Theatre Group’s new Concerts at the Farm series felt like a blissful open-air barn dance surrounded by the 360-degree greenery of the Cascade foothills.

With the ability to host up to 6,000 fans, Remlinger Farms is now the largest of the Seattle area’s midsized outdoor concert venues, a tad bigger than the comparable Marymoor Park, Chateau Ste. Michelle and Woodland Park Zoo. The bucolic family-friendly setting, with little wooded pockets and a small playground offering hideaways from the crowd, makes the countryside venue more of a down-home counterpart to, say, the wine-and-cheese milieu of the lovely Chateau Ste. Michelle in Woodinville.

The new summer concert venue, which will host a range of stars like Elvis Costello, Parliament Funkadelic and U.K. dance band Jungle in its inaugural season, has been met with enthusiasm from music lovers and some trepidation among Carnation residents concerned about how the influx of concertgoers could affect their pastoral stretch of the Snoqualmie Valley.

Although the first sold-out show will be the big test, I arrived earlier than expected Friday and dealt with no significant traffic approaching Remlinger Farms. Whether it was an after-work crowd or skip-the-opener late arrivals, there never seemed to be a logjam of cars streaming into the parking area — at least as far as I could tell while monitoring the road from inside the fence.

Though on-site parking is free, for those who’d rather not drive at all, the Seattle Theater Group is rolling out a shuttle service ($50 round trip) for all shows with pickup locations at the Paramount Theatre and Redmond’s Overlake Park & Ride, with the potential to add more based on demand.

The STG-Remlinger Farms partnership was forged on the fly last summer when “permitting issues” forced a site change for three shows with Australian psych-rockers King Gizzard and the Lizard Wizard originally planned at Carnation Farms.

“STG reached out to us and we didn’t know what they were talking about at first,” said Nathan Sherfey, manager/owner of Remlinger Farms. “We knew about them and knew they did concerts in Seattle, so it was a surprise to us when they were like, ‘We’d love to visit with you and see your farm and see if it’s a good place to come do an event.’ We were really happy that someone like their organization would reach out to us. It happened really fast and we just rolled with it and it worked.”

Indeed, the King Gizzard trial run went smoothly enough — aside from a parking lot nightmare the first night, before Remlinger staff took over — and the two organizations philosophically gelled so well that they partnered on the full-fledged music venue. (With some parking lot luck, I made a clean getaway leaving on Friday. But had two neighboring cars not left early, I may have been parked in until they were ready to go, similar to the King Gizzard situation.)

The layout and stage configuration (and even the drizzly weather, for that matter) on Friday was pretty much the same as it was during last year’s trial run. Past a small pond to the left of the stage, the appropriately named “Food Forest” offers a tree-covered picnic area with a backyard burger shack slinging a small menu of hamburgers ($12), sandwiches and tamales. Wine and beer from Remlinger Farms’ on-site brewery ($8) flowed from a tent-covered tap trailer on the edge of the lawn.

During Bomba Estéreo’s energizing set, a dozen or so kids, some atop their parents’ bouncing shoulders, grooved to the vibrantly clopping percussion on the hard-surface dance floor laid in front of the stage.

To the right, a smattering of bundled-up fans leaned back in Adirondacks dotting a fenced-off VIP area with a small bar dubbed the STG Club. It’s an extra $60 for the VIP upgrade, which comes with some kind of primo parking. Is it worth it? Newspaper reporters aren’t exactly making VIP money these days, so I’m the wrong guy to ask. But at the half-capacity show, there was plenty of space among us general-admission plebeians to not feel claustrophobic — even with a three-sided tent covering the soundboard dividing the lawn-chair and blanket crowd, which set up on either side of the view-obstructing necessity here in the rainy Northwest to get a clear shot of the stage .

While there was some previous talk about creating berms and terraces around the field, STG and Remlinger are taking a “wait-and-see approach” to making any permanent structural changes to the site, said STG’s Chief Operating Officer Nate Dwyer.

“Part of the reason we love Remlinger is the space itself is kind of a feature,” Dwyer said. “We really want to be thoughtful and spend maybe the next couple years ushering a whole bunch of patrons onto the site and then see what makes sense for the development. We’d hate to inadvertently mess up a really great place.”

The booking, too, will be a little bit of an experiment. This year’s opening summer lineup features a mix of established big names with deep catalogs as well as younger stars who’ve only recently outgrown the 2,800-capacity Paramount Theatre, previously the largest venue STG presided over. While tickets for all shows currently on sale are general admission (like most of the other grassy venues around town, it’s a BYO low-back lawn-chair situation), Remlinger Farms could host some seated shows in the future.

“We’ve got a pretty wide variety of shows and part of that is to invite everybody out, to say this is a place for everyone,” said Adam Zacks, STG’s chief programming officer. … We don’t want to make assumptions on what will work or try and force anything.”

Remlinger Farm’s other amenities, including an amusement park and on-site brewery, will be closed during concerts, with the exception of STG’s three-day, family-friendly THING festival (Aug. 9-11), which will include the amusement park.

That kid friendliness — a big part of THING, Zacks’ scaled-down successor to his beloved Sasquatch! Music Festival — was called into question when STG initially planned to charge admission for children ages 3-12 with the move to its less expansive new home. Previously held at the wide-open Fort Worden Historical State Park in Port Townsend, kids 12 and under had been free during THING’s first three years, and the since-scuttled change went over as well as a dinnertime toddler meltdown with the festival’s sizable contingent of parents.

“It did feel like a bit of a loss there,” Zacks said earlier this month, before STG reversed course this week and announced kids 12 and under will be free at THING after all. (Refunds are available for those who already bought tickets for a child.) “It makes it so much more accessible and doable for families, and I just like the vibe that it creates, too, when there’s all ages around.”

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Music at the farm also ends at a reasonably bedtime-friendly hour. Although King County’s noise ordinance allows those amps to blast until 10 p.m., STG aims to wrap most shows at 9:30 p.m. to give themselves a little bit of a cushion. (Portugal. The Man finished around 9:45 p.m. on Friday.)

With last year’s King Gizzard shows already under their belt, any opening night hiccups seemed minimal on Friday. For the most part, the sound was good and even though the set-break port-a-potty lines looked intimidatingly long before Portugal. The Man hit the stage, they moved at a reasonable clip.

One show into its first official season, the most exciting new addition to the Seattle-area concert scene already feels like a natural, laid-back home for concertgoers.

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The opinions expressed in reader comments are those of the author only and do not reflect the opinions of The Seattle Times.

Here Are All the Songs in 'Gaga Chromatica Ball'

The "Gaga Chromatica Ball" setlist has it all.

More than a decade after "Lady Gaga Presents the Monster Ball Tour," Gaga is finally back with another professionally recorded concert: "Gaga Chromatica Ball." The pop icon recorded a 2022 performance in front of a sold-out crowd at Los Angeles' Dodgert Stadium during her "Chromatica Ball" tour, and now, it's finally streaming on Max for all to see .

The setlist ranges from her catchiest club anthems like "Bad Romance" and "Poker Face" to acoustic piano renderings of "A Star Is Born" hits "Shallow" and "Always Remember Us This Way" and her most heartfelt songs, a la "Angel Down." Of course, it's all done with Gaga's signature avant-garde glam and theatricality.

Check out all the songs in the "Gaga Chromatica Ball" setlist below.

• "Bad Romance"
• "Just Dance"
• "Poker Face"
• "The Operation" (Interlude)
• "Flowers" (Interlude)
• "Sour Candy"
• "Telephone"
• "The Birth of Freedom" (Interlude)
• "Free Woman"
• "Born This Way"
• "Tamara" (Interlude)
• "Always Remember Us This Way"
• "The Edge of Glory"
• "Angel Down"
• "Fun Tonight"
• "Sonnet" (Interlude)
• "Stupid Love"
• "Rain on Me"
• "Hold My Hand"

The post Here Are All the Songs in 'Gaga Chromatica Ball' appeared first on TheWrap .

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• May 7, 2023 Setlist

Dovod Setlist at Live Stars, Moscow, Russia

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• Iz nih Play Video
• Razrushit' pokoj ( without outro ) Play Video
• Temnye vody somnenij Play Video
• Napomnyu tebe Play Video
• Kto ob"yasnit mne chto takoe russkij rok Play Video
• Ulicy vdal' Play Video
• Molodoj Play Video
• Menya zaberet Play Video

Edits and Comments

2 activities (last edit by deema , 14 Jun 2023, 15:49 Etc/UTC )

Songs on Albums

• Kto ob"yasnit mne chto takoe russkij rok
• Menya zaberet
• Napomnyu tebe
• Razrushit' pokoj
• Temnye vody somnenij
• Ulicy vdal'

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Dovod Gig Timeline

• Apr 29 2023 Zvezdniy Zhukovskiy, Russia Start time: 9:05 PM 9:05 PM
• May 07 2023 Live Stars This Setlist Moscow, Russia Add time Add time
• Jun 23 2023 Outlaw Bar Khimki, Russia Add time Add time
• Aug 19 2023 Zvezdniy Zhukovskiy, Russia Start time: 11:00 PM 11:00 PM

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[url=https://www.setlist.fm/setlist/dovod/2023/live-stars-moscow-russia-33a6308d.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=33a6308d[/img][/url] [url=https://www.setlist.fm/edit?setlist=33a6308d&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/dovod-43fb6f4b.html]More Dovod setlists[/url]

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Justin timberlake’s ‘forget tomorrow’ world tour revives the reigning prince of pop.

At his triumphant tour stop in Los Angeles, the singer thrilled fans with a setlist of greatest hits and new material that proves the Grammy-winning entertainer is here to stay.

By Tim Chan

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Who says the pop star is dead? At his triumphant tour stop in Los Angeles Saturday night, Justin Timberlake led a revival for the reigning Prince of Pop, with a setlist of greatest hits and new material that proves the Grammy-winning entertainer is here to stay.

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Dressed in a glittery black suit and trousers, the singer opened with “No Angels,” a disco-lite cut off EITIW that immediately had the crowd on its feet. Backed by a trio of background singers and a full band (including a four-piece horn section), Timberlake and his “ Tennessee Kids ” followed with a tight triple whammy of “LoveStoned,” “Like I Love You” and “My Love” before slowing things down with “Technicolor,” a seductive slow jam that finds the singer worshipping his “modern day” Marilyn Monroe.

Timberlake has made headlines over the last few months for his off-the-cuff comments , but on Saturday, the singer let his music do most of the talking, while showing off some slick choreography that proved he — literally — hasn’t missed a step. Playful, self-assured and just a tad rambunctious, Timberlake was at his best on crowd-pleasers like “FutureSex/LoveSound” and “Summer Love,” the latter of which gave the star a chance to bust out some rump-shaking moves during a mid-song dance break.

Fans immediately leaped back to their feet when the familiar piano opening of “Cry Me a River” began to play. “That got your ass up!” Timberlake quipped about his controversial track , which came surprisingly early on in the night.

Timberlake didn’t say much else during the concert, though he did note that it was “a special night,” with many of his friends and family in the L.A. audience. Wife Jessica Biel wasn’t seen in the crowd, but an acoustic medley of ballads performed on a side stage included Timberlake’s recent single, “Selfish,” which the singer wrote about his longtime partner.

Indeed, Timberlake has been entertaining fans for a long time, too. “I feel like we’ve grown up together,” the singer said at one point of the night, shouting out “a little group called NSYNC” for giving him his start in the music industry (while NSYNC reunited for a one-off Timberlake show at The Wiltern in March, there was no reunion, alas, on Saturday).

“I’ve grown up with you and you’ve grown up with me,” the singer said. “I’m never going to forget it and I have so much gratitude for each and every one of you here tonight.”

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Sting 3.0 Tour opens in Dresden with exciting setlist inclusions...

May 26, 2024, recent stories.

The English rock star played two benefit shows at the Mahaffey Theater this week. Sting offered his blessing right after his second tune: Yes, we could rock out in front of the Florida Orchestra. "I know we're in a classical space, and you're not supposed to clap in the middle of a song," the singer told the crowd at the Mahaffey Theater on Friday night."You can tonight, OK?"...  

In watching Message in a Bottle, a new show featuring hip-hop-styled dance choreography set to the music of Sting and his former band the Police, one can’t help but feel how timely its themes are in the context of today’s news. The nearly two-hour performance conjures images ripped from the news headlines: the horrors of war, the displacement of families, and the plight of migrants and how authorities treat them once they do arrive in their new land...

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The Rolling Stones Really Might Never Stop

During a 19-song set at MetLife Stadium that spanned 60 years, the band tapped into what seems like a bottomless well of rock ’n’ roll energy.

By Lindsay Zoladz

Reporting from East Rutherford, N.J.

“This song’s for Manhattan!” Mick Jagger told the crowd on Thursday night at MetLife Stadium, before launching into a punchy rendition of “Shattered,” that agitated ode to late-70s New York City that closes out the band’s 1978 album “Some Girls.” In the ensuing 46 years, the city has changed in some superficial ways but somehow remained essentially the same — much, as they showed throughout an impressively energetic two-hour set, like the Rolling Stones.

The Stones’ first New York-area stadium gig in five years was sponsored, without a hint of irony, by AARP. It was appropriate: At times what transpired onstage felt not just like a rock concert but a display of the evolutionary marvel that is aging in the 21st century. (Albeit aging while wealthy, with every possible technological and medical advantage at one’s disposal. I’ll have whatever vitamins the Stones are taking, please.)

Ronnie Wood, the core group’s baby at age 76, still shreds on the guitar with a grinning, impish verve. Eighty-year-old and eternally cool Keith Richards pairs his bluesy licks with a humble demeanor that seems to say “I can’t believe I’m still here, either.” And then there is Jagger, who turns 81 a few days after the Hackney Diamonds Tour wraps in July. Six decades into his performing career, he is somehow still the indefatigable dynamo he always was, slithering vertically like a charmed snake, chopping the air as if he’s in a kung fu battle against a swarm of unseen mosquitoes, and, when he needs both hands to dance, which is often, nestling the microphone provocatively above the fly of his pants. Sprinting the length of the stage during a rousing “Honky Tonk Women” — the 13th song in the set! — he conjured no other rock star so much as Benjamin Button, as he seemed to become even more energetic as the night went on.

Last year’s “ Hackney Diamonds ” — the Stones’ first album of new material in nearly two decades — was the nominal reason for the tour, but they didn’t linger on it, and the crowd didn’t seem to mind. Across 19 songs, they played only three tunes from the latest release, including two of the best: The taut, growly lead single “Angry” and, for the first part of the encore, the gospel-influenced reverie “Sweet Sounds of Heaven.” Mostly it was a kind of truncated greatest hits collection, capturing the band’s long transformation from reverent students of the blues (Richards’ star turn on the tender “You Got the Silver”) to countercultural soothsayers (a singalong-friendly “Sympathy for the Devil”) to corporate rock behemoth (they opened, of course, with “Start Me Up”).

Jagger, Richards and Wood all still emanate a palpable joy for what they are doing onstage. But those joys also feel noticeably personal and siloed, rarely blending to provide much intra-band chemistry. That is likely a preservation strategy — the surest way to keep a well-oiled machine running and to continue sharing the stage with the same people for half a century or more. But when Jagger ended a charming story about a local diner that had named a sandwich after him (“I’ve never had a [expletive] sandwich named after me! I’m very, very proud”), I did not quite buy his assertion that he, Keith and Ronnie were going to go enjoy one together after the show.

Some of that fractured feeling is likely due to the absence of the great Charlie Watts , the band’s longtime drummer who died in 2021; the Hackney Diamonds Tour is the Stones’ first North American stadium tour without him. His replacement, Steve Jordan, does about as good a job as anyone could — like Watts, he balances a rock drummer’s power with a jazzy agility — and his presence never overwhelms. Though they are surrounded by plenty of talented backing musicians, the staging makes it clear that the Rolling Stones are now a trio.

The night’s breakout star, though, was Chanel Haynes, a backing vocalist who took center stage to sing with Jagger during two of the night’s best performances. Haynes — who played Tina Turner in the West End production of the jukebox musical “Tina” before joining the Stones’ touring band in 2023 — ably filled the shoes of the mighty Merry Clayton on a blazing “Gimme Shelter,” and sat in for Lady Gaga on “Sweet Sounds of Heaven,” matching the megawatt intensity of her “Hackney Diamonds” cameo. Though Haynes could be velvety soft when the song called for it, at her most impressive she sang with a low, grumbling hunger that often swelled into ferocity, as if she were taking big, meaty bites out of the songs.

Jagger, for his part, delivered many of his lines in his signature bark: The second song, a somewhat slowed down and blues-ified “Get Off of My Cloud,” was transformed by his almost scat-like delivery. But in fleeting moments — including a few falsetto runs — he showed that a certain tenderness in his tone remains intact.

That was most apparent on a gorgeous rendition of “Wild Horses,” the song that gained inclusion in the set by winning the nightly online “fan vote.” For so much of this show, the Stones effectively proved they could outrun age, irrelevancy and all the other indignities that time brings to mere mortals. But here they settled into something more contemplative, elegiac and vulnerable, and the show was better for it.

At a time when their few remaining peers are wrapping farewell tours and bands that have been together for half as long are running on fumes, the Stones are an anomaly. It’s not that their show is devoid of nostalgia, but it’s not coasting on it either. They don’t look like they did in the ’70s — who does? — but when their sound is gelling they are able to tap into some kind of eternal present. For better or worse, they seem intent to be the last band of their generation standing, to ride rock ’n’ roll all the way to its logical endpoint. Astoundingly, they don’t sound like they’ve reached it yet.

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Pearl Jam Delivers a Muscular, Tribute-Heavy Show on Night 2 at Los Angeles’ Kia Forum

Eddie Vedder and company delivered a powerful set that paid homage to a host of rock greats including Tom Petty and Taylor Hawkins, as well as Vedder's late uncle.

By Chris Eggertsen

Chris Eggertsen

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On the second night of a two-night stint at Kia Forum in Inglewood, Calif., on Wednesday (May 22), Pearl Jam brought the energy with a powerful, no-frills rock show that delivered on the hits.

Eddie Vedder Slams Harrison Butker During Pearl Jam Concert: Watch

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That was far from the only tribute paid by the band on Wednesday, bringing a melancholy undercurrent to the roughly two-and-a-half-hour set. At one point during the evening, Vedder also paid homage to a host of iconic rock drummers who have died within the last several years. “A couple of years ago, just randomly, some of the greatest of all time, we lost,” said Vedder, who rattled off the names of Foo Fighters ’ Taylor Hawkins , The Rolling Stones ’ Charlie Watts and Rush ’s Neil Peart before segueing into a performance of Dark Matter ‘s title track.

Though new tracks from Dark Matter were sprinkled liberally throughout the performance — including “Wreckage,” “React, Respond” and show-closer “Setting Sun” — Wednesday night’s set understandably leaned heavily into the first decade of Pearl Jam’s career, when the band was at its commercial peak.

Of those early albums, the muscular Ten received a particularly bright spotlight, with Vedder and company busting out renditions of “Even Flow,” “Black,” “Alive” and fan favorite “Jeremy,” which the band performed off the back of the propulsive Yield standout “Do the Evolution” during an extensive encore. Another highlight on Wednesday included the band’s performance of Vitalogy cut “Nothingman,” which served as a particularly potent showcase of Vedder’s still remarkable voice, which retains its clarity and power to move more than three decades on.

The night’s most rousing moment arrived with the second-to-last song, a cover of Neil Young ’s “Rockin’ in the Free World,” which boasted special guest appearances from Red Hot Chili Peppers drummer Chad Smith (who Vedder had noted was in the house earlier in the evening); Dark Matter producer Andrew Watt on guitar; and the members of Deep Sea Diver , the Seattle-based indie rock outfit that’s serving as the opening act on the first North American leg of the tour. During the extended performance, the band managed to turn the Forum into a full-on dance party, with Vedder flinging tambourines with abandon into the eager hands of the satiated crowd.

Full setlist:

• “Long Road”
• “Nothingman”
• “Present Tense”
• “Go”
• “Scared of Fear”
• “React, Respond”
• “Wreckage”
• “Untitled” (tour debut)
• “MFC “(tour debut)
• “All Those Yesterdays” (tour debut)
• “Even Flow”
• “Dark Matter”
• “Corduroy”
• “Won’t Tell”
• “Black”
• “Waiting for Stevie”
• “Comatose”
• “Rearviewmirror”
• “I Won’t Back Down” (Tom Petty cover)
• “Dance of the Clairvoyants”
• “Do the Evolution”
• “Jeremy”
• “Alive”
• “Smile”
• “Rockin in the Free World” (Neil Young cover, with Chad Smith, Andrew Watt and Deep Sea Diver)
• “Setting Sun”

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