bob dylan tour schedule

Bob Dylan Tickets on Sale Friday for “Rough and Rowdy Ways” Tour 

Bob Dylan tickets are on sale this week for the first leg of his “Rough and Rowdy Ways” World Tour, covering U.S. dates in the fall of 2021. Dylan, who turned 80 in May, plans to tour into 2024 in support of his 2020 Rough and Rowdy Ways album, resuming touring in November after being forced to halt his “Never Ending Tour” due to COVID.

Dylan’s tour dates for the Rough and Rowdy Ways run begin on November 2 at the Riverside Theatre in Milwaukee, and run through December 2 at The Anthem in Washington D.C. In between, stops include Chicago’s Auditorium Theatre, Palace Theatre in Louisville, and multi-night stops at the Beacon Theatre in New York, Capitol Theatre in Port Chester, New York, and The Met in Philadelphia.

Tickets for this first leg of the Rough and Rowdy Ways tour are on sale for the general public beginning on Friday, October 1. Presale opportunities are already open for those with access to venue or artist-based offerings.

Rough and Rowdy Ways was the 39th studio album put out by Dylan, and the first of original material since 2012. It was preceded with the release of Murder Most Foul on YouTube in March 2020, followed by the launch of I Contain Multitudes  in April and False Prophet in May before the album was launched in June. The album was strongly reviewed, with Rolling Stone’s Rob Sheffield writing “While the world keeps trying to celebrate him as an institution, pin him down, cast him in the Nobel Prize canon, embalm his past, this drifter always keeps on making his next escape. On  Rough and Rowdy Ways , Dylan is exploring terrain nobody else has reached before—yet he just keeps pushing on into the future”

Bob Dylan “Rough and Rowdy Ways” Tour Dates

NOVEMBER Tuesday 2 – Milwaukee, Riverside Theatre Wednesday 3 – Chicago, Auditorium Theatre Friday 5 – Cleveland, Key Bank State Theatre Saturday 6 – Columbus, Palace Theatre Sunday 7 – Bloomington, IU Auditorium Tuesday 9 – Cincinnati, Procter & Gamble Hall Wednesday 10 – Knoxville, Knoxville Auditorium Friday 12 – Louisville, Palace Theatre Saturday 13 – Charleston, Municipal Auditorium Monday 15 – Moon Township, Robert Morris University UPMC Events Center Tuesday 16 – Hershey, Hershey Theatre Friday 19 – New York City, Beacon Theatre Saturday 20 – New York City, Beacon Theatre Sunday 21 – New York City, Beacon Theatre Tuesday 23 – Port Chester, Capitol Theatre Wednesday 24 – Port Chester, Capitol Theatre Friday 26 – Providence, Providence Performing Arts Center Saturday 27 – Boston, Wang Theatre Monday 29 – Philadelphia, The Met Tuesday 30 – Philadelphia, The Met

DECEMBER Thursday 2 – Washington, The Anthem

Tour dates are likely to be added (given the 2021-2024 marking on the tour graphic) – visit the touring section on Dylan’s website for updates .

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Ameris Bank Amphitheatre | Alpharetta, GA

Willie nelson, bob dylan, robert plant & alison krauss: outlaw fest..

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PNC Music Pavilion | Charlotte, NC

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Empower Federal Credit Union Amphitheater at Lakeview | Syracuse, NY

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Northwell Health at Jones Beach Theater | Wantagh, NY

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Freedom Mortgage Pavilion | Camden, NJ

Willie nelson's 4th of july picnic with bob dylan, robert plant & more.

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Bethel Woods Center for the Arts | Bethel, NY

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Hersheypark Stadium | Hershey, PA

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Hollywood Bowl | Hollywood, CA

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Gorge Amphitheatre | George, WA

Willie nelson, bob dylan, john mellencamp, billy strings: outlaw fest..

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Pine Knob Music Theatre | Clarkston, MI

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BankNH Pavilion | Gilford, NH

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Bob dylan on april 6, 2024.

Rough and Rowdy Ways

ACL Live at The Moody Theater, Austin, Texas

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Bob Dylan Announces March 2024 U.S. Tour Dates

By Matthew Strauss

Bob Dylan has announced the next batch of dates on his years-long tour behind Rough and Rowdy Ways . The singer-songwriter’s first shows of 2024 will take place across the American South in March. See Dylan’s new tour dates below.

Following a surprise appearance at Farm Aid in September, Dylan continued his Rough and Rowdy Ways shows in October, staying on the road until early December. While on tour, he released the archival live album The Complete Budokan 1978 .

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03-01 Fort Lauderdale, FL - Broward Center for the Performing Arts 03-02 Fort Lauderdale, FL - Broward Center for the Performing Arts 03-05 Clearwater, FL - Ruth Eckerd Hall 03-06 Clearwater, FL - Ruth Eckerd Hall 03-07 Fort Myers, FL - Suncoast Credit Union Arena 03-09 Orlando, FL - Walt Disney Theater 03-10 Orlando, FL - Walt Disney Theater 03-12 Jacksonville, FL - Moran Theater at Jacksonville Center for the Performing Arts 03-14 Athens, GA - The Classic Center 03-15 Athens, GA - The Classic Center 03-17 Charlotte, NC - Belk Theater 03-18 Fayetteville, NC - Crown Theatre

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Robert Allen Zimmerman was born on the 24th of May, 1941 in Minnesota, US. In 1959 he started performing folk music in the coffee houses of Minneapolis, and began introducing himself as Bob Dylan. The rest, they say, is history.

Five decades on, there’s still never been another artist that so many have written and speculated about to no avail whatsoever. Bob Dylan is still an enigma in an age where artifice and construct pretty much exists to be torn down and exposed. This is still the case even after he began publishing his own memoirs, and that’s saying something.

All we know for sure about one of the most influential and respected recording artists is that he earned that title with each and every one of his 35 studio albums, from 1962’s self-titled debut, to his most recent effort 2012’s “Tempest”.

It’s pretty much pointless to try and sum up Dylan’s career unless you’ve been given a books amount of space to do so. His countless amounts of reinventions and the sheer musical diversity on display give even the chameleonic likes of Bowie and Madonna a run for their money.

Every single incarnation has given the world something entirely unique, from the serious troubadour of 1964’s “The Times They Are a-Changin’!” through the rock and roll Judas of “Highway 61 Revisited”, all the way up to his Gospel period heralded by 1979’s “Slow Train Coming”, or more recently, the thunderous urban Blues of 2009’s “Together Through Life”.

This is a man whose influence on music and pop culture in general is up there with his old buddies The Beatles (who, legend has it, Dylan introduced to weed on the set of the film “Help!”). So the truth of the matter is that even if you aren’t a fan of his songs, Bob Dylan is still more deserving of your respect than practically any other solo artists in music history.

Live reviews

In the 28 years of following Bob Dylan, Dublin sits at the top of the entertainment charts. From London to Glasgow and over in Europe I have had the privelidge of standing or sitting along with Thousands of other Dylan devotees. For the most part silence is required during performance. Each time the opening bars of a song are heard I and others studiously listen. I'm listening firstly to see what song Bob is performing. Websites have sprung up online for fans to guess what songs Bob will perform prior to the gig.

Mostly in silence and after a verse or two the penny drops and a huge roar is heard. "Hey It's Watchtower" or similar awakenings can be heard as it dawns on the crowd what Bob is performing. Hallowed silence once again returns as the crowd listen to every note Bob hurls from the gravelly voice now inhabiting our bard. Occasionally and if Bob accomodates us, we even join in a chorus such as "It Aint Me Babe, no no no". Im convinced that Bob just for kicks changes the pace of a song in order to deny his followers. When I arrived at the 02 in Dublin a large crowd had assembled in different queues depending on the ticket allocation. I was happy to be sitting in the first tier not more than 30ft from the stage. Here I could clearly see the oscar Bob won for "Things Have Changed" proudly on display on an amp beside the grand piano. A new prop is a bust of a fine lady propped on Bobs piano. I have learned that the bust is named 'Posie', a gift from fans to celebrate Bob's 73rd year here. Either side of my seat where younger Dublin lads clearly enjoying the 'Craic' along with the rest of the crowd. If the 'Craic' can be interpreted it goes something like this. "Hi what's your name?", I answer. "Where you from?" I answer. "What do you think of Dublin?", I answer and before I know it I'm exchanging facebook, email, telephone number and half of Dublin is visiting me soon. Aye Dublin folks know how to party.

As anticipation of Bobs arrival onstage grows it's normal for the crowd to go quiet. Not Dublin. This overly friendly energy continues as the opening bars of "Things have Changed herald" the start. Bobs vocal sounding very clear and without the now normal rasping sounds in his delivery. In the last twelve months or so the set list has barely changed on this never ending tour. Some may see this as lazy and predictable. I see it as Bob polish performances of songs he may have written 50 years ago. With Bob in control as his band of trusty lieutenants followed their commander in chief's every move, the 'Craic' continued with each new intro. It seemed to me that once the songs identity was established the crowd resumed the friendliness among each other. Once or twice I asked the lads next to me to let me hear Bob. Of course Bob didn't seem to mind as he relaxed into this crazy atmosphere. Bob thanked us at the end of part one. The second part of the gig opened with 'Honest with me', taken from his more recent catalogue of work. This was to be the case for the remainder of the set as Bob continued to showcase his most recent studio album 'Tempest' drawing seven songs from the acclaimed work. 'Long and Wasted Years' deservedly takes last place before Bob and the band disappear in preparedness for the encore. As expected Bob returns to the stage and graces the crowd with 'All Along The Watchtower' The opening bars of this song cannot be mistaken. After the third verse Bob slows the tempo down and plays some elegant piano notes before cranking the chords back up to 'Hendrix-esque' levels. The house lights are switched on as the happy fans exit the arena.

I'm sure especially in the second half of the set Bob was responding to the 'Craic'. He was noticibly turning in different directions as he jammed with the best 'craic' in the house. Bob Dylan continues to confound the expectations of fans and critics alike with his unique brand of originality and sealing his ever growing legendary status. As I left the arena I joined thousands of happy fans on the walk along the River Liffey back into Dublin fair city. The sun was setting on this instalment of'The Never Ending Tour'.

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Unlike many of the fans at Bob Dylan’s show I haven’t seen him countless times. I think I have been to four or five of his shows over a wide span in his career.

My first live experience was in the early seventies at the Los Angeles Forum. I think he was backed by The Band if I remember correctly. It was a great show, I had great seats that were a result of a ticket lottery I think? He sounded just like he did, more or less, on his records.

I think the next time I saw him was at the LA Greek Theatre. A friend and I took a chance and went without tickets in hand. We were very lucky that night scoring tickets that were released from the band just before the show started. We were down front and center. This show was during the G.E. Smith period. I’m sad to say that I was disappointed in this show. Mr. Dylan and his songs were almost unrecognizable to me as I remember. I wasn’t yet able to appreciate the concept of a performer changing their presentations from how they were originally offered. That concept took me a while to appreciate and now I think that I expect it from great performers. But that night not at all...

My next chance to see him was at a remarkable show at UCLA. It was an extravaganza featuring Mr. Dylan, Van Morrison and Joni Mitchell. Three of my musical touchstones. I don’t remember much about this show except we had horrible seats. I think I was mostly affected by the overall show and that I was actually there seeing these three back to back.

Last night seeing him at UCI was very special indeed. My new girlfriend managed to get us very good seats in this small venue, stage right and up above the floor. Due to the security check in we entered the show halfway through the first song, on stage as we searched for our seats was a man playing guitar, we wondered if this was an opening act since we had been led to believe that Mr. Dylan no longer played guitar and this fellow was quite lively on stage as well, belying the stories told to me of his previously aloofness on stage. As we sat we realized that no this was the man. It was a wonderful lead in for me. He played a set that included songs from all of his era’s. Most reinterpreted greatly as far as the music but mostly true to the prose I think. Somewhere in the middle he slowed things down from the energetic pace to give an almost traditional rendition of Girl from the North Country, strikingly beautiful featuring him on the piano primarily. What a night! Mr. Dylan has still got the magic touch in my book, how he continues on the hard life of the road is a testament to his love of what he does I guess. I’m glad he does. Thanks Mr Dylan.

ob Dylan, the man in black, followed his band onto the stage around 9:00pm. The sound came across a little muffled during “Things Have Changed”, but was corrected before the song transitioned into “She Belongs to Me” (one of only two songs from the 60’s…and yes, it was modified quite a bit). Switching it up between standing at the mic and sitting at the piano, he left the majority of the guitar, percussion, and (lots of) pedal steel to the men in grey suits. At 75 years old, it is amazing the man is still performing at all, but I swear his voice is aging twice as fast as his body. I am a huge Tom Waits fan, so I have no problem with whiskey-soaked, unintelligible vocals, but late-career Dylan is giving Waits a run for his money when he is on stage. Selections from Tempest would have been right at home on Bone Machine or Real Gone. What might sound like a heartbroken hound dog on record, can come across as the last breath of a dying bull frog on stage. I mean that in the best way possible though. The built-up grit and grime in his throat tells stories the same way his lyrics do.

There are many differences between Bob Dylan and Tom Waits, but when it comes to the stage, there are two that are most obvious. Tom Waits is known for his banter, while Dylan is known for his almost complete disregard for the audience. The only time he spoke to the crowd on Sunday night was to mumble a few words of appreciation before intermission. The other difference, which I didn’t realize until the Sinatra songs started to appear in the set, is that Dylan is fully capable of washing the rust away to sing clean vocals. The transformation was unbelievable as “I’m A Fool to Want You” would follow “Duquesne Whistle”, or “I Could Have Told You” would follow “Early Roman Kings”. Decades would peel away like reptilian skin. Tribute was paid to the old standards by his band in multiple ways, but hearing Dylan pay respect to those classic tunes by enunciating every word was something I didn’t think possible in 2016. But then he’d follow “All or Nothing At All” by barking “Long and Wasted Years” at the bright moon above. He might not be the most dynamic performer living today, but the fact that he can mix such diverse sounds into a single, cohesive set speaks volumes about his ability to curate a show.

http://reviewsmatthewingate.blogspot.co.uk/

In the 53 years since his début album, Bob Dylan has written and recorded countless songs, but last night at the Royal Albert Hall he returned to the template of his first record; blending gems of the Great American Songbook with his own compositions.

In recent years, fans expecting a greatest hits show would have been disappointed at hardly hearing any of the "classics", there was not a disappointed fan in the house tonight despite only 3 of Dylan's originals having been released before the 1975 and two of the Sinatra covers being un-released studio out-takes from his latest album, Shadows in the Night, which went to No. 1 earlier in the year.

He and his band started with Things Have Changed, and they most certainly have. His voice is in fine form, a curiosity considering how in recent years watching Bob Dylan live has felt more like watching Tom Waits.

No band has played behind this 60's icon for longer than the current line-up, and it shows. They are an autumnal unit who have no problem switching between the moody, late-night-bar feel of songs like "Melancholy Mood" or "The Night We Called it a Day" and the heavy, apocalyptic rock tracks like "Pay in Blood" and the excellent closer "Love Sick."

It was clear Dylan was having fun, bobbing and dancing in the instrumental interludes. He rolled back the years at the end of the first set with a fine rendition of Tangled Up in Blue and, as always, drew cries of assurance from the sell-out crowd after the line "You think I'm over the hill? You think I'm passed my prime?" in Spirit on the Water. On tonight's showing, he most certainly isn't.

By the end of the night, there wasn't a single person left standing. Couples danced in the aisle's in the East Choir to a timeless rendition of Blowin' in the Wind and Dylan and co. received three separate standing ovations and deafening roars for more. "I'm sick of love" he howls during the closing song, although he shows no signs of being sick of performing, with 4 more sold out nights at the Albert Hall to come before continuing to play across Europe into late November.

As his old posters used to read: Don't You Dare Miss It.

Highlights:

I'm a Fool to Want You

Tangled Up in Blue

Autumn Leaves

First off, I'm far from a total Dylan expert but a do like him and his music a lot. I've seen him 15 times. I've only seen Grateful Dead and R.E.M. more times.

Bob Dylan is a cultural icon who can still rock with the best of them. Like McCartney or the Stones a Dylan show should be on your musical bucket list. Dylan is the cultural and musical troubadour of the 60's who refused the media coronation of him as the voice of a generation: "Don't follow leaders, watch your parking meters". He combines the personal and political in his songs to highlight injustice, celebrate the common man, put down the uncool, and remind people to think for themselves. His lyrics pushed beyond what the boundaries of popular storytelling had been. He brought beat poetry, abstract imagery, tumbling meter and a magpies gift for "borrowing" from folk masters and blues legends to the general public.

So why see him now? Dylan tours incessantly with a top notch band of rhythm and blues masters who pump out a massive groove for Bob to hang his melodies upon. Dylan's voice is rougher and he hides more than he reveals with his current vocal style. It's true that his voice is an acquired taste, especially now. He changes keys , tempos and rearranges his songs sometimes even surprising the band! I think he does it to keep the music fresh for himself and to make it harder for the audience to sing along: we're forced to listen. And we hear a mix of newer songs and the classics: Tangled Up In Blue, Blowin' In The Wind, All Along The Watchtower (not a DMB song ya know!), Knockin' On Heavens Door, and Like A Rolling Stone.

How does it feel? Like a celebration of heartland rock and roll baptized in the Mississippi and polished by a life on the road. It's a rollicking ride and a celebration of music at the heart of our culture. Don't expect small talk or patronizing shout outs; you'll be lucky if he cracks a smile. The music is his message and you'll be darn glad you heard it.

DYLAN : LE NAUFRAGE

Un son épouvantable, le sonorisateur n'a pas tout à fait noté que le nobélisé sur scène l'a été en littérature et non pas en variété : pour jouir des paroles, retour au CD.

La tenue de Dylan en scène, on connaît. Au piano de dos (on voit d'ailleurs qu'il ne l'a pas travaillé depuis 1962) ou en fond de scène entre ses musiciens qui doivent presque le pousser dans le dos pour qu'il se montre ; comme en plus, il porte un chapeau de cow boy, tu vois même pas ses yeux. Il n'adresse pas un mot au public, il ne présente même pas ses musiciens.

Sur le répertoire, à part un massacre de Don't Things twice, it's allright et de 2-3 chansons (pas les plus connues), un florilège du pire de la variété US et des standards (référence Sinatra et autres crooners) en "arrangement" country bas de gamme (pédal steel guitar jusqu'à plus soif). On avait l'impression d'un show préparé à l'intention des bouseux du Midwest. Il faut se pincer pour se souvenir que Dylan a porté l'étendard du moderne. Dernier morceau : les Feuilles mortes, tonalité chant funebre. Sinistre...

Enfin l'orchestre. Tous des bons musiciens qui cachetonnent. Mais on n'a pas fait appel à leurs talents d'arrangeurs. Donc, c'est de la mise en place jusqu'à la fin du dernier refrain. Pas une originalité, pas un trait d'humour ou de fantaisie.

Une triste déception au total.

Le public ne s'y est pas trompé car à part un fort carré de fans qui jouaient le cache misère, il est resté sur une triste réserve.

Compte tenu du prix scandaleux des places, il y a d'autres choses à faire ce soir là.

show in Ft. Myers.

First of all, the sound system was terrible. You could understand about every 10th word. Otherwise, it was just a blur and the arrangements were such that they had no relevance to the songs. Maybe a couple of notes. I had to ask my lady, "What song is this?" She answered,"Blowing in the Wind". Weelllll, I have been listening to that song for over 40 years!! I had no idea he was singing that!

Ok, Dylan is Dylan. He will mix up the instruments, but here, along with the vocals on the worst sound system I have heard in years; combined with the worst arrangements, I had no idea what he was singing almost all of the time.

Still, I really liked going. It's probably the last time I will be able to see him in person. He coulda just stood on stage and burped and it would have been worth it. He had long haired women dancing in the iles. Not his women, the audience women(hopefully). Lot of gray hair there in my fellow concert-goers when I looked around but, on the whole, I am really glad I went. I am sure they were too. Whoever reads this; you should go too......Frederick(Rick) H Johnson

After following Dylan since the early 60s, I finally got to see him at his age of 78! I was super glad to be able to say I saw him. He sang quite a few songs, one right after another and most of them were done fast. The most popular ones that I could decipher had the words right, but the music part of it was very, very different. He did not do his most popular songs over the years. He did what he wanted to do. I was able to recognize 3 songs that I knew well, the others I had heard, but weren't really my favorites. I was just glad he (talked) sang. He did not interact with the audience, he wasn't announced at the beginning, and when he was done he walked off stage. One encore and off again. He did introduce the individual musicians, but it was so fast, I couldn't keep up. No one I recognized. I love him no matter what he chose to do or not do. The Bren Event Center in Irvine holds about 5500 and it was full. Tickets were expensive for me, but I just had to see him live even if I would have had to sell my first born, lol. I'll be paying off my credit card for the charge in 6 months. Good times.

An entertaining show over all. Dylan's vocals were muffled somewhat when he was on the keyboards, making the words sound indistinguishable and mumbled. However, when he was singing standards from his SHADOWS OF THE NIGHT album, Dylan was standing up at center stage and the sound was much cleaner and the words were easy to understand. Don't expect to hear the classic Dylan hits in their original form. Dylan has created new arrangements for his band to play BLOWIN IN THE WIND, HIGHWAY 61, DESOLATION ROW, etc. in more of a rock and roll genre. I can remember only one harmonica riff during the set that lasted less than 2 hours. We enjoyed the show, but wish he had done some songs alone with an acoustic guitar, rather than totally electric with his band droning out some of his vocals. He is still a legendary NOBEL PRIZE WINNING superstar and plays like one during some of the moments during the show. It was great to hear him croon like Sinatra on songs like WHAT'LL I DO? and ALL OR NOTHING AT ALL. That was the best part of the show in this reviewer's opinion.

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Bob Dylan Announces Run of Spring 2024 U.S. Dates

The "Never Ending Tour" rambles on and on and on...

By Gil Kaufman

Gil Kaufman

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Bob Dylan ‘s Never Ending tour will keep on keepin’ on this spring with the latest round of dates in support of his 2020 album Rough and Rowdy Ways . The Rock and Roll Hall of Fame legend announced a new round of shows this week for a spring U.S. tour that will kick off with a pair of dates at the Broward Center for the Performing Arts in Fort Lauderdale, FL on March 1 and 2.

Timothée Chalamet Says He’s Heard 12 Hours of Unreleased Bob Dylan Music Ahead of Biopic

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Dylan released the comprehensive box set The Complete Budokan 1978 in November, a newly remixed and remastered recording of the original 24-channel analog tapes in celebration of the 45th anniversary of Dylan’s first shows in Japan. The set includes two complete shows from Tokyo’s Nippon Budokan Hall from Feb. 28 and March 1, 1978, with 58 tracks, including 36 previously unreleased recordings.

Check out the dates for Dylan’s U.S. spring 2024 tour below.

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Bob Dylan Details ‘Rough And Rowdy Ways’ Spring 2024 Tour Dates [Update]

[UPDATE]:   Bob Dylan has continued to tack on additional dates to his originally outlined spring 2024 Rough and Rowady Ways Tour itinerary. The run will now extend into April with new shows throughout the South and Southeast.

Since announcing the initial dates in late January, the legendary singer-songwriter has added new concerts in Asheville, NC (3/21), Louisville, KY (3/23–3/24), Memphis, TN (3/29–3/30), New Orleans (4/1),  Lafayette, LA (4/2), Dallas (4/4), and Austin (4/5–4/6). Tickets for the Louisiana and Texas shows will go on sale on Friday, February 9th via Dylan’s website . Tickets to all other shows are now on sale.

These additions come after Dylan’s original tour announcement was presented with the message, “Some dates were previously published in error. We apologize and will post updates as shows are confirmed.” It is unclear how many more shows he plans to add, but this week’s newly announced concerts mark the second round of additions to the original schedule. The  Rough and Rowdy Ways Tour began in 2021 and is advertised to end this year. See below for the most up-to-date list of concerts.

Bob Dylan 2024 Tour Dates

March 1, 2024 – Fort Lauderdale, Florida – Broward Center for the Performing Arts March 2, 2024 – Fort Lauderdale, Florida – Broward Center for the Performing Arts March 5, 2024 – Clearwater, Florida – Ruth Eckerd Hall March 6, 2024 – Clearwater, Florida – Ruth Eckerd Hall March 7, 2024 – Fort Myers, Florida – Suncoast Credit Union Arena March 9, 2024 – Orlando, Florida – Walt Disney Theater March 10, 2024 – Orlando, Florida – Walt Disney Theater March 12, 2024 – Jacksonville, Florida – Moran Theater at Jacksonville Center for the Performing Arts March 14, 2024 – Athens, Georgia – The Classic Center March 15, 2024 – Athens, Georgia – The Classic Center March 17, 2024 – Charlotte, North Carolina – Belk Theater March 18, 2024 – Fayetteville, North Carolina – Crown Theatre March 21, 2024 – Asheville, North Carolina – Harrah’s Cherokee Center March 23, 2024 – Louisville, Kentucky – Louisville Palace March 24, 2024 – Louisville, Kentucky – Louisville Palace March 29, 2024 – Memphis, Tennessee – Orpheum Theatre March 30, 2024 – Memphis, Tennessee – Orpheum Theatre April 1, 2024 – New Orleans, Louisiana – Saenger Theatre April 2, 2024 – Lafayette, Louisiana – Heymann Performing Arts Center April 4, 2024 – Dallas, Texas – Music Hall at Fair Park April 5, 2024 – Austin, Texas – ACL Live at the Moody Theater April 6, 2024 – Austin, Texas – ACL Live at the Moody Theater

[1/23/24]: Bob Dylan will take his  Rough and Rowdy Ways Tour into the new year with a fresh batch of spring 2024 U.S. tour dates. The trek behind Dylan’s 2020 album of the same name began in 2021 and has been advertised as lasting through 2024.

The new stretch of concerts will kick off with two nights in Fort Lauderdale, FL on March 1st and 2nd. The Nobel Prize -winning singer-songwriter will go on play a smattering of two-night stands throughout the Southeast including stops in Clearwater, FL (3/5–3/6), Orlando (3/9–3/10), and Athens, GA (3/14–3/15) before wrapping in Fayetteville, NC (3/18).

Some outlets have reported additional shows throughout the Southeast extending into April, but they are not found on Dylan’s website . As of publication time for this article, the website features a note reading, “Some dates were previously published in error. We apologize and will post updates as shows are confirmed.”

Dylan returned to U.S. stages last fall after a lengthy run of international dates. While abroad in Japan, Dylan added several covers by the  Grateful Dead and  Bob Weir to his repertoire including “Truckin'”, “Brokedown Palace”, “Stella Blue”, and “Only A River”. Upon returning to the U.S., Zimmy brought the covers—likely more recognizable to domestic audiences—with him for a run of shows through the Midwest . Prior to the fall tour, Dylan made a surprise appearance with  Tom Petty ‘s (and his own) former backing band The Heartbreakers at  Farm Aid .

Tickets for all newly announced Bob Dylan 2024 Rough and Rowdy Ways tour dates will go on sale on Friday, January 26th. Visit Dylan’s website for on-sale information by show. Click below for a list of confirmed dates.

Bob Dylan, Spring 2024 Tour Dates

March 1 – Fort Lauderdale, Florida @ Broward Center for the Performing Arts March 2 – Fort Lauderdale, Florida @ Broward Center for the Performing Arts March 5 – Clearwater, Florida @ Ruth Eckerd Hall March 6 – Clearwater, Florida @ Ruth Eckerd Hall March 7 – Fort Myers, Florida @ Suncoast Credit Union Arena March 9 – Orlando, Florida @ Walt Disney Theater March 10 – Orlando, Florida @ Walt Disney Theater March 12 – Jacksonville, Florida @ Moran Theater at Jacksonville Center for the Performing Arts March 14 – Athens, Georgia @ The Classic Center March 15 – Athens, Georgia @ The Classic Center March 17 – Charlotte, North Carolina @ Belk Theater March 18 – Fayetteville, North Carolina @ Crown Theatre

Bob Dylan and Willie Nelson Unite for Epic ‘Outlaw’ Summer Tour

By Andy Greene

Andy Greene

Willie Nelson is hitting the road this summer on his annual Outlaw Music Festival Tour, and Bob Dylan is joining for all 26 shows. They’ll be accompanied on the first leg by Robert Plant & Alison Krauss, and John Mellencamp on the second. Billy Strings, Brittney Spencer, Celisse, and Southern Avenue will also be playing with them at various stops along the way. It kicks off June 21 in Alpharetta, Georgia.

“This year’s Outlaw Music Festival Tour promises to be the biggest and best yet with this lineup of legendary artists,” Nelson said in a statement. “I am thrilled to get back on the road again with my family and friends playing the music we love for the fans we love.”

Dylan joined up with the Outlaw Festival for a couple of shows in 2017, but this is the first time he’s participated in the entire tour. His friendship with Nelson, however, goes back several decades. They co-wrote the song “Heartland” together in 1993.

In the summer of 2004, Nelson and Dylan played minor league baseball parks together all across America. In 2009, they brought John Mellencamp along for the ride when they repeated the concept. Dylan rarely shares the stage with other performers, but he frequently brought Nelson in 2004 for duets on “I Shall Be Released,” “Heartland,” and “Milk Cow Blues.” They first played together in 1976 when Nelson came out during a Rolling Thunder Revue stop in Houston for “Gotta Travel On.”

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James and Wilco’s Jeff Tweedy did have the chance to play with Dylan a few times though. They were brought out near the end of his set for the traditional folk song “Twelve Gates to the City,” and the Band’s “The Weight.” “His bass player, Tony [Garnier], did all the communicating with us as far as who was going to sing what verse,” James said. “They’d change keys literally a minute before we went on, like, ‘Bob wants to do it in E flat.’ It was really cool, and something I’ll be able to tell the grandkids about.”

If we’re lucky this summer, we might get to see Dylan, Nelson, Robert Plant, and Alison Krauss team up for a few songs. Plant played “Girl From the North Country” at many shows in the early 2000s. This could be his chance to perform it with the guy that wrote it.

Friday, June 21, 2024 Ameris Bank Amphitheatre, Alpharetta, GA Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

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Sunday, June 23, 2024 Coastal Credit Union Music Park, Raleigh, NC Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

Wednesday, June 26, 2024 Veterans United Home Loans Amphitheater at Virginia Beach, Virginia Beach, VA Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

Friday, June 28, 2024 Empower Federal Credit Union Amphitheater at Lakeview, Syracuse, NY Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

Saturday, June 29, 2024 Northwell Health at Jones Beach Theater, Wantagh, NY Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

Sunday, June 30, 2024 PNC Bank Arts Center, Holmdel, NJ Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

Tuesday, July 2, 2024 Xfinity Center, Mansfield, MA Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

Saturday, July 6, 2024 Bethel Woods Center for the Arts, Bethel, NY Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

Sunday, July 7, 2024 Hersheypark Stadium, Hershey, PA Willie Nelson & Family Bob Dylan Robert Plant & Alison Krauss Celisse

Monday, July 29, 2024 North Island Credit Union Amphitheatre, Chula Vista, CA Willie Nelson & Family Bob Dylan John Mellencamp Brittney Spencer

Wednesday, July 31, 2024 Hollywood Bowl, Los Angeles, CA Willie Nelson & Family Bob Dylan John Mellencamp Brittney Spencer

Saturday, August 3, 2024 Shoreline Amphitheatre, Mountain View, CA Willie Nelson & Family Bob Dylan John Mellencamp Brittney Spencer

Sunday, August 4, 2024 Toyota Amphitheatre, Wheatland, CA Willie Nelson & Family Bob Dylan John Mellencamp Brittney Spencer

Wednesday, August 7, 2024 Ford Idaho Center Amphitheater, Boise, ID Willie Nelson & Family Bob Dylan John Mellencamp Brittney Spencer

Saturday, August 10, 2024 Gorge Amphitheatre, George, WA Willie Nelson & Family Bob Dylan John Mellencamp Billy Strings Brittney Spencer

Friday, September 6, 2024 Somerset Amphitheater, Somerset, WI Willie Nelson & Family Bob Dylan John Mellencamp Southern Avenue

Saturday, September 7, 2024 Credit Union 1 Amphitheatre, Tinley Park, IL Willie Nelson & Family Bob Dylan John Mellencamp Southern Avenue

Sunday, September 8, 2024 Hollywood Casino Amphitheatre, St. Louis, MO Willie Nelson & Family Bob Dylan John Mellencamp Southern Avenue

Wednesday, September 11, 2024 Riverbend Music Center, Cincinnati, OH Willie Nelson & Family Bob Dylan John Mellencamp Southern Avenue

Thursday, September 12, 2024 Blossom Music Center, Cuyahoga Falls, OH Willie Nelson & Family Bob Dylan John Mellencamp Southern Avenue

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How to Get Tickets to Bob Dylan’s 2024 Tour

• Oops! Something went wrong. Please try again later. More content below

The post How to Get Tickets to Bob Dylan’s 2024 Tour appeared first on Consequence .

Bob Dylan has extended his long-running “Never Ending Tour” with a new leg of US tour dates that will take place in March and April 2024.

Find tickets here , and read on for more details, including pre-sale information.

Dave Matthews Band Here

What Is Bob Dylan’s 2024 Tour?

Dylan’s “Never Ending Tour” initially launched in 1988 and has spanned over 3,000 shows to date. As an extension of the “Never Ending Tour,” Dylan launched the “Rough and Rowdy Ways World Wide Tour” in support of his 2020 album of the same name. The spring 2024 leg kicks off with a pair of shows in Fort Lauderdale, Florida in early March. He’ll then play shows in Orlando, Charlotte, Louisville, Memphis, and more, before concluding in Dallas, Texas on April 4th.

How Can I Buy Tickets to Bob Dylan’s 2024 Tour?

Tickets for Bob Dylan’s  2024 tour dates will first be available through a Live Nation pre-sale , which begins on Thursday, January 25th at 10:00 a.m. local time (use access code SPOTLIGHT ). Tickets will then go on sale to the general public on Friday, January 26th at 10:00 a.m. local time via Ticketmaster .

Once tickets are on sale, you can also find them at  StubHub , where orders are 100% guaranteed through StubHub’s FanProtect program. StubHub is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

What Are Bob Dylan’s 2024 Tour Dates?

See the full list of Bob Dylan’s upcoming tour dates below, and grab your tickets here .

03/01 — Fort Lauderdale, FL @ Broward Center for the Performing Arts 03/02 — Fort Lauderdale, FL @ Broward Center for the Performing Arts 03/05 — Clearwater, FL @ Ruth Eckerd Hall 03/06 — Clearwater, FL @ Ruth Eckerd Hall 03/07 — Fort Myers, FL @ Suncoast Credit Union Arena 03/09 — Orlando, FL @ Walt Disney Theater 03/10 — Orlando, FL @ Walt Disney Theater 03/12 — Jacksonville, FL @ Moran Theater 03/14 — Athens, GA @ The Classic Center 03/15 — Athens, GA @ The Classic Center 03/17 — Charlotte, NC @ Belk Theater 03/18 — Fayetteville, NC @ Crown Theatre 03/20 — Asheville, NC @ Thomas Wolfe Auditorium 03/21 — Asheville, NC @ Thomas Wolfe Auditorium 03/23 — Louisville, KY @ Louisville Palace 03/24 — Louisville, KY @ Louisville Palace 03/26 — Knoxville, TN @ Knoxville Civic Auditorium 03/27 — Nashville, TN @ Ryman Auditorium 03/29 — Memphis, TN @ Orpheum Theatre 03/30 — Memphis, TN @ Orpheum Theatre 04/01 — Springfield, MO @ Juanita K. Hammons Hall 04/02 — Wichita, KS @ Century II Performing Arts Center 04/04 — Dallas, TX @ Music Hall at Fair Park

How to Get Tickets to Bob Dylan’s 2024 Tour Scoop Harrison

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Bob Dylan Puts an End to “Rough and Rowdy Ways” With Two Nights in Austin

Triumphant world tour concludes at acl live at the moody, by shawn badgley , 4:54pm, mon. apr. 8, 2024.

On March 1 in Fort Lauderdale, Bob Dylan was a few songs into his show – and a few years into his Rough and Rowdy Ways World Wide Tour – when a woman in the audience seized a medium-quiet moment of tuning to make a request: “Play something we know!” she shouted to the stage.

Dylan squinted. He clearly heard her, as did everyone else in the Broward Center for the Performing Arts. Within the space of a measure, the tuning took the form of an uptempo introduction – first halting, then darting – and the chords Dylan was plinking out on his baby grand were suddenly recognizable as a melody. It was “Puttin’ on the Ritz.” The band, guided by bassist Tony Garnier, gamely fell in, and the supplicant’s wish had been granted.

Well, sort of. The music was from Irving Berlin’s standard, but the words were still Bob Dylan’s. And the song, 1971’s “When I Paint My Masterpiece,” was never released on a studio album. Here, it instantly had a brand-new arrangement (and, if you were keeping track, the arrangement it was a new arrangement of was itself many arrangements removed from the original), a gag that actually somehow worked. It would stick in the set for more than a month since, all the way through this weekend’s two shows at ACL Live at the Moody Theater, which triumphantly closed a tour that started in 2021.

In Austin on Friday, this swinging, syncopated rendition of “When I Paint My Masterpiece” was so well-received that Dylan at times had to hold up one finger to keep the general admission crowd, standing on the floor just a few feet away, from clapping too early and often while he delivered lines. Soon enough, he was setting off on another improvised intro, a languorous, jazzy take on John Wesley Harding ’s “I’ll Be Your Baby Tonight” (1967), which segued into an extended harmonica break before keying back into the groove of its country shuffle origins. It may not have been Bill Evans doing bluegrass, but it showcased Dylan’s evolving piano stylings as well as his band’s uncanny ability to keep up.

Most of them, at least. The mercurial Dylan – all smiles one second, tossing a harmonica in disgust the next, and a notoriously tough boss – was visibly unhappy with one of his guitarists, shooting dirty looks his way and at one point rolling his eyes like a teenager and muttering a “Shit, man” into the mic when he felt parts weren’t played correctly during Friday’s performance.

The next night, that guitarist was replaced on nine songs by none other than Jimmie Vaughan. Talk about sending a message. Vaughan crackled on Nashville Skyline ’s “To Be Alone With You” and brought a born-again zeal to “Gotta Serve Somebody,” which, as the Grammy winner for Best Rock Vocal Performance by a Male after 1979’s Slow Train Coming , was arguably, and somewhat perversely, Dylan’s greatest hit played at these or any other stops on the Rough and Rowdy Ways World Wide Tour.

Named for the 2020 album – the last collection of originals Dylan has made, and one of his best – its 202 shows featured a largely static set list and a selection of covers that for some stretches served as tributes to those nights’ respective locations, among them Chuck Berry’s “Nadine” in St. Louis; Leonard Cohen’s “Dance Me to the End of Love” in Montreal; and, in Austin, a breathtaking, time-stopping “Across the Borderline” written by Ry Cooder, John Hiatt, and Jim Dickinson for Willie Nelson. (Dylan on Friday night seemed to tease Nelson’s “Funny How Time Slips Away,” before abandoning the effort; the weekend also gave us Johnny Cash’s “Big River” and Jimmy Rogers’ “Walking by Myself.”)

Most of all, it featured his own brilliant blues and ballads from Rough and Rowdy Ways , which landed, alien-like, smack-dab in the middle of the pandemic … not to offer a cure for what ailed us, but rather to throw on a little mood music for civilization’s final descent.

“My Own Version of You” was Mary Shelley meets the Four Horsemen, Dylan vamping to Garnier and drummer Jerry Pentecost’s interplay; “Black Rider” found him bristling: “Let me go through, open the door,” he demanded, keening in strong voice. “My soul is distressed, my mind is at war. Don't hug me, don't flatter me, don't turn on the charm. I'll take a sword and hack off your arm.” Good to know, thanks!

Dylan, who will be 83 in May, rarely if ever plays guitar or sings front and center these days, choosing to stay behind the piano with pages of lyrics under a light. But often he’ll shoot up from the bench and bang away, experimenting with triplets and flourishes, as on “False Prophet” and its four short fills. “Another day that don't end, another ship goin' out. Another day of anger, bitterness, and doubt,” he delivered with dagger-like phrasing before softening and stretching the moment of clarity: “I know how it happened. I saw it begin. I opened my heart to the world, and the world came in.”

The best of both nights could be found in such passages between violence and vulnerability, as Dylan broke apart these late-career songs he loves and glued them back together, reharmonized and reinterpreted, like Kintsugi live on stage. The most beautiful piece by far was “I’ve Made Up My Mind to Give Myself to You,” which opened with a glimmering harmonica solo (absent from the album version), then pulsed with Dylan’s held vocal notes, punctuated by Donnie Herron’s spare steel playing.

“Well, my heart’s like a river, a river that sings. Just takes me a while to realize things,” Dylan pleaded to someone who wasn’t even in the room – possibly someone from long ago and far away – with a deep yearning that made it seem like he had waited too long to finally decide. Now, it was only the audience who was swayed. “I’ll see you at sunrise, I’ll see you at dawn. I’ll lay down beside you when everyone’s gone.”

Bob Dylan ACL Live at the Moody Theater April 5 and 6, 2024

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March 27, 2024

Sept. 3, 2021

Bob Dylan , Rough and Rowdy Ways World Wide Tour , Jimmie Vaughan , Tony Garnier

John Mellencamp is a septuagenarian, a thrice-divorced grandfather and a chain smoker. He’s a liberal activist and a painter who’s never moved out of ruby-red Indiana. He’s a boomer rock star with a bunch of contemporaries in the grave. He’s quit the music business who knows how many times and is back on tour now, offsetting deathless hits like 1982’s “Jack & Diane” ( “Hold on to 16 as long as you can”) with death-obsessed latter-day songs like 2008’s “Longest Days” (“ Sometimes you get sick and you don’t get better”).

Last month, he walked offstage after being heckled at a concert in Ohio (though he returned to finish his set). Someone who’s never read an interview with the legendary musician might speculate that he’s reached his temperamental dotage, but a closer character study suggests Mr. Mellencamp has always been this capricious.

“I’m 72, and I’m still doing a teenager’s job,” he said, chuckling, during a recent Zoom interview.

He says his peers who are still at it are just as surprised by their longevity as he is by his own. Though they seem to be fewer and fewer.

“I’ll be working out today with an iPod and a song will come on and I’ll go, ‘Well, that [expletive] guy’s dead. This guy’s dead. What happened to this guy?’”

Here’s what he knows for sure: He’s not going to pitch a tour to play one of his best-loved old albums in its entirety, a la Bruce Springsteen and U2. So don’t look for a 40th anniversary roadshow of his quintuple-platinum-selling 1985 landmark “Scarecrow” next year, or one for its triple-platinum 1987 follow-up “The Lonesome Jubilee” in 2027.

“It just hits me sideways,” he says.

And he won’t be coming to an arena near you.

In 2009, the year Mellencamp toured minor league ballparks with Bob Dylan and Willie Nelson (with whom he and Neil Young organized Farm Aid, an annual concert to raise money for farmers, staring in 1985), folk legend Pete Seeger gave him a crucial piece of career advice: “Keep it small, but keep it going.”

Which is why most of Mellencamp’s appearances in the D.C. area over the last 15 years have been at the 3,700-seat Constitution Hall, where he’ll perform again on April 18.

“As soon as [Seeger] said that, it all clicked in my head,” Mellencamp says. “Quit worrying about if you’re going to [expletive] sell all 20,000 seats. Go play places you know you’re going to sell out.” A smaller room makes audiences more tolerant of the unfamiliar, he says, though his set list is still heavy on the hits.

Mellencamp started singing in a band as a teenager in Seymour, Ind. When he first went to New York to seek his fortune in 1974, he was as interested in painting as in singing. (Even now, he still paints almost daily.) After several Hoosierville-to-the-Apple long hauls dropping demo tapes at every record label or management firm he could find an address for, he got a lousy deal, a risible but seemingly indelible stage name in “Johnny Cougar” and an unmemorable first few albums.

It wasn’t until his fifth, 1982’s “American Fool,” that Mellencamp began to find his voice as a songwriter, scoring his first and only U.S. No. 1 in “Jack & Diane.” On its follow-up, 1983’s “Uh-Huh,” the Artist Formerly Known as Johnny Cougar was at last able to use his family name, becoming John “Cougar” Mellencamp for his most commercial era.

He remained an innovative but reliable hit maker throughout the 1980s, landing 10 songs in the Billboard Top 10. More significantly, he smuggled then-uncool instruments like accordions and violins — and lyrics that foregrounded their political and existential discontent more audibly than many of his peers in that feather-haired era — onto MTV and FM rock-radio playlists: “Rain on the Scarecrow,” “Paper in Fire” and “Check It Out” have all remained set list staples over the decades.

By the time he was finally able to drop “Cougar” altogether, the 1990s had dawned. And though Mellencamp continued to make good records and score hits — his cover of Van Morrison’s “Wild Night” with D.C. native Meshell Ndegeocello lodged itself in the Top 40 for most of 1994 — he spent the decade railing against the fact the culture was passing him by, cussing out (and, on at least one occasion, punching out) label guys who couldn’t figure out how to make his hip-hop-curious Clinton-era albums sell like his Reagan-era ones had.

Once Mellencamp finally accepted that he was no longer a mainstream musician, he experienced a creative rebirth, teaming up with producer T Bone Burnett for a pair of stripped-down albums. 2008’s “Life, Death, Love and Freedom” was as somber and persuasive as a deathbed confession. He followed it up with 2010’s even more willfully primitive “No Better Than This.”

Though he’s continued to release albums of mournful but nourishing new music — two in the last three years, in fact — you won’t hear much of that material in his show. In his approach to curating his deep catalogue for the stage, Mellencamp was always more a Tom Petty than a Springsteen, nestling new or unfamiliar songs in among road-tested favorites and tending to stick to the set list rather than calling audibles. “I toured with Dylan for a while and he didn’t play any [expletive] songs that anybody recognized,” he says. “I thought, that’s too extreme. So it’s a fine line of what should be recognized and what should be kind of challenging for the audience. And I think the audience who likes music, they like the idea of being challenged a little bit.”

Of course, with Mellencamp, there are always contradictions. Including to his own edicts, like the one about booking only smallish venues. Later this year, he’ll play 15 outdoor dates on the Outlaw Music Festival Tour with his longtime Farm Aid fellows and ’09 ballpark tour mates, Willie and Bob. But when he isn’t sharing the bill with other headliners, he’s sticking to theaters.

And he’d like some decorum.

“I do expect etiquette inside of the theater, the same way you would at a Broadway show,” he says. “My shows are not really concerts anymore. They’re performances, and there’s a difference between a performance and a concert. Look, I’m not for everyone anymore. I’m just not. And if you want to come and scream and yell and get drunk, don’t come to my show.”

April 18 at 8 p.m. at DAR Constitution Hall, 1776 D St. NW. darconstitutionhall.net . $83-$798.

Aerosmith announces rescheduled 2024-25 farewell tour dates. Get tickets

No need to “Dream On” much longer.

Aerosmith has finally announced the rescheduled dates of their ‘Peace Out’ farewell tour with special guests The Black Crowes and Teddy Swims on select dates.

The 40-concert jaunt will take the Rock and Roll Hall of Famers to arenas all over North America from September 2024 up until February 2025.

Notable shows include stops at Newark, NJ’s Prudential Center on Saturday, Dec. 28 and New York’s Madison Square Garden on Feb. 23, 2025.

Their last gig is scheduled for Feb. 26, 2025 at Buffalo’s KeyBank Center .

This upcoming trek will be the second attempt at rescheduling the tour; Steven Tyler sustained vocal cord damage at a Sept. 9, 2023 concert in Long Island — just three shows into their run — and the band had to postpone indefinitely.

“All previously purchased tickets will be honored for the rescheduled shows,” Aerosmith shared on Instagram .

If you haven’t gotten tickets yet and want to sing along to “Sweet Emotion,” “Walk This Way,” “Don’t Want To Miss A Thing” and so many more hits one last time, tickets can be scooped up for all ‘Peace Out’ concerts as soon as today.

Although inventory isn’t available on Ticketmaster until Friday, April 12, fans who want to ensure they have tickets ahead of time can purchase on sites like Vivid Seats before tickets are officially on sale.

Vivid Seats is a secondary market ticketing platform, and prices may be higher or lower than face value, depending on demand.

They have a 100% buyer guarantee that states your transaction will be safe and secure and will be delivered before the event.

A complete calendar including all rescheduled ‘Peace Out’ tour dates, venues, and links to buy tickets can be found below.

The original Aerosmtih lineup won’t be fully intact on this run of concerts.

Yes, lead singer Steven Tyler, guitarist Joe Perry, bassist Tom Hamilton and rhythm guitarist Brad Whitford are slated to perform at all shows.

However, drummer Joey Kramer will be sitting this run of shows out to “focus his attention on his family and health” according to  AP News .

Kramer, 72, will be replaced by John Douglas who has drummed with the band since 2019.

Aerosmith got three shows deep into their ‘Peace Out’ Farewell Tour before postponing.

For a closer look, here’s what they played at a recent live show courtesy of  Set List FM :

01.) “Back in the Saddle”

02.) “Same Old Song and Dance”

03.) “Rag Doll”

04.) “Livin’ on the Edge”

05.) “Janie’s Got a Gun”

06.) “No More No More”

07.) “Cryin’”

08.) “Adam’s Apple”

09.) “Hangman Jury”

10.) “Seasons of Wither”

11.) “Movin’ Out”

12.) “Love in an Elevator”

13.) “Stop Messin’ Around” (Fleetwood Mac cover)

14.) “I Don’t Want to Miss a Thing”

15.) “Rats in the Cellar”

16.) “Sweet Emotion”

17.) “Toys in the Attic”

18.) “Dream On”

19.) “Walk This Way”

On all dates except their opener when they’ll perform with Teddy Swims, Aerosmith will be joined by  The Black Crowes aka Rolling Stone’s “best new band of 1990.”

The band, known for mega hits “Hard To Handle” and “She Talks To Angels,” is also conducting a solo tour of their own this year including a show at New York’s Radio City Music Hall on April 27.

If you want to see them live, click here to see The Black Crowes’ complete 2024 tour calendar.

In 1973, the 25-year-old Tyler was given guardianship of 16-year-old Julia Holcomb so the two could live together.

After a tumultuous three-year relationship, the two broke up.

Nearly 50 years later, Holcomb — who now goes by Julia Misley — filed a lawsuit in December 2022. In the suit, she claimed Tyler sexually assaulted her, forced her to abort their child, and convinced her to drink and take drugs after he promised to serve as her guardian.

In the trial, Tyler alleged the relationship was consensual and had immunity because of his guardian status.

Legal experts have since said “caregiver immunity” does not exist if you sexually abuse the person you’ve taken in.

“The lawsuit came in the final days of California’s Child Victims Act, which temporarily lifted the statute of limitations for survivors of childhood sexual abuse to come forward with their allegations,” Consequence of Sound reported.

Jeanne Bellino, another minor that was sexually abused by Tyler in the 1970s, also filed a lawsuit against him; US District Judge Lewis Kaplan threw the case out this February because she “had waited too long to sue Tyler under a New York City law protecting victims of gender-motivated violence,” Reuters wrote.

“(Kaplan) said Bellino did not qualify for a two-year window to pursue claims that would otherwise extend beyond statutes of limitations, because she did not allege that Tyler’s conduct posed a “serious risk of physical injury.”

Many of the biggest acts that defined the sound of the ’70s and ’80s are back on the road this year for another spin.

Here are just five of our favorite classic rockers you won’t want to miss live these next few months.

•  Rolling Stones

•  Bruce Springsteen and the E Street Band

•  Neil Young

•  Bob Dylan with Willie Nelson and Robert Plant

•  Electric Light Orchestra

Need more classic rock in your life? Check out our list of the  52 biggest classic rockers on tour in 2024 to find the show for you.

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