summer jam tour shirt

Summer Jam 2024

HOT 97’s Summer Jam is the largest live Hip Hop music & culture celebration in America, taking over New York with some of the biggest names in Hip Hop on one stage! Many consider it the most iconic Hip Hop show in the world, and it’s BACK for its 30th year as THE platform for Hip Hop’s biggest superstars.

Note: We recommend the use of public transportation to the venue due to limited parking.

UBS Arena has 5  parking  areas, which can only be accessed via the Cross Island Parkway:

• Belmont Park Garage Exit 26A
• Diamond, Ruby, and Silver Parking Exit 26B (Hempstead Turnpike East)
• Emerald Parking Exit 26D

We strongly encourage you to purchase parking ahead of time.

• Advance online purchase closes 2 hours prior to the start of the event.
• Diamond, Ruby, and Silver Parking require a pre-paid parking pass to enter. 
• Passes in Diamond & Ruby Parking are not available for purchase.
• To purchase parking, visit  Ticketmaster .
• Do not take Cross Island Parkway Exit 26B unless you have a pre-paid Diamond or Silver Parking pass.
• For concerts, prices will increase $5 when purchased for Emerald Parking the day of the event

We encourage guests who are driving to input their parking area into their GPS for the best experience, as follows: “UBS Arena Emerald Parking” “UBS Arena Belmont Park Garage” “UBS Arena Silver Parking” “UBS Arena Diamond Parking” “UBS Arena Ruby Parking”

Elmont – UBS Arena Station

• Fare: Zone 4
• Location: North of campus, short walk (10-15 min) to arena or accessible by free shuttle

Direct service from Grand Central Madison to Elmont-UBS Arena Station is now available. You can now get to UBS Arena from Grand Central and Penn Station in approximately 30 minutes.

UBS Arena is accessible by 3 bus lines:

• NICE Bus   N6 line

Take the  ferry  from Bridgeport to Port Jefferson where you can connect to the  LIRR .

The rideshare & drop off / pick up location is located on the north side of the arena and is only accessible via Cross Island Parkway Exit 26D and Green Road.

For Media Inquiries To HOT 97 Summer Jam email: [email protected] using the subject “Coverage for Summer Jam 24”

Lola Brooke Takes Us On The Road To Summer Jam

Coi Leray Lets Us Behind The Scenes On The Road To Summer Jam

Road To Summer Jam – Dreamdoll

Road To Summer Jam – Girll Codee

Road To Summer Jam – Pusha T

Watch as some of Summer Jam’s past acts return to react and share the stories behind some of hip hop’s most iconic performances!

Styles P REACTS To The LOX Summer Jam Tribute Performances!

Swizz Beatz Looks Back At His Battle Against Kanye West & Timbaland At Summer Jam!

Yung Bleu REACTS To The LOX Summer Jam & How He Has Grown In A Year

Summer Jam: Through The Years , a documentary-style mini-series highlighting four Summer Jams throughout four decades of hip-hop. “Summer Jam: Through The Years” is hosted by HOT 97 personality and Ebro In The Morning co-host Laura Stylez who narrates a series of interviews conducted by HOT 97 in-house reporter Jason Peters.

This series has everything from bloody backstage dressing rooms to GRAMMY award winners being booed! Hear firsthand accounts of hip-hop history, hear stories that have never been told about your favorite artists, and learn about the biggest show in hip-hop!This series explores the creation of Summer Jam in 1994 up to the most recent Summer Jam in 2021! Guests include hip-hop royalty like Ralph McDaniels from Video Music Box, DJ ENUFF ,

This series explores the creation of Summer Jam in 1994 up to the most recent Summer Jam in 2021! Guests include hip-hop royalty like Ralph McDaniels from Video Music Box, DJ ENUFF , DJ Bugsy Buggs, and Speech from Arrested Development – but also includes fresh voices in the hip-hop game like Capella Grey and DJ Drewski .

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Guns N' Roses NJ Summer Jam 1988 Tour T-Shirt

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This official licensed short sleeved t-shirt in black features Guns N' Roses' 'AFD' 1988 tour artwork on the front with 'NJ Summer Jam' design on the back.  Comes fitted with branded official hang tags. Printed in the UK on a 100% cotton t-shirt.

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The Great Lost Dead Archive

By Jesse Jarnow

Photography by Damien Maloney

The 12 cardboard boxes are found across the Golden Gate Bridge in Marin County, past San Rafael, through a canyon, up the drive, at a house situated on an idyllic green hillside. Then: into the basement, past the meticulously organized antique-radio workshop, and down another set of stairs to the dirt-packed crawl space beneath.

Inside the boxes are some several hundred T-shirts, constituting both the vintage-fashion score of this or any year (but especially this one) and an incomparable historical collection. Spread across them, emblazoned in a quarter-century's worth of gaudy design trends, is the story of the Grateful Dead, Marin County's psychedelic cowboys and now mythological American legends.

Healy plays a Stratocaster once owned by Jimi Hendrix.

Upstairs, the bemused shirt owner watches as they unfold and bloom across the living room, like rainbow spores from cardboard seed pockets. Despite their age—the earliest of the shirts are more than 50 years old—they're in remarkable shape. “I don't ever remember wearing a Grateful Dead shirt,” Dan Healy says. Doing so would have gotten him laughed at by his co-workers. “We didn't really do that.”

Healy, now 73, has short white hair and looks like the semi-retired audio engineer he is in a neat button-down shirt and glasses. The old co-workers he's talking about happen to be the Grateful Dead's traveling sound crew, of which he was a legendary member. From 1967 to 1994, with a few breaks, Healy worked with the Dead—serving as primary sound engineer beginning in the early '70s.

Healy’s backstage pass and program from the Dead’s 1978 shows at the foot of the Sphinx. Healy wired up the King’s Chamber in the Great Pyramid of Giza for sound.

For all the things the Dead are best known for today—improvisation, songwriting, even their role in engendering the transformation of American culture through psychedelics—it might be easy to overlook the fact that the band was also responsible for the virtual invention of modern live-concert sound. Much of that owes to the effort and obsession of Healy, who not only operated the soundboard but had a hand in innovations along nearly the entire signal chain that fed into and out of it. The importance of the T-shirt collection in his sub-basement isn't merely in the shirts but in their owner.

The shirts are the spoils from the band's official merchandising arm, as well as from promoters to commemorate specific concerts. Healy's collection includes some infamous parking-lot bootlegs, too, as well as a "Free Dan Healy" shirt with his face behind bars, made by the band after Healy's scuffle with the Bakersfield fuzz in 1978. (“They were out to get us that tour,” he says of the police.) Wherever the band played, Healy would politely take the swag and then get back to work. At tour's end, he would put them in a box, and when the box was full, he would move it to the basement of the Marin house he's owned since 1970.

Always treasured by Deadheads, originals have long since turned collectible, sometimes selling online for as much as $500. Improbably, though, the shirts have now risen into their own kind of high fashion, too. Emphasis, of course, on the high. Many of the shirts feature the Grateful Dead's logo—a skull with a 13-point lightning bolt shooting through the middle—which has become a red-white-and-blue symbol of American freedom all its own. The Stealie, as Deadheads call it (after the 1976 album on which it appeared, Steal Your Face ), was created by LSD chemist and soundman Owsley Stanley and artist Bob Thomas. Now cherished by Instagram influencers, pop stars, baby boomers, underground noise musicians, and Walmart shoppers alike, it's an enduring signifier of the band's participatory psychedelic revolution.

A recovered gem from the Dan Healy T-shirt archive, commemorating the four Lyceum shows that concluded the Grateful Dead's first-ever European tour.

Throughout his years with the band, Healy was well aware of the Dead's profoundly American adventure, but he was also surrounded by the day-to-day issues of keeping the strange mechanical bird in flight. A serious rock vet, he never really bought into the Dead's mythology—perhaps one reason he completely forgot about the boxes of shirts and never even wore them in the first place. He's not gruff about it, but neither is he nostalgic. “I've never been a very good look-back person,” Healy says.

His view of the revolution wasn't from the front row but the cockpit. As a veritable member of the band, his job was tending to the sound. The music, the gear, and the emerging new world were indistinguishable, a revolution that came with swag.

The official shirt for Watkins Glen, where 600,000 saw the Dead, the Allman Brothers, and the Band, 1973.

A bootleg honoring Dead-concert tapers, 1980s.

The tee for a fournight April Fool’s run at Marin Veterans’ Memorial Auditorium, 1984.

The stories slowly unfold along with the shirts, which track the band's three-decade rise from San Francisco's DIY counterculture, across festivals and college campuses and desiccated movie palaces, to theaters, arenas, sold-out football stadiums, and American legend.

Healy wasn't yet with the Dead when the band issued the first of its shirts, which featured mustachioed frontman Ron “Pigpen” McKernan. But the earliest pieces in his collection are nearly as old—and just as rare. Healy raises his eyebrows and smiles at a design from 1967 that's become infamous in the Dead's circles for the way it (perhaps intentionally) framed women's breasts. “The girls didn't like that one,” Healy recalls.

He first encountered the Dead when he caught them opening for his friends' band, Quicksilver Messenger Service, arriving at the Fillmore during an “Is there a doctor in the house?” moment. One of the Dead's amps had died, and Quicksilver guitarist John Cipollina volunteered his buddy to help. A lifelong sound geek who'd built a pirate radio station with friends in middle school in Humboldt County, Healy had lately been living on a houseboat docked a few berths from Quicksilver's and had earned a reputation for being able to troubleshoot sound systems on the fly.

Healy fixed the recalcitrant amplifier but was still bothered by what he heard. “The P.A. sound was just so horrendous,” he recalls. “The balance was horrible. Whenever anybody was singing, the words were just completely garbled.” After the show, he politely challenged the Dead's Jerry Garcia over the state of the concert's sound, and Garcia politely challenged him to do better. Doing that required renting some new speakers, and to raise the necessary funds, Healy invoked what might be called hip economics.

“I sold pot and acid,” he says, laughing. “I didn't even really smoke yet, and I hadn't taken LSD yet, either. But my goal was to do the sound system, and I was pretty much willing to do almost anything short of horrible treachery to get it to happen. I don't really advocate that form of moneymaking, but it was a means to an end.”

Healy became obsessed with the Dead's sound. The LSD soon followed. Like the band, he had been seriously dedicated to his craft long before trying psychedelics, but the psychedelics pushed him further.

“I guess you would call it a hallucination or a dream or a bolt of lighting that hit me between the eyes or wherever,” he says. “But there was a moment when I flashed on what it was all supposed to sound like. And then it became a lifelong pursuit. I saw the whole, complete picture, the entire scope of exactly what it needed, what was missing. And so it was probably because of the psychedelics. Maybe LSD, maybe peyote, maybe mushrooms. It transformed it from a bunch of monkeys on typewriters to educated people making music.

“The dream was there, the model of sitting in your living room in front of the world's greatest stereo, smoking the fattest, biggest jay you can and listening to the most fabulous music over an incredible sound system, for each and every person at a concert. That was the model.”

A Deadhead bootleg parodying Maxell tapes’ “blown-away guy” ad campaign, 1980s.

A bootleg for the Watkins Glen Summer Jam, depicting the Dead’s sound system, 1973.

A classic Dead shirt with the Ice Cream Kid, by Stanley Mouse and Alton Kelley, from the Europe ’72 tour.

The tee for the band's spring 1984 tour, around the time they scrapped a studio album but continued building an audience on the road.

Healy's collection is loaded with sartorial souvenirs from moments that can be tough to remember. One unusually worn-out piece was imported from London and commemorates the conclusion of the arduous two-month-long trek across the Continent that would be featured on the Europe '72 live album. "I Heard the Grateful Dead at the Lyceum '72," the shirt reads, though Healy recalls nothing about the shows. “We were so stoned on acid at the Lyceum,” he says. Perhaps celebrating the tour's end, perhaps draining their acid vials over the four nights before heading home. “The duty at that point was probably trying to stay upright,” he says. One would hardly know: The Lyceum shows would yield half the music on the triple live LP.

Two different shirts represent the Watkins Glen Summer Jam, the July 1973 mega-concert with the Dead, the Allman Brothers, and the Band; an estimated 600,000 fans; and an on-site pirate radio station—the largest festival of the original festival era. One shirt is the official model; the other, an early Dead bootleg shirt, features a homemade hippie approximation of the band's already legendary P.A. “They were probably drawing the Hard Truckers [speaker cabinets],” Healy says fondly.

For Healy and his wife, Patti, the Watkins Glen International racetrack—the site of one of this year's competing “Woodstock 50th-anniversary” festivals—was a serious battlefield. Healy mixed sound for all three bands, a rare pleasure, in addition to presiding over the public sound check the day before. “But we were stuck at the soundboard for basically 36 hours,” Healy says. “There was nowhere to go. I stayed awake. It was such a screaming-meemies scene that I had to stay on top of it. There's another reality in that the ultimate responsibility for the audience rests on the sound system. If 600,000 people are there and help is needed and the sound system goes off, the whole thing can run amok and people can die. It's very, very serious.”

In the early '70s, when bands their size were buying private jets, palatial estates, or fancy yachts, the Dead poured their earnings into their sound system. Engineers like Healy (as well as roadies and others) were voting members at all-band meetings. With original Dead sound guru Owsley Stanley's mantra of “as above, so below,” they yearned to make literally equal sonic experiences for the band and the most distant audience member. The so-called Wall of Sound they developed was unsustainable. The era peaked with the band announcing its retirement from the road at the end of 1974. Of the stash in the boxes, Healy's lone surviving shirt from the year is utilitarian gray with no artwork at all, reading simply "1974 Tour".

The back of the tee for New Year’s at home at Bill Graham’s Winterland, 1977–1978.

The front of the tee for the New Year’s at Winterland show, 1977–1978.

A bootleg replacing Dirty Harry’s weapon with the classic Deadhead taper mic setup, 1980s.

The shirt from Cal Expo Amphitheater, Sacramento, 1986.

Several shirts and backstage passes, in startlingly unfaded shape, represent the Dead's appearance at Cornell University's Barton Hall in May 1977. A recording from that show routinely appears at the top of Deadhead favorites lists and was added to the Library of Congress's National Recording Registry—it finally received an official release in 2017. Healy remembers Cornell for the “computer freaks” that flocked to the soundboard.

“In the mid-'70s, we were in the absolute throes of pure research and development,” he says. “The ideas were just flowing like water over Niagara Falls. It was a wonderful time for innovation.” Just as music fans could use the Dead to dive into the roots of American music or the vocabulary of improvisation, audio-heads could use the band as a gateway into sound. In much the way the Dead almost never repeated their set list, their sound system changed almost as frequently.

Many of the bootleg shirts in his collection reference another Healy-abetted innovation that continues to transform the live-music world. One such shirt features a long-haired skeleton in sunglasses and sneakers holding a stereo pair of microphones, wearing a T-shirt that reads "Make Tapes Not War." Another features Clint Eastwood's Dirty Harry, aiming his weapon, the gun replaced, again, by stereo microphones. "Go Ahead Jerry," it's captioned, "Make My Day."

Healy didn't invent Grateful Dead-concert taping, which Dead freaks began doing on their own in the late '60s. But he was sympathetic to the tapers' cause. He recalls his own pre-hippie affinity for hauling his Crown 700 reel-to-reel to Marin County jazz clubs. By the late '70s, though, Dead tapers' microphones had become ubiquitous, sometimes blocking even Healy's view at the board. He remembers distraught first-time concertgoers showing up at the sound booth, complaining to him that tapers had overtaken their seats.

“I was eternally caught between the non-tapers and the tapers,” Healy says, a distinction that was noted not only by the audience but also by the band, which struggled to come up with an official policy. Always friendly with fans, Healy lobbied for the recordists. A compromise was reached, and the tapers were given their own section, positioned behind the soundboard, starting in late 1984. “So I got stuck with the tapers,” he says, laughing.

In creating such a policy, the Grateful Dead cemented their profoundly forward-thinking business model, powered by crowd-sourced recordings circulated via fan-mediated social networks. Going against long-held common sense—that “giving away” music inherently cripples record sales—the Dead proved the music business wildly wrong, piercing the Top 10 less than three years later with “Touch of Gray,” already a half-decade old on the Deadheads' invisible hit parade. By 1995, Metallica had copied the Dead's taping policy virtually word for word, and tapers' sections spread everywhere.

Healy’s shirt and backstage passes from the Grateful Dead’s legendary May 8, 1977, show at Cornell University. The recording, a fan favorite for years, finally received an official release in 2017.

Added to the Library of Congress's National Recording Registry, the Cornell '77 show even has its own widespread truther conspiracy, like the one surrounding the moon landing.

A "Free Dan Healy" tee (made after Healy’s scuffle with the Bakersfield police), 1978.

An early official Grateful Dead shirt, likely by Hells Angel Allan “Gut” Terk, 1967.

The rock milestones keep pouring out of the boxes. There's Englishtown '77, where over 100,000 saw the Dead on a New Jersey racetrack and a new generation of fans was minted. “Ah, yes, the Polish railway…,” Healy says, remembering the shipping containers that promoter John Scher used to line the site in order to prevent gate-crashers. And there's Egypt '78, where the Dead played at the foot of the Sphinx, and Healy wired up the King's Chamber of the Great Pyramid of Giza for sound.

It was a long, strange working relationship. For Healy, the band's live sound achieved consistent just-exactly-perfection over the course of the 1980s, with his Ultra-Matrix tapes reaching studio levels. Acting like a producer, he'd spin the band's voices around a venue's speakers at peak moments, often to a dizzying three-dimensional effect.

Dan Healy’s collection of shirts and other Dead ephemera was unceremoniously stored in cardboard boxes in the crawl space under his Marin County house.

“Certain members of the band didn't always like that,” he admits. Healy's treatments, though, remain some of the more far-out moments from less and less trippy times for the band, especially as Jerry Garcia battled heroin addiction. When the guitarist relapsed in the early '90s, Healy says, “I lost my friend. He went away.”

As the band struggled with Garcia's decline, Healy himself—faulted at times for mixing the band too much to his own taste—came into the cross fire, and he was dismissed in the spring of 1994. The last T-shirts were added to the boxes in the basement. A year and a half later, at a rehab facility in Marin County—not far from Healy's house—Jerry Garcia died of a heart attack. Though band members have continued to tour with one another, they retired the name Grateful Dead.

In recent years, fixing vintage radios in his basement workshop has taken over as Healy's profession. He'd started collecting them in the Haight era and continued, a relaxing parallel obsession that rendered him an ambassador to forgotten knowledge rather than someone perpetually on the hunt for the next cool thing.

When some maintenance needed to be done elsewhere in the basement, part of the house's side was removed, exposing the crawl space—and the long-forgotten boxes—to the sunlight.

He marvels at the changes in the industry since he parted ways with the Dead 25 years ago and at the magnitude of control possessed by modern live engineers. “When I started, live sound was completely random,” he says. “And I spent my life moving it away from the randomness and towards the specifics. If you heard the psychedelic dream version, then it was a lifelong trek.”

Jesse Jarnow is the author of "Heads: A Biography Of Psychedelic America" And Hosts "The Frow Show" on WFMU.

A version of this story appears in the Spring 2019 issue of GQ Style with the title “The Great Lost Dead Archive.”

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Pearl Jam - Officially Licensed Merchandise

Pearl Jam is an American rock band formed in Seattle, Washington, in 1990. Members include; Eddie Vedder, Mike McCready, Stone Gossard, Jeff Ament, Matt Cameron, Dave Krusen, Matt Chamberlain, Dave Abbruzzese, Jack Irons. Discography includes; Ten (1991), Vs. (1993), Vitalogy .... Show More (1994), No Code (1996), Yield (1998), Binaural (2000), Riot Act (2002), Pearl Jam (2006), Backspacer (2009), Lightning Bolt (2013). Tours incldue; 2005 South and Central American Tour, 2012 European Tour, 2015 Latin American Tour, 2016 North American Tour, Australian Tour 2006, Backspacer, Binaural, European Tour 1993, European Tour 1996, European Tour 2006, European Tour 2007, European Tour 2010, Lightning Bolt, Lollapalooza 1992, Mookie Blaylock 1991 North American Tour, North American Tour 1991, North American Tour 1995, North American Tour 1996, North American Tour 2010, North American Tour Autumn 2003, North American Tour Summer 1993, Pearl Jam Twenty, Riot Act, Ten, Vitalogy, Vote for Change, Vs., Yield. Show Less

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Neil Young reunites with Crazy Horse after a decade, performs double encore

On Thursday night, magic happened in Tennesseee.

Singer-songwriter Neil Young and rock band Crazy Horse came together to perform their hits over a two-hour show at FirstBank Amphitheater on their first tour together in a decade.

The 2024 "Love Earth Tour" features the now 78-year-old singer alongside the Los Angeles rock band yet again.

Canadian singer-songwriter Young, best known for songs "Heart of Gold," "Harvest Moon" and "Old Man," released the album "Fu##in' Up" with Crazy Horse on April 25, featuring nine rock 'n' roll tracks. The two have released 15 studio albums together.

Young and Crazy Horse kicked off their brief 16-stop tour on April 24 in San Diego and will continue with upcoming stops in Virginia, New Jersey, New York and more.

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Thursday's concert in Franklin was originally slated for Wednesday evening, but was postponed by a day due to  inclement weather .

But Thursday night brought the calm after the storm; the evening was serene.

Neil Young returns to Spotify after 2-year hiatus following Joe Rogan controversy

After opener Reverend Billy and the Church of Stop Shopping , a musical performance art experience that draws from religion, Young hit the stage.

The set-up featured a backdrop with a galloping horse and giant speaker cabinets and road cases, the same ones Young took on the road with him for his "Rust Never Sleeps" tour in 1978.

Young appeared in a striped cap, a denim work shirt that featured paint splatters and a Spartan Truck Equipment patch, black pants, black shoes and of course, his guitar, Old Black .

He mentioned the venue's beauty multiple times — a stage nestled in the woods of Graystone Quarry in Thompson’s Station.

"How you doin out there? Nice to see you," Young said to the Franklin crowd.

"What a beautiful place. You guys are very lucky to have this place."

Alongside Young was the band, comprised of 80-year-old Billy Talbot on bass and 80-year-old Ralph Molina on drums. They also have a new member, Micah Nelson on guitar.

Nelson, Willie Nelson 's 33-year-old son, took over for the band's previous guitarist Nils Lofgren earlier this year.

Throughout the show, Neil Young and the band played a 17-song set, full with jam sessions and occasional harmonies. Young was energized and playful, captivating the crowd with his trademark nasally, emotional voice.

The set list was mostly comprised of older hits, like 1969's "Cinnamon Girl" and 1972's "Heart of Gold."

The band didn't play any songs from their recent album; the most recent song was 1996's "Scattered (Let's Think About Livin')." Nelson's big moment came during the tune; he traded his guitar to play a swinging keyboard that descended from the ceiling.

Young's guitar playing—both electric and acoustic—was adept and agile. Though Young shared in January he has been playing guitar with arthritis in his hand for years, audience members wouldn't have guessed.

He played the blues on song "Vampire Blues," hitting guitar licks with a precision like Stevie Ray Vaughan's. He also performed drawn-out, warping guitar solos on songs like "Like a Hurricane" and "Powderfinger."

Between songs, Young would hand his guitar off to his techs (who all wore white lab coats), but was audibly uncomfortable until he had a guitar in his arms yet again.

The night's concert walked the line between a Young that leaned into classic, grunge rock 'n' roll with Crazy Horse and a Young that gently cooed with Crosby, Stills & Nash in '69, strumming an acoustic.

Young pulled off the balancing act.

Here are some of the top moments from the night.

Neil Young opens with 'Cortez the Killer,' sings newly released verse

On a purple-lit stage, Neil Young and Crazy Horse kicked off the show with the 1975 song "Cortez the Killer."

The first lyrics from Young brought cheers from the audience as he sang, "He came dancing across the water / With his galleons and guns."

Young surprised fans at the first concert of the tour by singing unreleased lyrics to the song, ones he said did not record due to a power outage on the recording console in 1975.

Young found the lyric manuscript, he said in an interview mid-April this year.

The verse was lost for nearly 50 years. Young sang the verse again in Franklin.

“I floated on the water / I ate that ocean wave / Two weeks after the slaughter/ I was living in a cave / They came too late to get me / But there’s no one here to set me free / From this rocky grave / To that snowed-out ocean wave.”

Neil Young calls on local non-profits to support his eco-friendly mission

Neil Young has been vocal about his environmental efforts throughout his career .

In 1985, Young helped establish the annual Farm Aid concerts . In 2022, he released album "World Record," an album that focuses on climate change. Later that year, Young said he refused to play venues that are supported by factory farms .

The environmentalism was felt at his Franklin show.

Upon entering the concert, fans saw a series of tents and tables from local environmental organizations all hand picked by Young, including Tennessee Local Food . The organizations attended the concert and chatted with fans about their missions.

Young calls it the "LOVE EARTH Village."

At different stops on the tour, hundreds of non-profits working for sustainability and social equity will join to chat about issues like organic farming, wildlife protection, Native American rights and climate change solutions.

According to a venue employee, Young also changed the menu for the venue's offerings on Thursday, opting for more eco-friendly options (Coke products were nowhere to be seen).

On a handout at the venue, Young wrote, "Support your friends, support your land, and support the people that want to care for the land.

"The revolution starts with us. The revolution starts with you."

Neil Young goes acoustic mid-show, takes stage alone

At one point, Young took an empty stage, traded Old Black for an acoustic, and donned the harmonica around his neck.

He sang songs, "Comes a Time," "Heart of Gold" and "Human Highway" onstage alone, leaning into his folk singer-songwriter roots.

Despite the occasional hoot or holler in the audience, a hush crept over the amphitheater as Young sang, played plucky guitar and showcased his harmonica skills between verses.

It was a gentler, softer and more intimate side to the evening.

"Heart of Gold" stood out among the acoustic section.

Young sang his biggest hit: "Keep me searching / For a heart of gold / I've been a miner / For a heart of gold."

An encore and...another encore

Before the encore, Young ended his set with song "Hey Hey, My My (Into the Black)," leaving the audience with the classic and singing, "Hey hey, my my / Rock and roll can never die."

And it didn't die just then, Young and the band returned to the stage to play "Roll Another Number (For the Road)" as their encore.

After the song finished, the audience didn't stop cheering. Young and company came back to deliver a second encore, this time three songs long.

For encore two, they performed "Danger Bird," "Don't Cry No Tears" and "Sedan Delivery," ending the night on a grungy rock 'n' roll note that included pink lights and plenty of reverb.

Afterwards, the band and Young gathered arm-in-arm in a single spotlight and gave their final bow.

Neil Young's Set List

• Cortez the Killer
• Cinnamon Girl
• Scattered (Let's Think About Livin')
• Like a Hurricane
• Vampire Blues
• The Losing End (When You're On)
• Everybody Knows This Is Nowhere
• Powderfinger
• Love and Only Love
• Comes a Time
• Heart of Gold
• Human Highway
• Hey Hey, My My (Into the Black)
• Encore: Roll Another Number (For the Road)
• Encore II: Danger Bird, Don't Cry No Tears, Sedan Delivery

For more information on Neil Young's tour, head to  neilyoungarchives.com .

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All the Changes Taylor Swift Made to the Eras Tour Following  The Tortured Poets Department  Release

Swift returned to the Eras Tour with her concert in Paris on May 9 and it included quite a few big changes to the setlist

Kevin Mazur/TAS24/Getty 

Taylor Swift is making some big changes with the Eras Tour . 

Following a brief hiatus from the tour after her concerts in Singapore in March, the “ Fortnight ” singer returned to the stage on May 9 in Paris, France to kick off the tour's new leg.

After releasing her 11th studio album The Tortured Poets Department in April, many Swifties theorized that she might switch up the setlist to include new tracks from the album.

Swift seemingly teased changes to the tour in late April as she shared a behind-the-scenes look at her rehearsing, which appeared to include new costumes, microphones and performances. Further adding fuel the speculation, her dancers posted a video of them dancing to her new track “So Long, London” in early May. 

In addition to adding The Tortured Poets Department to the setlist, Swift made a handful of other big changes to the Eras Tour, including many new costumes and new performances. 

Read ahead for the biggest changes to the Eras Tour. 

The Tortured Poets Department has been added to the intro 

Kevin Mazur/TAS24/Getty

Swift first teased the addition of The Tortured Poets Department at the beginning of the show. To the intro, which features Swift naming all of her album titles, she added a clip of her singing the title track “ The Tortured Poets Department .” Additionally, fans noted that she added the lyric “What if I told you I’m back?” featured in the song “ The Alchemy ,” which fans have theorized is about her boyfriend Travis Kelce . 

There are all-new costumes 

Kevin Mazur/Getty

The singer debuted several new costumes during her Paris show. She kicked things off with her Lover set by donning a bright orange bodysuit as well as matching shoes and a blazer (all Versace) as she performed “The Man.” 

As she transitioned into her Fearless era, she debuted a silver and black fringe dress, which is much more reminiscent of the dress she wore during her original Fearless Tour in 2009, and had a new gown for her Speak Now set. 

Additionally, she wore a new shirt during her “22” performance, which read: “This is not Taylor’s Version" ( a new addition to the rotation ), which had fans speculating about what it could mean.

Her Folklore era also included a new yellow Alberta Ferretti dress while her 1989 set included a pink and green two-piece which gave fans vibes of Ariel’s outfit in The Little Mermaid (which was released in, you guessed it, 1989 and contains the line "Daddy, I love him!" — just like a song on TTPD ). The outfit also included one pink and one green shoe.

Meanwhile, her Reputation outfit stayed the same: a Roberto Cavalli catsuit which she has worn the entire tour.

Several songs have been cut 

With the addition of songs from the new album, Swift cut a few tracks from the original setlist. Some of the most notable cuts include “The Archer” which previously ended the Lover era, “Long Live,” which was a more recent addition to the Speak Now set, and several Folklore and Evermore songs including “The Last Great American Dynasty" and “Tolerate It.”  

There is a new order to the eras 

Swift also reordered some of the eras. In the past, the Folklore era had followed her Red set, but in Paris she changed things up by having Speak Now directly follow her performance of Red' s “All Too Well.” 

Another major change is that Folklore and Evermore are now combined into one set. As she sat at the piano to perform “Champagne Problems,” Swift explained that she always saw the two albums as part of a whole, with Folklore representing spring/summer and Evermore representing fall/winter. “On the Eras Tour, we have now reunited the sisters [and] combined them into one chapter,” she said , joking fans can call the new era “Folkmore” or “Everlore.”  

The new order of the eras is as follows: Lover , Fearless , Red , Speak Now , Reputation , Folklore and Evermore (now combined), 1989 , The Tortured Poets Department , the acoustic set and Midnights .

There are new visuals 

Additionally, there are several new visuals that pop up on the screen as Swift transitions from one set to the other. The Speak Now set includes what appears to be a visual of a flower blooming before two of Swift’s backup dancers appear on the stage for an intimate performance. 

Following her Reputation set, the screen now features a visual of a black snake slithering into the woods, perfectly transitioning to her Folklore and Evermore eras. 

She added The Tortured Poets Department to the setlist 

One of the biggest changes is that Swift includes songs from her new album The Tortured Poets Department . Following the 1989 set, Swift appears on the stage wearing a white dress and clock necklace similar to the one she wore to the Grammys.

She plays a good amount of songs from the 31-track anthology during the set, with some of the most notable being “Down Bad,” “Fortnight" and “Who’s Afraid of Little Old Me?” She also includes “So High School,” rumored to be about Kelce, during a quick transition between songs. 

She ends the set with a show-stopping performance of “I Can Do It with a Broken Heart,” which includes many visual references to film's golden age — perhaps a nod to Clara Bow ? — including Swift's name on a marquee and dancers in top hats and canes.

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