Jack White's big Detroit party rocks Pine Knob!

On a hot Saturday night in late July, Detroit native, contemporary guitar wizard, and Rock and Roll Hall of Fame inductee Jack White played Clarkston's legendary Pine Knob amphitheater for the first time ever in spite of his many years as a major label recording artist with a variety of bands, such as The White Stripes, The Raconteurs, and The Dead Weather, not to mention his varied solo work and collaborations. Already an occasion to celebrate, White seized the opportunity to bring along four additional Detroit artists, all of whom were also playing Pine Knob for the first time, creating a home-grown celebration that felt almost as much like a block party or family reunion as a standard rock concert.

Fans were encouraged by advertising to "come early and stay late" with offers of beer and hot dogs for two dollars during the first two hours of the show, during which Dory Detroit and Ty each played short opening sets on a second stage set up in the parking lot next to the venue (recalling the peak years of Ozzfest). The famous Third Man Rolling Record Store was also on hand to sell exclusive vinyl and show specific posters to those who arrived early enough to wait in a lengthy line to buy them. The action moved to the main stage where two other Detroit bands, Prostitute and Easy Action, each engaged the crowd with their brands of garage and indie rock, both a treat for locals who already knew and liked them and a unique opportunity to show the unfamiliar in the crowd who they are and what they do. Between each main stage act, a local DJ spun only Detroit-area artists (on turntables, not a phone or computer) including songs by Bob Seger, The MC5, Stooges, Eminem, Detroit Cobras, and more. The entire night was a celebration of the endless musical contributions and ongoing historical vibe of The Motor City. Everything about it was warm and inviting.

Finally, local legend Jack White and his ace backing band took the stage to the roars of a beyond-capacity crowd. Latecomers without pavilion seats were seen setting up chairs and blankets on the backside of the lawn hill, facing away from the stage, due to lack of space. After a raucous intro jam to ensure the crowd was aware the show had begun, White ripped through "That's How I'm Feeling," the biggest single from 2024's No Name, and proceeded to engage those on the lawn and encouraged all in attendance, left, right, and center, to use the brain God placed in their skulls without being more specifically political, at least at that moment, before launching into The White Stripes' classic, "Dead Leaves and the Dirty Ground." Unlike his earliest solo tours, White has now built up enough material from his own releases that he doesn't need to feature as many songs from his other bands any more than he wishes, allowing attention for tracks from more recent releases, such as "Dollar Bill" and "It's Rough on Rats," both fewer than two years old. An up-tempo singalong on The White Stripes' "Hotel Yorba" led into a rocking rendition of "Broken Boy Solider" by The Raconteurs, made even more authentic to the original recording as Raconteurs drummer Patrick Keeler has also been the drummer in White's solo band for the last two years. White's guitar heroics can't be understated as he alternates between leads and solos, clean tone to distortion, and strumming to slide work at will during any and every song.

An engaging performance of the new song, "G.O.D. and the Broken Ribs" brought attention back to White's latest album, Frozen Charlotte, but the show featured less music from that record than the then-new songs from No Name that were performed at White's previous Detroit concert, at the tightly packed Saint Andrew's Hall, in 2024. A sandwich medley followed, of The White Stripes' "Cannon" into No Name's Old Scratch Blues" and The Stripe's "The Union Forever," a song that included new/improvised lyrics that called out "AI, data centers, and whatever other fucking bullshit being pushed by Bezos and Musk" to a roar of approval from the audience. Later in the song, lyrics were changed to proudly declare "What would I like to have been? / Everything Trump hates!" to even louder cheers.

A brief and obscure cover of Rosetta Howard's "Delta Bound" led into an energetic run through The White Stripes' "Fell in Love with a Girl," after which White introduced the other members of his band, including Keeler, long time bassist Dominic Davis, and keyboardist Bobby Emmitt, who have been with him since the release of No Name in 2024, and each of whom had personalized LED signs switched on above their positions on stage for the remainder of the main set, which concluded with a slightly updated and more dynamic arrangement of The Raconteurs' "Steady, as She Goes," a highlight of most White shows since his solo career began in 2012.

Following an expected encore break during which some in the crowd began to chant the melody of "Seven Nation Army" far too early in the night, the band came back to the stage to begin a jam while an actor in costume as "Frozen Charlotte" the character danced across the stage, throwing play money into the front rows, and waving a cue card that read, "I still call it DTE Energy Music Theatre" before being booed by the band and the crowd, then comically chased off the stage by White as he returned to begin the final portion of the show. Originally opened in 1972 as Pine Knob Music Theatre, the venue's name changed due to local power company sponsorship from 2001 to 2022 before reverting to its original name, much to the delight of area concertgoers. The remaining songs continued to alternate between some of White's newer solo tracks and fan favorites from his earlier projects including especially spirited takes on "Icky Thump" and an absolute shredding through the riff-heavy "Little Bird" by The White Stripes and a surprising run through The Raconteurs' murder ballad deep cut "Carolina Drama," a song all White fans know and love but which has no real chorus or repeated lyrics with which the crowd can sing along.

New songs including "Thick as Thieves," "Derecho Demonico," and "Raising the Grain" were featured alongside White's 2013 solo hit, "Lazaretto," the only track performed from that album, and none at all were included from his third, fourth, or fifth solo releases nor were any tracks from his goth garage group The Dead Weather. After nearly two full hours of music that followed five other Detroit acts, White and his band drove it home with a predictable but nonetheless energetic "Seven Nation Army," which has now grown so large in pop culture that the audience chants the main riff melody throughout the entire song, even in Detroit. To say the night was full of musical magic sounds cliche and overstated, but there are certain performers who bring something unique to the stage, whether due to their personality, talent, unique perspectives and takes on various topics, or a combination of any or all of these elements. With due respect to Eminem, Jack White is the best and most significant rock and roll figure to emerge from Michigan's (and especially Detroit's) lengthy musical legacy in over 30 years, and any rock fan would be hard pressed to see one of his shows and walk away feeling otherwise. While Muir, Michigan's own Billy Strings is blasting off like a rocket to represent the next generation currently on its way up, Jack White's steady and consistent artistry, songwriting, and performance style continues to be unmatched among his peers both now and likely for decades to come.

*Watch a pro-shot webcast video (courtesy of Nugs' official live stream) of the full show here!

Jack White (7/25/26) set list:
Intro (jam)
That's How I'm Feeling
Dead Leaves and the Dirty Ground (The White Stripes)
Sixteen Saltines
Dollar Bill
It's Rough on Rats
Hotel Yorba (The White Stripes)
Broken Boy Soldier (The Raconteurs)
G.O.D. and the Broken Ribs
Cannon (The White Stripes)
Old Scratch Blues
The Union Forever (The White Stripes)/Old Scratch Blues (cont.)
Delta Bound (Rosetta Howard)
Fell in Love with a Girl (The White Stripes)
Steady, as She Goes (The Raconteurs)
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Encore intro (jam)
Icky Thump (The White Stripes)
Thick as Thieves
Derecho Demonico
Carolina Drama (The Raconteurs)
Little Bird (The White Stripes)
Raising the Grain
Lazaretto
Seven Nation Army (The White Stripes)
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Dinosaur Jr. Rock Lansing!

A packed Friday night in late July saw Lansing's Grewal Hall host one of the legends of grunge when Dinosaur Jr. took the stage to an enthusiastic and welcoming crowd. Back to featuring all three original members of the group since 2005 (after periods with as few as one), these veteran rockers showcase a creative twist on the power trio approach which includes co-lead singers who alternate between bass and guitar and a sonically dense bank of effects that represent their era as well as any of their peers.

The evening began with an engaging opening set by Detroit's own Stef Chura which saw the venue nearly full over an hour before the headliners began. After a brief set change, Dinosaur Jr. arrived with a blend of fan favorites ("In a Jar," "The Lung," "What Else Is New"), deep cuts ("Gargoyle," "Sludgefeast," "Freak Scene"), and their most notable hits, "Start Choppin'" and "Feel the Pain," which got the biggest audience reactions of the night and which were performed back-to-back near the end of the main set. The setlist leaned heavily on material from the band's first two albums, spanning 1985-1987, (seven of the first ten songs were from those albums) and gave little attention to new songs ("Several Got Away" being the only one featured) in spite of a forthcoming album, There Near, released just one month after the show.

The performance itself was strong and included engaging contrast throughout. Bassist/vocalist/guitarist Lou Barlow was especially animated and moved around his half of the stage all night while guitarist/vocalist/bassist J. Mascis' was stiff and concentrated primarily on executing his leads and solos. Drummer Murph held things down in the center of the stage with consistent and precise work through changing tempos and dynamic. Early in the show, Barlow dealt with a few issues with his bass amp and then requested his spotlight be turned down, and beyond that adjustment, he seemed content the rest of the night. A native of Jackson, Michigan prior to co-founding the band, Barlow posted pictures from Westwood Mall the day before the concert and wore a Cascades Falls T-shirt on stage.

The ability to alternate lead vocalists is another key ingredient to Dinosaur Jr.'s live show, and while he missed a period of the band's history, Barlow's lead vocals on songs like "Garden," "Mountain Man," and "Gargoyle" created a nice balance with the others, sung by Mascis. Well known for his guitar wizardry and for playing at an intensely high volume, Mascis was surrounded by a semicircle of Marshall stacks and lived up to his reputation, shredding on leads and solos throughout. In spite of also being known for being curmudgeonly at times, both Barlow and Mascis were mostly good humored and even made a few jokes here and there, but the majority of their attention was on the music. An extended, noisy jam on "Gargoyle" concluded the main set, and the two-song encore flooded the room with guitar overdrive and heavy flanger on "What Else Is New" before concluding with a rocking cover of The Cure's "Just Like Heaven," a staple of their show for decades, which includes the use of whammy bar and wah-wah, simultaneously and a sarcastically heavy metal take on the chorus.

Seeing a group like Dinosaur Jr. now carries even more weight and significance than it may have in the past, partly because of the resurrection of the project and all original members after years without most of them but also because they are one of the survivors of their era. There is a magic to the original grunge and proto-grunge bands that was certainly imitated and watered down with each successive wave of '90s alternative rock, but which can't be equaled or duplicated by those that came after them. Groups like Pixies, The Breeders, Meat Puppets, Smashing Pumpkins, and even newer projects that feature members of classic, now defunct bands create a sound and a vibe unique to that special mid-'80s to mid-'90s stretch of rock history. It's even a part of why legends like Pearl Jam continue to bring in huge crowds wherever they play, even after 36 years. Take advantage of the opportunities to see these projects when they pass through your area. You never know how many more times they may cycle through, and there's nothing else quite like them.

Dinosaur Jr.'s U.S. tour continues into the autumn. Check their site for dates and tickets.

*Watch a fan-shot bootleg video (one-shot/tripod with decent sound) of the full show here!

Dinosaur Jr. (7/24/26) set list:
The Lung
In a Jar
Garden
Several Got Away
Repulsion
Little Fury Things
Out There
Kracked
Sludgefeast
Mountain Man
Start Choppin'
Feel the Pain
Freak Scene
Gargoyle
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What Else Is New
Just Like Heaven (The Cure)

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Doors Tribute Rocks Warner Vineyards

Warner Vineyards in Paw Paw, MI (a bit west of Kalamazoo) had another rocking summer with excellent tribute shows and national touring acts alike. In addition to tributes to The Beach Boys, Van Halen, Tom Petty, and others, an excellent salute to The Doors, the legendary psychedelic pop band from the late '60s and early '70s, graced the stage in late July.

Unlike many tribute acts, who present the material of a certain artist with band members in their own clothes, displaying their own personalities, The Ultimate Doors, a four-piece touring tribute band, performed in character, with each member playing the part of one of the legendary members of the original group. This included costumes and hairstyling that would have been seen at a Doors concert 55 years ago or so, and stage banter quoted directly from official live and bootleg recordings of various Doors' performances. Even the instruments, amplifiers, and additional props on stage (such as vintage Coke cans and paper cups of the era) added a theatrical authenticity that made the show far more interesting than seeing a group of musicians simply playing the songs. Considering The Doors' own theatrical style, and especially the performances of front man Jim Morrison, this all added a layer of engagement that heightened the experience.

Rather than restaging one particular Doors show from their all-too-short history, The Ultimate Doors created a composite show that included bits from each of the group's six classic albums, with most visual references and quoted ad libs coming from 1968-1970 performances that were thankfully filmed or at least professionally recorded and later released by the band.

After an entertaining opening set from The Rupple Brothers, The Ultimate Doors took the stage to a slightly sparse crowd that filled in as the show got up and running. It was wise to include a blend of hits, fan favorites, and a few deep cuts to keep the attention of everyone in the audience, regardless of their level of fandom. The leather pants clad singer performing the role of Jim Morrison clearly studied his mannerisms and moved about the stage and even into the front of the crowd at one point in a way the evoked the motions of the late rock legend. He even stopped to pose for photos with some camera-ready concertgoers holding his body and making funny faces that matched famous photos of Morrison. The organist in the position of Ray Manzarek likewise had his posture at the keyboards down pat, and his swinging blond hair and glasses made him completely disappear into the role. While the band's drummer and guitarist didn't necessarily look as much like John Densmore and Robbie Kreiger respectively, their execution on each instrument directly replicated the sound and style of the original players nearly perfectly, down to fills and accents that would have been ad-libs during original Doors' performances but which have now become almost as recognized as the songs themselves in some case.

The show itself was excellent! Things started with the medley of Alabama Song, Back Door Man, and Five to One that was made famous in large part due to its inclusion in The Doors' famous Hollywood Bowl concert in July of 1968 and was featured regularly for over a year afterward. The group followed with four popular songs from the band's earlier days, including "Love Me Two Times," "Strange Days," and the hit "Hello, I Love You." While the performances were accurate and precise, they also didn't drone or drag on beyond the lengths of their recorded versions, unlike many of The Doors' actual concerts, for better or worse. This choice made the show more approachable to the average patron but arguably is an authentic element that was really the only thing missing from the tribute.

The second half of the concert continued to feature songs from the first three Doors albums (including a showstopping "When the Music's Over") but worked in later-era tracks like "Touch Me," in its raw form, without horns, "Peace Frog," "Roadhouse Blues," and "Riders on the Storm," the only songs from the second half of Morrison's tenure to be featured (and nothing from The Doors' final two albums fronted by Manzerek were referenced). The decision to include these tracks along with those from the band's first three albums added another layer of creativity to the set list since The Doors rotated older songs out of the set as the progressed forward, so a concert that put a spotlight on each of their six albums (with Morrison) never actually happened, especially regarding tracks from 1971's L.A. Woman, from which only one song was featured in the tribute show.

A crowd-pleasing rendition of the group's most famous song, "Light My Fire" was followed by a brief tease of the beginning of the avant garde song/poem, "The Celebration of the Lizard" before quickly switching to a full-length rendition of the band's most haunting track, "The End," which concluded the main set. An enthusiastic response from the audience brought the band back to the stage for a one-song encore of "Soul Kitchen," also commonly featured as an encore by the actual band, before taking their final bow of the night.

Given the quality of the performance, one question is whether the band ever rotates other songs into the set, as they would probably sound as good and as authentic as the ones that were featured in Paw Paw. Overall, The Ultimate Doors is a must-see for any die-hard Doors fan, and even casual fans who may only know the greatest hits would be likely to have a great time. Don't miss a chance to catch them if they pass through your area!

The Ultimate Doors (7/23/26) set list:
The Movie (intro tape)
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Alabama Song
Back Door Man
Five to One
Love Me Two Times
The WASP
Hello, I Love You
People Are Strange
Touch Me
Crystal Ship
Peace Frog
When the Music's Over
Roadhouse Blues
Riders on the Storm
Light My Fire/Graveyard Poem
Celebration of the Lizard (intro tease)
The End
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Soul Kitchen

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