horde tour 1997

Horde Festival 1997

It looks like the girls of Lilith Fair are definitely getting the better of the boys on the rock festival circuit this summer. Just like this year's Lollapalooza lineup, Horde '97 comprises a rag-tag assembly of bands with little in common, and presents them in such a way as to take all the fun and spirit out of the all-day festival.

By Troy J. Augusto

Troy J. Augusto

• Skrillex 12 years ago
• Fall Out Boy 18 years ago
• Audioslave 19 years ago

It looks like the girls of Lilith Fair are definitely getting the better of the boys on the rock festival circuit this summer. Just like this year’s Lollapalooza lineup, Horde ’97 comprises a rag-tag assembly of bands with little in common, and presents them in such a way as to take all the fun and spirit out of the all-day festival.

How else do you explain the timing of the performances here, where one band starts to play on one stage as soon as another finishes on an alternate stage. For example, watching all of Morphine’s brilliant but too-short set as second-stage headliners meant missing the first song or two from Neil Young. And who decided that a weak band like lounge chumps the Squirrel Nut Zippers even belong on the same stage as Young?

Nothing connected any of the bands’ efforts here (save for the improv sessions over at the jam stage), so the eight-hour show played like nothing more than a series of extraneous individual perfs, the best of which weren’t even found on the main stage.

Popular on Variety

The kick-ass bass-saxophone-drums attack of Boston’s Morphine, in front of a large and loud second-stage crowd, was the most compelling set of the day. Leader Mark Sandman’s vocals were smooth and smoky, his slide-bass playing cool and sexy, while sax man Dana Colley jumped between tasty tenor and baritone sax parts and drummer Billy Conway kept a solid and shuffling beat.

Also on the small stage, Ben Folds Five — actually a buoyant and lively pop trio — were supplemented here by a nifty four-piece string section, and almost brought the house down during their early evening set. Leader Ben Folds showed off his impressive piano skills and slick songwriting style, reminiscent of Joe Jackson and Billy Joel, but only if either had the indubitable energy of, say, Tiger Woods.

Headliner Young’s encoreless 90-minute set was mostly obscure material, surprisingly short on jamming and long on questionable midtempo excursions. It was a decidedly low-key and workmanlike set, peppered with tracks such as “I’m the Ocean,” from the “Mirror Ball” album he recorded with Pearl Jam, and the B-side “Don’t Spook the Horse.” His guitar playing, whether electric or acoustic, was powerful and assured.

Primus debuted for L.A. their new drummer, former Limbomaniacs member Brain, but he’s a poor replacement for the departed Tim (Herb) Alexander, who turns out to be more responsible for the proper execution of the group’s elastic funk-throb-metal sound than had been previously acknowledged.

Middle-of-the-road sets from Big Head Todd & the Monsters and Toad the Wet Sprocket did little to stir the sun-weary crowd, though Leftover Salmon’s pickin’-and-grinnin’ routine on the second stage was hands-down the most irritating entry of the day.

Reviewed July 17, 1997 at Irvine Meadows Amphitheatre; 15,416 seats; $30 top

• Production: Presented by Avalon, KROQ
• Cast: Bands: Neil Young & Crazy Horse, Morphine, Primus, Ben Folds Five, Big Head Todd & the Monsters, Leftover Salmon, Squirrel Nut Zippers, Sky Cries Mary, Toad the Wet Sprocket, Zoo People, Ozomotli.

More From Our Brands

‘snl’: watch dua lipa perform ‘illusion,’ ‘happy for you’, savannah vs. charleston: which southern city has the best luxury hotels, canelo alvarez-de la hoya spat heats up ahead of munguia bout, be tough on dirt but gentle on your body with the best soaps for sensitive skin, snl video: chloe fineman spoofs jojo siwa’s bad girl era on weekend update, verify it's you, please log in.

• Search Please fill out this field.
• Newsletters
• Sweepstakes

This year's H.O.R.D.E. lineup

A diverse set of youthful performers opened, including Ben Folds Five and Morphine, but veteran rocker Neil Young stole the show

At the kickoff of the sixth annual H.O.R.D.E. Festival on July 11, the big question wasn’t why the seemingly strong bill failed to sell out San Francisco’s Shoreline Amphitheatre, a venue the all-female Lilith Fair had easily filled just a few days before. That could have been attributed to the absence of Beck and Blues Traveler, who will join the tour for select August dates. Nor was it whether H.O.R.D.E. would hold its own against this year’s lame Lollapalooza, which reportedly failed to fill even half of New York’s Downing Stadium that same day.

No, the big question at the newly dehippified, suddenly hip H.O.R.D.E. was what would happen when angst- ridden alterna-kids infiltrated what was once the crunchiest of summer concerts. With a Neil Young-topped bill that adds alternative-radio successes Primus, Ben Folds Five, Morphine, and Squirrel Nut Zippers to more traditional H.O.R.D.E. jammers like Big Head Todd & the Monsters and Leftover Salmon, the traveling love-fest broadened its scope. Would hanger-on hippies get bummed out by all the negative energy? Would purple-haired skate kids pelt peaceniks with Hacky Sacks?

Well, no. In fact, the audience — as varied as the show’s lineup — seemed surprisingly open-minded, cheering more enthusiastically for quirky second-stage acts Morphine and Ben Folds than for the terminally bland Toad the Wet Sprocket and Big Head Todd, whose main-stage sets were witnessed by barely a third of the crowd. Sure, there were plenty of confused crusties trying to noodle- dance to Squirrel Nut Zippers’ imitation swing (trust me, it doesn’t work), but at least they were trying, right?

Perhaps the good vibes shouldn’t come as such a surprise. While more diverse than at previous H.O.R.D.E.s, this year’s lineup still shared one important feature: The groups are inspired, to a large extent, by sounds of the past. From the ’70s-style piano pop of Ben Folds Five (beautifully complemented by a string quartet) to Squirrel Nut Zippers’ silly-but- fun ersatz prewar jazz to Primus’ prog-rock self-indulgence (a drum solo!), the bands’ styles were as anachronistic as the Lionel trains that ran around an exhibition tent just outside the amphitheater.

But the night belonged to the one artist on the bill who’s actually part of history, not just paying homage to it. Despite some noteworthy sets, the alt-rock undercard was clearly outmatched by headliner Neil Young. After opening the show with an unscheduled second-stage acoustic performance, Young returned seven hours later to close the fest with a brilliant, primarily electric set on the candlelit main stage.

Blazing through a familiar list of concert staples (”Like a Hurricane,” ”Helpless”) and newer tunes ( Broken Arrow ‘s ”Big Time” and ”Slip Away” were particularly moving), Young’s unflagging energy and gorgeous guitar work showed vastly more heart, conviction, and passion than any of the younger bands on the bill. After a long day mostly devoted to old-fashioned sounds, Young — whose two sets contained a good chunk of songs originally recorded before much of the audience was even born — seemed like the only performer who wasn’t likely to burn out or fade away any time soon.

Related Articles

H.O.R.D.E. 1997

Neil young - ben folds - leftover salmon, new world music theatre - tinley park.

August 3, 1997

First Appeared in The Music Box , September 1997, Volume 4, #10

Written by John Metzger

Last year, when it was announced that Blues Traveler was retiring from the H.O.R.D.E. circuit, and everyone expected the festival to disappear or, at least, quickly deteriorate. Instead, this year's event, headlined by Neil Young , easily exceeded everyone's expectations and outperformed any of the H.O.R.D.E. shows thus far.

H.O.R.D.E. and Young crept into town on August 3, only two weeks after Young's former bandmates Crosby, Stills, and Nash had performed at the Rosemont Theater. Unfortunately, that was two weeks too many for any sort of reunion to take place. Throughout the tour, Young has been sneaking off to the Workshop Stage early in the day to perform an acoustic set. For most of the tour, this set has featured no less than five songs and took place in front of some small crowds. Basically, it was a nice treat for those folks coming early in the day.

Unfortunately, local radio station WXRT announced that this would take place, prompting a huge influx of people to the venue. This was a great treat for the performers, who throughout the tour have played to small crowds, but it really ruined Young's acoustic set. The crowd was just too large, and sadly, many people were there "just because it was cool" — not because they wanted to hear Young pull off an intimate performance. Since most of those gathered around the small stage didn't know the songs, they chose to talk rather than listen, making it difficult at times to hear through the limited sound system. Nevertheless, John Popper stopped by for a surprise visit, and the pair ran through Roll Another Number (for the Road) and a bluesy This Note's for You before departing.

Back at the main stage, the highly touted Medeski, Martin, and Wood embarked upon a brief, 35-minute set. The group performed a blend of jazz and rock and came across as a jazzy version of Emerson, Lake, and Palmer , largely because John Medeski's keyboard playing was such a driving force behind the collective.

Chicago-based Push Down and Turn kicked things off on the Second Stage with a batch of infectious songs. This group has potential, as guitarist Sam King nailed a number of solos, behind Jason Brown's Stone Temple Pilots -style of singing. Unfortunately, by the end of the set, the band seemed somewhat one-dimensional with all its songs sounding very much the same.

This same problem also hit Main Stage act Kula Shaker, the only British group on the H.O.R.D.E. tour. They pulled off a 45-minute set that closely followed in the footsteps of the Stone Roses' Manchester sound, but the group seemed somewhat bored with many of its songs.

Toad the Wet Sprocket opened its set with Come Down and Whatever I Fear , the two hits from its most recent release Coil , and it was a welcome relief from the shrieking, irritating Second Stage act Cake Like. The psychedelic Butterflies was the first of several songs performed from the group's 1991 breakthrough Fear . This song ran smack into a surprise version of The Beatles' Within You Without You , but ended abruptly when the audience displayed little reaction. The crowd was much more responsive when, later in the set, Toad played a few bars of John Mellencamp's Jack and Diane before launching into its own hit All I Want .

It should be noted that singer Glen Phillips' vocal performance was much improved from a few years ago. In fact, his concert performances improved dramatically throughout the tour with Darius Rucker and the rest of Hootie and the Blowfish . Both Nightingale Song and Throw It All Away gave him a chance to really shine. His guitar playing has also improved, adding another dimension to this group's live performances.

Leftover Salmon kept the momentum going with a rousing set of bluegrass-inspired rock and roll. John Popper appeared on stage and performed the last two songs with the band, including a blistering Funky Mountain Fogdown .

Primus' bassist Les Claypool is an amazing performer, but the group's songs just don't come across all that well. For the most part, all the songs performed by Primus sounded the same. At times, the band did take off, particularly when Claypool allowed the its guitarist to explore a few musical realms of his own, occasionally sounding like Pink Floyd's David Gilmour . Unfortunately, this was all too rare, and Primus's set became somewhat tedious.

Next, on the Second Stage was Ben Folds Five , and the group didn't disappoint. Folds has a tendency to bang away on his piano in a rather unorthodox fashion that some keyboardists would say is sacrilegious. However, his stage antics are amusing to watch. His regular three-piece band consists of piano, bass, and drums, but this evening was augmented with a string section. With the lack of a guitarist, the group provides an interesting twist to the standard musical fare, at times sounding like Todd Rundgren with a sense of humor more in line with Phish .

Morphine is offered another interesting line-up and created a new twist on music. This band, like Ben Folds Five, is a three-piece outfit, but consists of a two-string bass, saxophone, and drums. Unfortunately, their second stage set was cut short by a downpour of epic proportions.

The rain did not stop Neil Young and Crazy Horse from taking the stage promptly at its designated start time. The band immediately launched into their portentous Hey Hey, My My (Into the Black) and held back nothing as the dual guitar attack of Young and the underrated Frank "Poncho" Sampedro each belted out scorching riffs. It was great to hear Crime in the City and the more mellow Hippie Dream , but these were overshadowed by the raging thunderstorm that continued to surround the theater.

Young regained the audience's attention with F*!#in' Up , and driven by the rhythmic duo of Ralph Molina's drums and Billy Talbot's bass, he launched into an amazing solo that was cut short when the storm wiped out the power to the arena. Only Neil Young and Crazy Horse could possibly keep their momentum rolling, continuing to jam despite a lack of lighting and a sound system. Instead, flashlights and candles cast light upon the band, which continued unfazed. Gradually, the crew turned all the amps and monitors towards the audience, and the fireworks continued.

Lightning surrounded the theater with brilliant flashes and streaks across the sky. The wind and rain picked up, and Young and company countered in an awesome duel with nature. Without pause, Young led the band through a life-affirming, all-out experience of Like a Hurricane that only seemed to magically intensify the storm. The wind pushed the rain through the pavilion to the 35,000 seat arena. We were about midway between the stage and the back of the pavilion and ended up soaking wet. Even more amazing was that the wind picked up at such a speed, it pushed the hard-driving rain all the way to the stage, drenching everyone, including the band. Despite the risk of electrical shock, the group continued to plow through Like a Hurricane , which seemed more and more appropriate with each note it played.

Rockin' in the Free World continued the intensity. Water gushed down into the pavilion, and the audience climbed onto walls to avoid the flow, which peaked about 3 inches short of the foot-high barricade. Gradually, the water worked down to the front of the stage, where it created a small river. Young continued on through Tonight's the Night , while security told everyone that this would be the final song. This was a big mistake for those who left.

Young noticed the water flowing down the aisles and launched into a pairing of Down by the River and Powderfinger . Despite the fact that it was difficult to hear much more than the vocals and the guitars of Young and Sampedro, both of these versions were unbelievably intense. With the power of the group's delivery, the insanity of the storm, and the hysterical stage antics of a band dancing around in the rain, the remaining audience was totally captivated by the performance. Somehow, the group managed to defeat the rain — by the time it finished Piece of Crap , 80 minutes after taking the stage, the rain had stopped.

It no longer seems quite as necessary for Blues Traveler to return to the fold, as this year's acts more than lived up to the H.O.R.D.E. reputation. Given the amazing performance of veteran Young; a strong outing from Toad the Wet Sprocket; and inspired sets from newcomers Leftover Salmon, Ben Folds Five, and Morphone; this H.O.R.D.E. festival upped the ante for next year's tour. Whoever does sign up for next year's traveling circus will certainly have their hands full trying to live up to the insanity of this trip around the country.

Neil Young's Decade is available from Barnes & Noble. To order, Click Here !

Copyright © 1997 The Music Box

YOUNG, BECK RAISE H.O.R.D.E. TO SATISFYING HEIGHTS

Share this:.

• Click to share on Facebook (Opens in new window)
• Click to share on X (Opens in new window)

Daily e-Edition

Evening e-Edition

• Things to Do
• Top Workplaces
• Advertising
• Classifieds

Breaking News

Northbound lanes of ct’s i-95 in norwalk reopens; southbound to open sunday.

Not only did they get the strongest lineup of any touring festival this summer, but great weather and no lines to boot.

Once an excuse for tie-dye bands to jam, H.O.R.D.E. (which stands for Horizons of Rock Developing Everywhere) is now hip. It accomplished something Lollapalooza was never able to do: snare Neil Young to headline. Then it added such cool acts as Beck, Kula Shaker, Morphine, and Medeski Martin & Wood.

Young’s 11-song set was a blazing model in rock relevancy. Aside from a few expected anthems, such as “Hey Hey, My My” to “Rockin’ in the Free World,” he and his backing trio, Crazy Horse, turned to less obvious choices from his long and distinguished catalog, including “Crime in the City,” and the encore “Mansion on the Hill.”

Long codas of brooding, feedback-laden guitar interplay followed “Slip Away” and “Hippie Dream,” the latter song seemingly speaking to H.O.R.D.E. organizers.

The three-song acoustic portion was surprisingly effective and direct, with “This Note’s for You” (maybe he didn’t see the list of eight H.O.R.D.E. corporate sponsors) and “From Hank to Hendrix.” “Ohio,” which he said he sang from time to time to remember the Kent State victims he wrote about, had a deeply personal touch as well.

While Young was alternately tender and blazing, Beck was simply a blast. Heavy into his ’70s funk mode, he wore a second- hand suit to rouse the crowd, dance, strike poses and revert to old school raps. The last time he was in Hartford, for Lollapalooza ’95, he sang to an empty amphitheater as sod flew. This time he got the crowd rocking with a roster of splashy hits, including a splendidly extended “Where It’s At.”

Primus, a Lollapalooza ’93 veteran, was also a big draw on the main stage, with Les Claypool’s authoritative bass and quirky humor leading the way. Kula Shaker, the only English group on the bill, seemed to be plagued with technical difficulties on rock that sounded, without live sitars, even more like Oasis. Medeski Martin and Wood provided their cool Hammond B3 instrumentals to an early main stage crowd of literally dozens.

There were some slow moments in the 8 1/2-hour concert. Boston’s Mudhens didn’t leave much of an impression; Toad the Wet Sprocket’s middling pop sounded thinner than usual.

Acts of interest on the secondary stage included the low tones of Morphine, completing its H.O.R.D.E. tour of duty. A big crowd also turned out for the early evening set by Ben Folds Five, a North Carolina trio that’s augmented for the current tour by a four-piece string section led by classical violinist Lorenza Ponce. It was an interesting approach for the knockdown ’70s piano-led pop of the band; the group still sounded a little squirrelly.

The only real hippie band on either stage (or an act that would have fit in with the hippified H.O.R.D.E. of yore) was the Boulder, Colo., outfit of Leftover Salmon, which combined bluegrass instruments with rock, allowing a Metallica edge on a banjo breakdown. It sounds more interesting than it actually was, though.

For all its forced dissonance, the band Cake Like (signed to Neil Young’s label, Vapor) was easy to like, with its simple, rocking songs and succinct imagery. Besides, guitarist Nina Hellman said, “We’re the only all-female band you’ll see at the H.O.R.D.E. this year.”

Also in the second stage area, amid the commercial booths and market surveys, a third stage was dedicated to jamming, led by Col. Bruce Hampton and a member of his Fiji Mariners. Among the participants on the freewheeling stage were, at one point, members of Morphine, Beck’s horn section and Ben Folds on drums.

A show-opening acoustic set from Young on the jam stage, though, was scotched, as the 51- year-old feigned a sore throat and played instead with the huge Lionel Train setup with his son.

A slightly different lineup for H.O.R.D.E plays Great Woods in Mansfield, Mass., Friday and Saturday.

The song list for Neil Young & Crazy Horse Wednesday was: “Hey Hey, My My (Into the Black),” “Crime in the City,” “Hippie Dream,” “F*!?’ Up,” “This Note’s for You,” “From Hank to Hendrix,” “Ohio,” “Rockin’ in The Free World,” “Slip Away,” “Sedan Delivery” (encore) “Mansion On The Hill.”

More in News

Connecticut News | Two teens killed in Hartford shooting at same location

SUBSCRIBER ONLY

Connecticut news | security tight at ct universities at graduations this year amid gaza protests. expect metal detectors.

California floats extending health insurance subsidies to all adult immigrants

Nypd body cameras show mother pleading “don’t shoot” before officers kill her 19-year-old son.

• Additional Artists
• Notable Equipment

Search form

You are here, h.o.r.d.e. festival.

• Share full article

Advertisement

Supported by

ROCK REVIEW

Struggling To Wake Up A Lethargic Tour Crowd

By Neil Strauss

• Aug. 14, 1997

This summer, saying you run a touring rock festival has become like saying you enjoy burning money. With so many package tours on the road in imitation of Lollapalooza, which started the trend six years ago, audiences are not only dwindling, they're also getting less enthusiastic. Performers at nearly all of the festivals that have come through New York this summer have berated the crowd for its lackluster response, and the Horde tour stop on Tuesday evening at Jones Beach was no exception. The headliner, Neil Young, inserted a lyric into ''Throw Your Hatred Down'' lashing out at the crowd. Beck, who preceded him, stopped the music and spent several minutes imitating the crowd's ho-hum response to his set, which is one of the year's most entertaining.

More than perhaps any package tour this summer, Horde is intent on challenging its fans. Originally conceived by Blues Traveler as a hippie carnival of like-minded jam bands from the Allman Brothers to Phish, it has stayed truer to its acronym (Horizons of Rock Developing Everywhere) than to its hippie roots. Of course, looking at the entire spectrum of music, Horde is far from diverse, but in a fractious, fragmented music marketplace, it offers one of the year's most varied bills.

Few ticket buyers on Tuesday were there to see every band: most had come to see Mr. Young or Beck or Kulashaker or Primus, or they simply identified with Horde's brand name. The challenge set before each band performing was to win over an audience unfamiliar with, uninterested in or sometimes openly hostile to their music. Some didn't have a chance -- the concert, which began during rush hour, was nearly empty during sets by the beatnik hip-hop band Soul Coughing and the standard-bearers of folk-rock mediocrity, Toad the Wet Sprocket.

Beck, on the other hand, made it a game to repel or confuse the audience, then win them back. He ended one emotional, Prince-style ballad by slowly walking around the stage and hugging each member of his band as the audience looked on uncomprehendingly, and then, shouting like a preacher with a hip-hop vocabulary, urged the crowd on to new heights of exuberance. Since he discovered the art of performing and putting on a show last year, Beck has been unstoppable, touring indefatigably and constantly embellishing his stage show. Since his last club date in Manhattan, Beck has added to his band a horn section, whose function is as much to look cool as to play, and a disk jockey, DJ Swamp, who interpreted the technique of beat juggling literally when he rapidly spun back sections of two Chemical Brothers records while tossing a third album from one hand to the other behind his back.

Neil Young set himself the task of taking the audience and his band on a journey with his music, most of which he stretched into long, dense jams with his band, Crazy Horse. For nearly the entire set, which looked back to songs like ''Down by the River'' and ''Southern Man,'' Mr. Young and the members of Crazy Horse stood clustered together. Within a foot or two of each other, they hammered out the heavy, plodding rhythms that back, and often overpower, Mr. Young's lyrical pledges to optimism in an increasingly dark world.

Wielding a keen sense of self-criticism when the music wasn't going anywhere, Mr. Young stopped it. ''We've played this one long enough,'' he said as he pulled the brakes on a newer song, ''Big Time.'' ''If it's not happening, there's no sense in wasting anybody's time.'' He then turned the power back on with one of rock's most electrifying live songs, ''Hey Hey, My My (Into the Black).''

Primus, the other main attraction of the night, has become popular because of its silly novelty songs. But what was interesting about Primus's show was everything else: the long jams in which Les Claypool thumb-slapped his bass in rhythm with the drums, the turntable and percussion duet, and watching the way Mr. Claypool's restless, inventive and progressive rock-addled mind expressed itself through an idiosyncratic array of rock, jazz and improvisation.

On the festival's smaller second stage, a wider spectrum of bands performed, from the pristine, string- and piano-enhanced pop of Ben Folds Five to the hippie bluegrass of Leftover Salmon (who were joined by Col. Bruce Hampton) to the retro British rock of Kulashaker, who offered a pastiche ripped off from bands from Vanilla Fudge to Killing Joke.

If the festival circuit is truly in its death throes, a few tours will no doubt survive (because, like energy, pop culture never dies, it only converts into nostalgia). Lollapalooza will probably be one survivor, solely because of its name value, and Horde may be another, for its musical quality and eclecticism.

• Statistics Stats
• You are here:
• Young, Neil & Crazy Horse
• August 8, 1997 Setlist

Neil Young & Crazy Horse Setlist at Great Woods Center for the Performing Arts, Mansfield, MA, USA

• Edit setlist songs
• Edit venue & date
• Edit set times
• Add to festival
• Report setlist

Tour: HORDE Tour Tour statistics Add setlist

• Hey Hey, My My (Into the Black) Play Video
• Crime in the City (Sixty to Zero, Part I) ( Neil Young  cover) Play Video
• Hippie Dream ( Neil Young  cover) Play Video
• Jam Play Video
• Big Time Play Video
• From Hank to Hendrix ( Neil Young  cover) Play Video
• The Needle and the Damage Done ( Neil Young  cover) Play Video
• Ohio ( Crosby, Stills, Nash & Young  cover) Play Video
• Throw Your Hatred Down ( Neil Young  cover) Play Video
• Powderfinger Play Video
• Tonight's the Night ( Neil Young  cover) Play Video
• Sedan Delivery Play Video
• Rockin' in the Free World ( Neil Young  cover) Play Video

Note: with Crazy Horse

Edits and Comments

22 activities (last edit by dirkvandamme , 10 Oct 2020, 09:36 Etc/UTC )

Songs on Albums

• Crime in the City (Sixty to Zero, Part I) by Neil Young
• From Hank to Hendrix by Neil Young
• Hippie Dream by Neil Young
• Ohio by Crosby, Stills, Nash & Young
• Rockin' in the Free World by Neil Young
• The Needle and the Damage Done by Neil Young
• Throw Your Hatred Down by Neil Young
• Tonight's the Night by Neil Young
• Hey Hey, My My (Into the Black)
• Powderfinger
• Sedan Delivery

Complete Album stats

Neil Young & Crazy Horse

More from this artist.

• More Setlists
• Artist Statistics
• Add setlist

Festival Time!

Hey, this setlist was played at a festival:

H.O.R.D.E. Festival 1997 1997 setlists

Related News

Neil Young & Crazy Horse Kick Off First Proper Tour in 10 Years

Setlist History: Neil Young Opens The Roxy

That Time Mike Peters Played Neil Young's New Song

RIP Danny Whitten: See Final 16-Song Set with Crazy Horse in 1970

Neil young & crazy horse gig timeline.

• Aug 05 1997 H.O.R.D.E. Festival 1997 1997 Vernon, NY, USA Add time Add time
• Aug 06 1997 HORDE Music Festival 1997 Hartford, CT, USA Add time Add time
• Aug 08 1997 H.O.R.D.E. Festival 1997 1997 This Setlist Mansfield, MA, USA Add time Add time
• Aug 09 1997 H.O.R.D.E. Festival 1997 1997 Mansfield, MA, USA Add time Add time
• Aug 10 1997 H.O.R.D.E. Festival 1997 1997 Saratoga Springs, NY, USA Add time Add time

29 people were there

• dancinginmyhead
• dougmacgunn
• Jay_Weymouth
• MicheleHead1010
• nickmcnulty
• TaylorFranklin
• therealjdog17

Share or embed this setlist

Use this setlist for your event review and get all updates automatically!

<div style="text-align: center;" class="setlistImage"><a href="https://www.setlist.fm/setlist/neil-young-and-crazy-horse/1997/great-woods-center-for-the-performing-arts-mansfield-ma-43d53f57.html" title="Neil Young &amp; Crazy Horse Setlist H.O.R.D.E. Festival 1997 1997, HORDE Tour" target="_blank"><img src="https://www.setlist.fm/widgets/setlist-image-v1?id=43d53f57" alt="Neil Young &amp; Crazy Horse Setlist H.O.R.D.E. Festival 1997 1997, HORDE Tour" style="border: 0;" /></a> <div><a href="https://www.setlist.fm/edit?setlist=43d53f57&amp;step=song">Edit this setlist</a> | <a href="https://www.setlist.fm/setlists/neil-young-and-crazy-horse-73d6b661.html">More Neil Young & Crazy Horse setlists</a></div></div>

Last.fm Event Review

[url=https://www.setlist.fm/setlist/neil-young-and-crazy-horse/1997/great-woods-center-for-the-performing-arts-mansfield-ma-43d53f57.html][img]https://www.setlist.fm/widgets/setlist-image-v1?id=43d53f57[/img][/url] [url=https://www.setlist.fm/edit?setlist=43d53f57&amp;step=song]Edit this setlist[/url] | [url=https://www.setlist.fm/setlists/neil-young-and-crazy-horse-73d6b661.html]More Neil Young & Crazy Horse setlists[/url]

Tour Update

Unlocked: jesse mccartney.

• Jesse McCartney
• May 3, 2024
• May 2, 2024
• May 1, 2024
• Apr 30, 2024
• Apr 29, 2024
• Apr 28, 2024
• FAQ | Help | About
• Terms of Service
• Ad Choices | Privacy Policy
• Feature requests
• Songtexte.com

8/3/95 Riverport, Maryland Heights, MO (H.O.R.D.E.) 8/4/95 Deer Creek, Noblesville, IN (H.O.R.D.E.) 8/5/95 Starlake, Burgettstown, PA (H.O.R.D.E.) 8/6/95 Polaris Amphitheater, Columbus, OH (H.O.R.D.E.) 8/8/95 Jones Beach, Wantagh, NY (H.O.R.D.E.) 8/10/95 Seacoast Performing Arts Center, Old Orchard Beach, ME (H.O.R.D.E.) 8/11/95 Waterloo Village, Stanhope, NJ (H.O.R.D.E.) 8/12/95 Great Woods, Mansfield, MA (H.O.R.D.E.) 8/13/95 Saratoga Performing Arts Center, Saratoga Springs, NY (H.O.R.D.E.) 8/15/95 Meadows Amphitheater, Hartford, CT (H.O.R.D.E.) 8/17/95 Riverbend Music Center, Cincinnati, OH (H.O.R.D.E.) 8/18/95 World Music Theater, Tinley Park, IL (H.O.R.D.E.) 8/19/95 Marcus Amphitheater, Milwaukee, WI (H.O.R.D.E.) 8/20/95 Pine Knob, Clarkston, MI (H.O.R.D.E.) 8/22/95 River's Edge, Somerset, WI (H.O.R.D.E.) 8/24/95 Mann Music Center, Philadelphia, PA (H.O.R.D.E.) 8/25/95 Stoneridge Amphitheater, Bristow, VA 8/26/95 Walnut Creek, Raleigh, NC (H.O.R.D.E.) 8/27/95 Lakewood Amphitheater, Atlanta, GA (H.O.R.D.E.) 8/30/95 Starplex Amphitheater, Dallas, TX (H.O.R.D.E.) 8/31/95 South Park Meadows, Austin, TX (H.O.R.D.E.) 9/2/95 CSUDH Velodrome, Carson, CA (H.O.R.D.E.) 9/3/95 Shoreline Amphitheater, Mountain View, CA (H.O.R.D.E.)