Petty Still Champions Loners And Great Songs

By William Friar
Contra Costa Times
Published: Tuesday, May 29, 2001

IT'D BE ALMOST un-American to dislike Tom Petty & the Heartbreakers.

The band, which is celebrating its 25th anniversary this year, inaugurated the Chronicle Pavilion at Concord's summer concert season on Memorial Day. That's an awful lot of commemoration for one Monday to handle.

Chronicle Pavilion
May 28, 2001

Tom Petty, Steve Earle May 28 at Chronicle Pavilion, Concord

Through he'd never immediately be compared to the archetypal rock 'n' roll chameleon David Bowie, Tom Petty has had his share of incarnations. He's been the scrappy gutter punk snarling "Refugee," the Heartland roots-rocker wailing about "The Waiting" and the telegenic MTV philosopher king of "Don't Come Around Here No More."

But beneath all the costume changes, the Gainsville, Fla., native has always struck me, lyrically and vocally, as an odd hybrid: a Southern-fried wise guy. He seemed to be sneering at the bland normals amid the slashing "Freedom Rock" riffs and country-rock chords, swathing his contempt in Top-10 hookage of deceptively carefree songs such as "Into The Great Wide Open" or "Free Falling." A little bit urban, a little bit rural and, of course, by now, more than a little suburban, Petty can still come across like some kind of backwoods, trash-talkin' grifter or rock 'n' roll huckster-pimp, playing the game and rocking our world just because he can. He's the perpetually smirking, tie-dyed-in-the-wool cynic.

Petty conjured those images and associations on Memorial Day at the Chronicle Pavilion, looking like a grizzled cross between Christopher Walken and a long-lost Allman brother with a still-piercing gaze and gray-frosted goatee. But instead of dissing everyone and the SUV they rode in on, Petty restricted the sly boots attitude to the songs and kept the gratitude coming, repeatedly thanking the 12,000- plus enthusiastic fans that were packed beneath the sold-out shed. For their trouble, he took them on a two-hour overview of his career with the Heartbreakers, still mainly intact after 25 years with the more recent additions of drummer Steve Ferrone (Average White Band) and multi-instumentalist Scott Thurston (Motels).

Roots-rock singer-songwriter Steve Earle and the Dukes opened with a set of inspirational twang as the crowd was still strolling up the hills to their pavilion, while kestrels circled overhead. Looking like a healthy, stocky soccer dad in his glasses and button-down shirt, Earle hit his stride with "Copperhead Road," stroking a mandolin and singing in the sweetly nasal voice that inspired critics to tag him as "the next Dylan" early on. Guitarist Eric Ambel (Del-Lords) and drummer Will Rigby (dB's) coaxed the song into a raunchy, guitar-driven dervish.

Petty entered running, namely launching into a raucous version of "Runnin' Down A Dream," and stalking the rug- strewn stage in a glittery "Rhinestone Cowboy" blazer and brown suede Puma sneaks. In spite of the slight paunch beneath his polka-dotted shirt, Petty was still his lithe, graceful self, twirling around in place during "Refugee," gesturing like a rock 'n' roll made guy in "Breakdown" and tossing off elegant, economical solos while playing off guitarist Mike Campbell's noise interludes in the extended jam of "It's Good To Be King."

Meanwhile the tireless Campbell and keyboardist Benmont Tench demonstrated why they've stuck around supporting Petty all these years: The singer lets them soak up the spotlight in return. As Campbell choked the neck of his Gibson Firebird, ripping out distortion-wracked solos and chiming Byrdsy fills, Tench showed a subtle touch and inspired versatility, with the lush chords of "Runnin' Down A Dream," the surging R&B-style notes of "Breakdown" and the groovy progressions of "Green Onions," the second of two covers along with Willie Dixon's "Little Red Rooster." One of the saving graces of the mix -- in spite of the inevitable crash and blur of reflection -- was the way Tench's work effortlessly rose above the considerable riffage generated by Campbell, Petty and Thurston.

The audience responded with waves and drunken gyrations as the band roved through the catalog, from a pointed "Here Comes My Girl" and a slowed-down "Don't Come Around Here No More" to a boogie-rock "Mary Jane's Last Dance" and bar-band-style "Billy The Kid." Two hours later, when Petty jumped into the first encore, "Free Falling," the BICs were out and lit, and the finale, "American Girl," provoked a frenzy of chair-slapping throughout the audience.

"You people are wild," Petty said laconically before he kicked into his anthem, the song Al Gore requested from Petty after he conceded the presidential race, and what I've come to see as the worldly wise, compassionate anecdote to the conflation of misogynism and nationalism in the Guess Who's "American Woman." Petty may seem like the consummate, chart-topping player of the past couple decades, but as long as he hangs onto that kernel of idealism and the honesty of his music, he could remain vital in the decades to come. -- Kimberly Chun, SFGate

Sean On The Radio? - So, I'm driving home today and pass a store having a live promotion with Z93. Last week when I heard about the show going on sale I wrote the morning DJ, who is a huge fan of the band, trying to plug my site. Turns out, Dave Marino, the morning DJ, was at this live promotion. I introduced myself to Dave and he told me he loved the site. To top that, he has invited me on their morning show to talk about the site closer to the show. My friends say I have a face for radio, so I couldn't pass up this opportunity!

Kinda made my day! I'll post an update here when I know more.

A Chilly Night, A Hot Petty, A Sold-Out Show

By Rachel Leibrock
Bee Staff Writer

For nearly 30 years Tom Petty and the Heartbreakers have survived -- no, make that thrived -- simply by being one of the most consistently good rock bands out there. They've never been the trendy band du jour, but have created a body of work that both endures and brings in new fans each year.

Sacramento Valley Amphitheatre
May 27, 2001

T-Shirt - Thanks to Barb for sending me this picture of the T-Shirt she bought in Marysville.

Wide Open
Tom Petty Keeps Rock Unpretentious
By Matt Weitz
Special Contributor to The Dallas Morning News

Tom Petty's genius has always been found in the way he manages to present himself as both a friend who understands the common guy (or gal) and a rock star – often an oil-and-water combo for lesser artists.

Monday night at Smirnoff Music Centre, Mr. P.'s ability in that department was revealed intact to some 15,000 fans, starting with an opening version of "Runnin' Down a Dream."

Visually, he was the very image of that musical synthesis: clad in a sequin-spangled rocker's jacket yet sporting a mostly gray goatee that made him look more like your neighbor's pool guy than a pop star.

Playing with the Heartbreakers, his backing band of over two decades, he took the crowd on a tour of his catalog and his influences.

Therefore, you not only got karaoke and lunchtime-radio "rock block" standards such as "Breakdown" and "Here Comes My Girl," but you also got surprises like his audience-stilling tribute to the Byrds, the wistful "He Was a Friend of Mine," complete with Dallas reference. Later, he and the band vamped on a cover of "Green Onions," the Booker T. & the MG's classic.

But it was on songs such as "Even the Losers" and "I Won't Back Down" that he really forged a bond with the audience, singing tales of workaday affirmation that are custom-made to get audience members saying "Yeah!" to each other.

Judging by the sing-alongs on songs like the encore version of "American Girl" and the perfectly timed audience punctuation (the chorus' "Stop!") of the sitar- flavored kiss-off plea "Don't Come Around Here No More," it was an empathy the audience repaid strongly. That's a good thing, because except for strolling the stage and grinning at the audience and occasionally brandishing his guitar like an edged weapon, Mr. Petty pretty much just stands and delivers his music.

Beneath five multihued ballroom chandeliers and against a stained-glass backdrop that could transmit an entertaining variety of colors, he did hard rockers such as "Refugee" as well as acoustic- flavored songs that conveyed the distance of modern life ("Into the Great Wide Open," "Learning to Fly").

Except for the rockers, most of the songs got stretched out a bit, with extra musical discussions and textures provided by Heartbreakers Benmont Tench (keyboards) and Mike Campbell (guitar) and Mr. Petty himself.

Mr. Petty's love of pop music was apparent whether he was doing his own music or covering another artist. Show opener the Wallflowers did a similarly fine job, but singer Jakob Dylan connected best with the crowd on the last two songs – David Bowie's "Heroes" and the Who's "Won't Get Fooled Again." He seemed a bit more obviously working toward being a star at this point in his career, but his opening set certainly didn't rule out the promise of further evolution in the style of the evening's headliner.

Petty Packs A Wallop At Amphitheater
By Hector Saldaña
Express-News Staff Writer

SELMA — It's good to be king — it's great to be Tom Petty.

Tom Petty and the Heartbreakers' stunning performance on opening night at SFX Entertainment's $26 million Verizon Wireless Amphitheater, next door to Retama Park, elicited shrieks of pure pleasure from some 15,000 giddy fans Saturday.

The Heartbreakers, along with Jakob Dylan's Wallflowers and the home-grown Swindles, christened the comfy, state-of-the-art facility.

Under the massive roof, 8,000 reserved seat ticket holders enjoyed great sight lines and more legroom than they would have at the Alamodome, Freeman Coliseum, Municipal Auditorium or in a first-class airline seat.

On a newly sod berm — what many began calling "the grassy knoll" — thousand stretched out on blankets or rented lawn chairs.

Perfect for the yuppie crowd, but not exactly rock 'n' roll enough for some.

"Lookin' a little bit like a dental convention out there," Dylan said as he strummed the "Sweet Jane"-style chords of "Three Marlenas."

Earlier numbers, such as the plaintive hit "6th Avenue Heartache," had gone ignored by the distracted lot.

As audience members rushed the stage, Dylan sniped: "It's good to stretch a little bit. It feels good. ... Maybe San Antone likes to sit down? I don't know."

Passionate, if a bit out of tune, renditions of "One Headlight" and David Bowie's "Heroes" finally stirred the early crowd. But there was time for one last dig from Bob Dylan's youngest son.

"Rough basketball game, huh? That had to hurt a little bit," said Dylan, whose performance had been delayed by the venue's telecast of the Los Angeles Lakers' 104-90 victory over the San Antonio Spurs in Game 1 of the NBA Western Conference Finals. Ouch!

"Anyhow, all the way from Los Angeles, Calif., we're the Wallflowers," Dylan yelled as he launched into the exuberant rocker "The Difference."

But this would prove to be Petty's night, if not the Spurs' or Dylan's.

At 9:35 p.m. came the downbeat to the raucous "Runnin' Down a Dream," and the audience exploded to its feet.

A bearded Petty, decked out in a purple, Gram Parsons-era Nudie of Hollywood-style coat, grinned as he and fellow Heartbreaker Mike Campbell played rare matching Gibson reverse Firebirds (vintage instruments have long been a source of pride and inspiration for these two).

And Petty's smile grew wider as Campbell played the famous "I Can See for Miles"-inspired solo.

Likewise. keyboardist Benmont Tench played a real grand piano for a more organic feel. Heck, even Elton John doesn't do that anymore. Tench relied on relics such as a '70s electric Wurlitzer piano, Hammond B-3 organ and Leslie tone cabinet and analog synth.

The message? There's a lot of great music left in them old instruments — and in these musicians together for 25 years.

"I Won't Back Down" benefited from Campbell's stinging slide solo on a Ventures Mosrite guitar.

Petty often raised both arms and blew kisses to his fans, the mischief and fun easily visible in his blue eyes — thanks to twin 30-by-40-foot video screens.

With his nasal Bob Dylan-cum-Roger McGuinn sneer, Petty delivered hits such as "Mary Jane's Last Dance," "Here Comes My Girl," "It's Good to Be King," "You Don't Know How It Feels," "Breakdown," "Learning to Fly" and "Refugee."

The Heartbreakers always sounded like the Byrds jamming with the Rolling Stones, and Petty obviously enjoyed growling Howlin' Wolf's "Little Red Rooster" (an early Stones favorite) about a barnyard cock "too lazy to crow for the day."

Petty crystallized his cock of the walk status with encore numbers "Free Fallin'" and the classic "American Girl."

Petty Rolls 25 Years Into Show
By MICHAEL D. CLARK
Copyright 2001 Houston Chronicle

Celebrating 25 years of playing a hybrid of British and American classic rock is quite a feat for Tom Petty & the Heartbreakers. It does, however, present a problem in concert.

How does the band choose a set list that's representative of all its blues-rooted, rock-projected, Grammy-winning songs about how the little guy matters? How does it pick songs explaining the bond between some Gainesville, Fla., country boys who started in the no-name band Mudcrutch and came to define American rock 'n' roll?

Put simply: It doesn't. It can't. Not in an already generous two-hour set anyway.

After releasing Anthology: Through the Years, the two-disc retrospective of radio hits, late last year it was expected that Friday's show at the Woodlands Pavilion would follow suit. The 18-song set did feature career-spanning hits, from debut single Breakdown to '90s highlight Mary Jane's Last Dance. It was the non-Anthology, more obscure offerings, however, that allowed Petty and his backing Heartbreakers to demonstrate their musical symbiosis.

Extended jams on a cover of Howlin' Wolf's Red Rooster and a smackdown saloon romp Billy the Kid allowed a crowd of close to 17,000, for a brief moment, to sit in with the group during its most casual moment and to see where the chemistry begins.

Song selection noted how precious Petty considers the albums he recorded on his own. Nearly half that set was culled from Full Moon Fever and Wildflowers, two highly successful albums he recorded without the full participation of the Heartbreakers.

Petty must still have fond memories of his 1997 20-night engagement at the Fillmore in San Francisco. His stage is a mobile copy of that famed room. Shards of faux-stained glassed were housed by a red velvet curtain and imitation candle-lit chandeliers (spotlights were strategically hidden inside the light fixtures). The whole thing had sort of an "after hours at the Moulin Rouge" effect.

Shuffling on stage in jeans, his normal haystack of hair accessorized with a graying beard and a jacket stolen from Chris Isaak's closet, Petty and band opened the show with highlights from Full Moon Fever.

Drummer Steve Ferrone (taking over for longtime Heartbreaker timekeeper Stan Lynch) stomped a hollow bass beat leaving room for chords from co-founding band members keyboardist Benmont Tench and guitarist Mike Campbell. As Petty's nasal, midoctave twang crowned the procession, it became clear how untainted the group's melodies had remained through the years.

The reception to the theremin-mimicking guitar wiggle opening I Won't Back Down lifted Petty into a rare state of hammy animation. Lost in the mutual approval was how well that song flowed into the British blues scream of Breakdown. The two songs were written 13 years apart, but sounded like album mates.

One of Petty and the Heartbreakers first tours was opening in England for Nils Lofgren, now a veteran member of Bruce Springsteen's E Street Band. Lofgren would look fondly on the Heartbreaker's Billy the Kid, the only song on the night from the most recent studio record Echo. The long building percussion rhythm led by bassist Howie Epstein exploded into a rock 'n' roll jam of jangling guitar layers and sustained organ chords.

It was the type of moment Springsteen might call a "rock 'n' roll exorcism" and was a highlight of the set. Under-appreciated It's Good to be King unfolded in a similar American jam-band tradition. Campbell, playing a two-fretted Rickenbacker 12-string monster, drove the song from ballad to arena rock. Coupled with the harmonica-led simplicity of You Don't Know How It Feels, it made for a nice medley of Wildflowers tunes.

While the unheralded were remarkable for the freedom from constraints, Petty and the Heartbreakers should get equal credit for delivering true versions of hits so many paid to see.

The guitar-as-sitar by Campbell and Tench's violin and cello re-creation on keyboards made the haunting Don't Come Around Here No More sound like an orchestra production. And the transport back through time to the crude Telecaster chords of Refugee and American Girl were a pleasant ride.

Most should agree that while the night didn't offer everything, it offered something for every Petty enthusiast from a quarter-century of music. It was a lot to digest.

Jakob Dylan's Wallflowers have shown the most sincere form of flattery to Petty by copping much of their electric folk rock texture into its act. It was evident the group considered opening for Petty an artistic challenge.

Unlike last December's live showcase at the KRBE Jingle Jam, Dylan appeared over the funk of living in his music-icon father Bob's large shadow. Breach, the album he made as an artistic coping mechanism, has not been the radio darling of 1996's Bringing Down the Horses. Dylan seems OK with that, too.

Singing with a deep soulful twinge, new songs like Sleepwalker and Letters From the Wasteland have picked up a beat and taken on a little joy. Closing with hits Three Marlenas, One Headlight and the Wallflower's now standard cover of David Bowie's Heroes, Dylan flashed white teeth as if he'd just had an epiphany.

Just as Petty and the Heartbreakers drew influence from Bob Dylan so long ago, now he has the benefit of learning not only from his father but from Petty as well. He is the next spoke in a historic rock 'n' roll wheel.

Houston - May 18, 2001

Petty Makes Hearts Happy
By Mark Brown, News Popular Music Critic
Rocky Mountain News

A few years ago at a solo show in L.A., Pete Townshend wondered aloud what he was doing there.

He had no new record to promote, no project to push, nothing to sell.

"I must be here because I want to be," he finally concluded.

That's the best way to explain Tom Petty & the Heartbreakers' two sold-out shows at Red Rocks this week.

The new album isn't even started. There's no hit single on the radio. Like the long Fillmore residencies the band has done in San Francisco in recent years, the Red Rocks dates were just an excuse to play, from a band that thrives on live performance.

Petty has said his two Red Rocks shows back in '99 were among the best shows he's ever done. He successfully re-created some of that magic this time around (professionally recording the show as well).

Fans must remember that magic because both shows quickly sold out.

Petty was quick to give the crowd its money's worth, opening with Running Down a Dream (with the requisite glorious Mike Campbell guitar solo).

I Won't Back Down, Breakdown and more quickly followed.

But he used the opportunity to run the band through its chops on rarities new (Billy the Kid) and old (Too Much Ain't Enough), as well as covers that ranged from the standard blues of Little Red Rooster to an obscure rockabilly instrumental, The Guitar Boogie Shuffle.

Mostly, though, it was album cuts and crowd favorites, some of which hadn't gotten a good airing in years.

Here Comes My Girl, resurrected for the first time since '87, was welcomed with a crowd singalong. You Don't Know How It Feels and Learning To Fly were stripped down to bare-bones arrangements.

Petty and Campbell used It's Good to Be King and Mary Jane's Last Dance as excuses for long guitar jams, with Petty stepping up and playing more lead than he ever has.

Despite those occasional pyrotechnics, Petty's performance boiled down to superb songs, and those he selected showed again that he's one of this country's best and most underrated songwriters.

Jakob Dylan led the Wallflowers through a short, choppy, hit-filled set to open the show.

Dylan was enthusiastic, but the emotion of songs such as Sixth Avenue Heartache don't translate well to the big stage.

Still, The Difference and One Headlight had the required power, and the new Letters From the Wasteland was sad and touching.

Tour T-Shirt - Thanks to Luna4Twenty for the pictures!!!

Front

Back

It's Still Good To Be Tom Petty, King Of Classic Rock
By GENE STOUT
SEATTLE POST-INTELLIGENCER
POP MUSIC CRITIC

Tom Petty and the Heartbreakers headed into the great wide open Saturday, kicking off the 2001 season at The Gorge with two hours of anthemic, all-American rock 'n' roll.

Celebrating their 25th year as a band, Petty and the Heartbreakers reached back to some of their earlier albums for their set, performing such songs as "Too Much Ain't Enough," "Here Comes My Girl" and "Even the Losers." There were new songs, too, notably "Billy the Kid" from the group's recent "Echo" album.

The Gorge show, featuring an opening set by Jakob Dylan's Wallflowers, was part of the group's "Way Out West" tour, which is moving eastward in midsummer with additional dates in the Midwest and East. During a break in June, Petty hopes to begin work on the group's next album.

At The Gorge, it was apparent Petty was enjoying his spring/summer trek. He and the band performed old songs as if they were new, adding texture and nuance to longtime favorites. Many songs featured extended jams.

Wearing a sequined jacket and striped tie, Petty introduced himself as "so young and so tanned" despite a grayish-white beard that made him look older than his 50 years. His rapport with fans couldn't have been better.

Backing the nasal-voiced singer-guitarist were Heartbreakers Mike Campbell on guitar, Howie Epstein on bass and Benmont Tench on keyboards, as well as touring musicians Scott Thurston on guitar and Steve Ferrone on drums.

"I really feel like I play in the best rock 'n' roll band in the world," Petty said as he introduced his bandmates.

A capacity crowd of more than 18,000 arrived early to enjoy the season's first big outdoor concert. Despite partly cloudy skies, it was comfortably warm, even a bit muggy.

Petty and the Heartbreakers opened with "Runnin' Down a Dream," "I Won't Back Down" and "Breakdown." The crowd sang and clapped along, caught up in the euphoria of Petty's rock anthems.

The show was peppered with gems: "It's Good to Be King" from the "Wildflowers" album. A spirited version of the rockabilly "Guitar Boogie Shuffle." The blues classic "Little Red Rooster." Merle Haggard's "Closin' Time."

The main set came to a close with "Mary Jane's Last Dance," "Even the Losers" and "You Wreck Me." The enthusiastic crowd set the amphitheater aglow with flickering light from thousands of cigarette lighters.

Petty and the Heartbreakers returned for a brief, two-song encore featuring "Free Fallin'" and a rousing "American Girl." The crowd wanted more, but Petty and the band were through.

Dylan and the Wallflowers performed a 45-minute set featuring such songs as "6th Avenue Heartache" and "Letters From the Wasteland." Despite a strong performance from the band, the crowd was somewhat lethargic, prompting Dylan to say, "You guys came a long way to sit down."

Worth The Wait - Tom Petty rocks Idaho

Review By Michael Deeds
The Idaho Statesman

When Tom Petty walked onto the stage Friday night in faded blue jeans, he paused unassumingly for just a moment. Then he blasted into the steam-powered "Runnin' Down A Dream."

The gig was on.

For 10,804 fans at the sold-out Idaho Center, it was the soundtrack for an evening. Petty and his band, The Heartbreakers, had finally made an Idaho stop after 25 years of rock 'n' roll.

Glowsticks flew. Beach balls bounced. Lighters flickered. Beers spilled.

You didn't sit down unless you felt like studying the outline of a wallet. (And at $49.50 a ticket, that took some scrutiny.)

Whether Petty and The Heartbreakers actually rocked was beside the point. Oh, but they did.

Visibly pleased by the crowd's response, Petty smiled often, almost proudly while introducing the all-too-telling "It's Good To Be King." He thanked the fans often ("We're not going to forget Boise.")

Even tired audience games became genuinely wondrous.

"I Won't Back Down": Fans waved their fists defiantly.

"Breakdown": They played call and response with Petty.

"Don't Come Around Here No More": They clapped their hands to the beat.

Guitarist Mike Campbell was the night's eclectic MVP, moving from psychedelic journeys during "You Don't Know How It Feels" to gritty blues-riffing on "The Guitar Boogie Shuffle." Never overpowering, always organic, he pushed notes from his instrument like seedlings breaking earth.

The set list had one glaring omission -- Petty's immortal "Refugee" -- but he saved a good argument for second-best for last: Standing back from the microphone, he leaned forward during the chorus, practically expelling "Free Fallin'" in an attempt to out-scream the cathartic crowd. Live-music moments don't get much higher.

Opening act The Wallflowers, led by a certain Gen-Xer named Jakob Dylan, set the tone with 40 minutes of honest rock.

Standing in the same spot his father, Bob Dylan, did a year ago -- but playing to a larger crowd -- Jakob broke out his hit "6th Avenue Heartache" while fans were still finding their seats. When he finally launched into radio staple "One Headlight," the audience sprang to its feet, augmenting Dylan's husky verses before erupting during the chorus.

When the time comes for a changing of the rock 'n' roll guard, watch for The Wallflowers.

Fans Pack Gill Coliseum - Tom Petty played to a packed Gill Coliseum crowd Wednesday night.

By THERESA HOGUE
Gazette-Times reporter

Well, he stood his ground on the stage of Gill Coliseum, and fans couldn't get enough of it.

Tom Petty and the Heartbreakers rocked a packed house Wednesday night, and Petty played the crowd as deftly as he did his guitar, bringing everyone to their feet. Dressed in frayed jeans, a deep blue glittering jacket and a striped tie, Petty swayed and swiveled around the stage, drawing screams of glee from fans.

"It's my very first trip to Corvallis, Oreegawn," Petty said, pronouncing Oregon in a way that makes most natives cringe. But Petty could do no wrong as he rocked across the oriental carpet-clad stage.

Gill Coliseum - May 9, 2001

Gill Coliseum - May 9, 2001

Presales This Week - Starting on Wednesday, May 9 at 2:00pm ET / 11:00am PT the next set of Advance Tickets go on sale for the Detroit show.

Thursday, May 10 at 2:00pm ET / 11:00am PT Advance Tickets go on sale for the Scranton, Milwaukee, New York, Saratoga Springs, Boston, Kansas City, St. Louis and Indianapolis shows.

Then on Friday, May 11 at 2:00pm ET / 11:00am PT the Advance Tickets go on sale for the Camden show.

Scranton? Anybody else heard of this show? I'm guessing 6/27 Coors Light Amphitheater @ Montage Mountain. Please...please...NO wagering!

It may just be early, but a couple things don't match on the Ticketmaster site as compared to the Artist Direct email...

1. Milwaukee:
TM says 5/12 11AM ET AD says 5/9 2PM ET
2. Indianapolis:
TM says 5/10 1 PM ET AD says 5/10 2PM ET

First Leg Theme - Hot off the presses!!! Here's the theme for the 1st leg of the 2001 tour. It has been deemed the "Way Out West" tour. I thought y'all would enjoy seeing this. Still waiting on venue confirmations for many of the 2nd leg dates. Now if they would just get REALLY excited about playing and add a 3rd leg (LOL!). Maybe they will "Swing Down South". I know this would make me REALLY happy! Along with a few thousand others. Right Dolly?

Petty Tour Adds 35 Dates - From Billboard - Tom Petty & the Heartbreakers have added some 35 dates across the U.S. to what was originally a 14-city West Coast tour. The tour begins May 9 at Gill Coliseum in Corvallis, Ore. Bill Graham Presents/SFX will promote the majority of dates, set for arenas, amphitheaters, and such festivals as Summerfest in Milwaukee. "They are doing unbelievable business," says Gregg Perloff, VP at Bill Graham/SFX. Wallflowers support on several dates.

Hmmmm 35??? I count 14 added according to the USA Today article! Maybe they will be "Swingin' Down South"!!!

Another Date - Thanks to Rebecca for forwarding me her local radio stations email. Tom Petty and the Heartbreakers will play July 8, 2001 in Boston MA at The Tweeter Center. Tickets go on sale May 12 at Noon.