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Counting Crows, Eventim Hammersmith Apollo, London – live review

Counting Crows Eventim Hammersmith Apollo, London 20th October 2022

After a career spanning thirty years and seven studio albums, Counting Crows are back in the UK promoting their 2021 EP Butter Miracle Suite One. Simon Reed joins a full Hammersmith Apollo to survey the action.

The first time I saw Counting Crows was in 1994. They were touring debut album August And Everything After, and the venue, London’s glorious Shepherds Bush Empire, was sold out. I couldn’t get a ticket. I bought one from a tout on the street for a three-figure sum. That was an awful lot of money for a gig ticket in 1994, but as Viagogo didn’t exist at least the cash went to somebody with a face. My seat was so far in the gods I was in grave danger of floating out of it. The band only played 15 tunes, two of which were covers.

I don’t regret it for one second.

That first album, and especially that first gig, cemented an enduring love affair with Counting Crows and I’ve lost count of the number of times I’ve seen them since. The last one was in 2018, the last time they were in the UK, headlining BluesFest at the O2 Arena. It was a weird night. Tickets were unreasonably expensive, with the result that the top deck was curtained off – never a great look. Counting Crows are many things, but one thing they’re not is a blues band. This left a number of people in the audience somewhat confused and for the people who turned up to sing along to the few tunes they knew, there were multiple subsequent complaints on social media that the band ‘didn’t play the songs like they are on the record’.

Anyone with even a passing acquaintance with Counting Crows knows the band frequently reinterpret their own material when they play live. It’s one of the things I love about them. But, if you’re not used to it, it can be somewhat discombobulating. The slightly odd vibe might have had an effect on front man Adam Duritz too, as at times he seemed nearly as perplexed as the audience. As they closed, he made an oblique comment which implied we might not ever see them on a UK stage again; words I didn’t want to hear. BluesFest was the one and only time I’ve watched Counting Crows and not been blown away. If what Duritz implied was true, it felt like a very sad way for them to end.

Roll forward a couple of years and it was exciting to hear that Adam was writing new music for the band. This new music turned into the Butter Miracle Suite One EP, released in 2021. When the tour for Butter Miracle (which pleasingly did include UK venues) was announced, I was getting tickets.

At a little after nine, a familiar line up walks out onto the stage of the Hammersmith Eventim Apollo. The front four (plus keys and accordion player Charlie Gillingham) have been with the band either from inception or very close thereto. Stage right is guitarist in a hat, Dan Vickrey. Duritz patrols the middle and to his left is multi-instrumentalist David Immerglück. On the extreme stage left stands David Bryson, a further guitar in hand. On the second row, bass player Millard Powers is sandwiched between Gillingham and drummer Jim Bogios. Powers and Bogios are comparative newbies. Having joined in the noughties, the rhythm section completed the current line up a mere 17 years ago.

No two Counting Crows gigs are ever the same and the set list revolves around an inordinate number of songs in the back catalogue. It’s therefore no surprise they open with Speedway, a song absolutely nobody expects to hear. It’s a bit of a low-key start to be honest, but Hard Candy follows, a fabulously jangly, poppy tune which allows the band to channel their inner REM. Before I leave the photo pit, they play Mr Jones, the song which broke them worldwide all those years ago. This is one they’ve radically re-engineered before for live performance, but not so here. It’s pretty much as per the record, which ensures the crowd behind me give it their all. Adam encourages them by holding the mic stand over our heads.

The rest of the set is a glorious mix of old and new. The new is taken care of by Butter Miracle, played as intended, front to back, without a break. I imagine if you’re unfamiliar with it, receiving close to 20 minutes of new material dropped into the middle of a performance could be encouraging queues in the toilets. Your loss people. It’s excellent.

The old has representation from every Counting Crows album bar Underwater Sunshine, and there are plenty of classics. Charlie Gillingham comes forward with the accordion for Omaha, another big hitter from August And Everything After. The audience are immense and I’m transported back to 1994 and my rarefied air seat at Shepherds Bush Empire. I’m not ashamed to say it gets me a bit emotional.

In fact, there are a few times tonight when I appear to have a little grit in the eye. It happens again during a really excellent rendition of Recovering The Satellites. There’s an extended guitar solo at the end courtesy of Dan Vickrey. Duritz leaves the stage for it and I wonder if something is up. Fortunately, he’s back when it’s over. “You know how I walked off there?”, he asks. “It looks real fucking dramatic. Truth is, I just don’t have anything to do in that bit”.

David Immerglück has plenty to do and he plays just about anything with strings on it seems. Tonight, he alternates between electric guitar, lap steel and mandolin and he even plays bass on Hard Candy tune Butterfly In Reverse. Immerglück really comes into his own though when he and Duritz perform Jackson C Frank’s beautiful song, Blues Run The Game. Just two spots, Adam’s voice and David’s twangy acoustic guitar. Sublime.

It’s the start of a triumvirate of acoustic songs, concluded with When I Dream Of Michelangelo from the Saturday Nights & Sunday Mornings album, and then another cover; the Grateful Dead’s Friend Of The Devil.

The acoustic stuff is lovely but everyone loves a banging rocker and it comes in Rain King. It’s another song from the debut album, and it’s one played at just about every Counting Crows show. For decades it’s had a slightly different treatment with breaks in the choruses. It’s designed to encourage crowd participation – and it receives plenty tonight. It also traditionally segues into and out of a cover of Springsteen’s Thunder Road; but tonight, again they play it straight. Maybe they saw the comments about their last London appearance.

The main set closes with A Long December. It’s another visit to the Recovering The Satellites album and it features Adam playing a hastily wheeled-out upright piano, whilst Charlie Gillingham dons the squeezebox for a second time. Adam doodles a bit on the piano before hitting us with the main chords. There’s a great reaction and for the umpteenth time, I‘m reaching for the man size tissues.

Of the three guitar players out front, only David Bryson on our right is a true founding member of the band. He’s understated. Often playing acoustic parts and occasionally playing nothing at all, he generally leaves the guitar pyros to Immerglück and Dan Vickrey on the other side of the stage. He does, however, get to start the encore; the opening notes to Round Here – opening track on August And Everything After, and a Counting Crows anthem. As soon as those notes ring out there’s a roar which can probably be heard in Fulham and in no time, Adam is holding the microphone out to the audience again. He must have sung this song thousands of times but it still sounds like it did the first time I heard it 29 years ago.

Jim Bogios starts the second encore, Hanginaround from behind the kit. It’s a joyous tune at the best of times but is given a real party atmosphere now through the audience participation and a little improvised cameo in turn from each member of the band. The show closes, as just about every Counting Crows show does, with Holiday In Spain; or as Adam put it: “Our lullaby to you”. We all sing along and I’m dewy eyed throughout.

“When you spend 30 years on the same stage with your friends you know you’ve got good friends”, says Adam at the very end. He introduces his friends to us and the band collectively take a bow. Then he conducts the audience in a verse of California Dreamin’ off the PA, before clearly, unambiguously and loudly declaring: “WE WILL BE BACK!”

I cannot tell you how good it is to hear those words.

You can find Counting Crows on their website and on Facebook , Instagram and Twitter .

All words and photographs by Simon Reed. His website Musical Pictures is here and you can visit his author profile for Louder Than War here . He tweets as @musicalpix and is on Instagram at musicalpictures.co.uk

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Adam Duritz of Counting Crows talks ‘Butter Miracle’ EP, tricky setlists & industry changes ahead of their UK tour

2023 will be the 30th anniversary of Counting Crows' seminal debut album, ‘August and Everything After'. ‘August….' was one of the zeitgeist albums of the 90s with songs like ‘Mr Jones' dominating MTV and the radio airwaves. Lead by charismatic lead singer, Adam Duritz, Counting Crows cemented themselves in the cultural window of the times. Over the years, the band have released a number of albums and stayed true to their Folk/Indie/Rock roots, touring relentlessly and never resting on their laurels, continuing to produce passionate, thoughtful and uplifting music.

A break of seven years without new music was brought to an end in 2021 with the release of four track EP ‘Butter Miracle Suite One', an ambitious project that saw Duritz and the band attempt to connect four songs together in one suite of music. It was a triumph and served to remind us all why seven years was too long to wait for new music from this wonderfully creative band still firing on all cylinders 30+ years after their formation.

Counting Crows' European tour tours rolls into the UK on Monday October 10th with a show in Birmingham before heading out across the nation. We were thrilled to catch up with Adam Duritz to talk all about the new EP and much, much more.

Thank you for your time today, Adam. It's great finally have you coming back to play in the UK. It feels like it's been a while. How frustrating has it been for you as a touring musician these past couple of years?

I mean, it's the longest I've gone without playing since I started playing! I don't think I've gone two years without playing a gig, since I started playing music as a kid. That was very strange.

It wasn't so much that it was strange at the time because my girlfriend and I hunkered down during the pandemic, it was scary. We were in one of the the cultural centres of the world in New York and, like everybody else, it caught us by surprise in New York because it caught us immediately, in New York. You know, there were trucks and freezer trucks parked up outside the hospitals, piling up bodies. It was kinda apocalyptic for a while and we spent a lot of time together, hunkered down.

The strangeness really didn't come until the pandemic was coming to a close and people started to make new plans and I started to wonder if anyone would ever be there at one of our shows again. The average band survives a couple of years – either you kill each other or people just don't give a shit anymore, you know? (laughing) We've lasted a really long time but you keep wondering when that candle will burn out and if the people will still be there. An enforced break, when we weren't able to tour and reach people and you don't have a record out, makes you wonder what things will look like when you do try and come back.

What changes have you noticed, in either the industry or the fans, now that you are back out on the road?

There's a lot more people buying tickets at the last minute in case a show gets cancelled. This whole tour had to be postponed once, right? People have moved away from buying tickets the day they go on sale and letting Ticketmaster hold their money for the next year!

We didn't seem to be selling any tickets in Spain and then the show sold out, it just sort of happened at the last minute. Same in Germany. Belgium. I'm noticing that a lot more over here in Europe, there's a lot of last minute ticket buying.

We've also always been careful of flight times and not cutting things too close to a show in terms of flying but you absolutely can't rely on the airline industry to get you anywhere on time right now. It feels like every other flight gets cancelled.

One of the joys of being a Counting Crows fan was always collecting your bootlegs. I've got 150 CDs of demos, live shows and stuff dating back to your bands that pre-dated Counting Crows. With the advent of smart phones and Youtube, has that bootleg era now passed into history?

Yeah, it's gone. You can get stuff online now – at places that allow downloads, which are largely officially run now, but the days of unofficial bootlegs have gone. The guys, the impresarios who made their own bootlegs that we used to call a really nice ‘piece', have all gone.

We had a really good friend who was a bootlegger, a guy called Johnny Legs. Immer (Counting Crows guitarist, David Immergluck) and I would go visit him or he would come to the gigs and set up a kind of bootleg flea market backstage! He passed away a few years ago and after that it all seemed to come to an end.

It also has to do with people not buying CDs anymore either. People don't even have CD players anymore, so they aren't going to be interested in searching out rare or live stuff from a band and no-one will be able to sell them a bootleg when they can't play it.

The ‘Butter Miracle' EP brought to an end a period of seven years where you didn't release new music. I'd heard you say on a podcast that that was because of changes in the industry and you not really knowing how to put out new music. Have changes like streaming hurt the band or is it that people's habits have changed?

I think the changes have hurt everybody in that none of us are getting paid for our art anymore! A lot of the changes have been good for musicians – you don't need record companies anymore, which is certainly a good development. There's a lot of good things that have changed but it's never a good thing when everybody in the world decides that they don't really need to pay for art anymore, though. Which is what everybody, for thousands of years, has always thought about art!

The fact that everything became free for everybody has been hard on artists but the thing with us and the band is that we never had two albums in a row with the same record company. By ‘Recovering the Satellites' there was a whole bunch of new people at the label that didn't really know what that were doing and by ‘This Desert Life' we were really on Interscope. By ‘Hard Candy' that had become Universal so we've never really had a confident record company putting out our records until we put out ‘Somewhere Under Wonderland' in 2012. I felt like Capitol did an amazing job with that record, the best that any label as done with a record of ours, and yet that album still kinda made no real impression.

‘….Wonderland' made me wonder if we were still trying to release music in some sort of out-mode fashion because the label did such a good job of trying to reach people. I didn't want to be creating what I thought was really good work, just for it to disappear down a hole, you know? I didn't feel like we had a good grip on how to release a record any more. Radio singles at AAA radio? I wasn't sure that was worth it any more and I wanted us to try and figure out of there was a different way of doing what we'd always done.

And have you resolved any of those thoughts and uncertainties? Is ‘Butter Miracle Suite One' a sign that you might stick to releasing music in short blasts going forward?

(laughing) No, not all! ‘Butter Miracle' was me getting excited about writing a suite of music. With me, once I start writing I want to make a record and complete the creative process that has awoken. I hadn't had the urge to write or put anything out for a while until then. ‘Butter Miracle' kinda caught me by surprise and I was so excited about wanting to do it.

I don't know whether we've figured anything out about the industry as it is right now, though. (laughing) ‘Elevator Boots' was number one on one of the radio formats in America, it was a number one hit for us at AAA radio and I don't think the song became a cultural phenomenon like it would have done back in the 90s, right? So that taught me that you could have a number one single and still not necessarily make much of an impression, or enough of an impression for my tastes. ‘Elevator Boots being number one on the radio in America didn't have any influence on it in the UK, which it would have done in the past, so I'm not sure we've figured anything out.

Does that prey on your mind or is it creativity exciting, not having anything figured out?

No, it definitely preys on my mind. I like a lot of things about the changes in the music business: they may not be better for me but they are better for everyone. The fact that you don't need a record company, the fact that you can make records at home by yourself, the fact that you don't need distribution is an even bigger bonus because you don't have to pay people to print things and ship them across the country. Just being able to upload music to Bandcamp is great for everyone as a whole but not paying for music is not great for everyone as a whole!

‘Butter Miracle' is such a terrific piece of work. Was the germ of the idea behind it going to be a long form song reminiscent of something like ‘Pallisades Park' from the ‘Somewhere Under Wonderland' album or was it always going to be four songs linked together?

Well, I wrote ‘The Tall Grass' first and the next day I wasn't sure it was finished so I was messing around with the ending, extending it and changing some of the chords, you know? Then I just sang the line ‘Bobby was a kid from round the town' and I thought, Oh, this is going to be a longer song, like ‘Pallisades Park'. But, once I had worked on it for a little while I knew it wasn't going to be a longer song, it was a different song that turned out to be ‘Elevator Boots'.

There was a flow, though, that linked the two songs together, that was so cool to me and it got me to thinking about writing a series of songs that did that, that were linked together. I got really excited about doing that and from that point on, when I got to the end of ‘Elevator Boots' I was looking for a way to get into the next song.

There's something of an English influence across the EP to my ears. I can hear Bob Geldof and the Boomtown Rats, The Who, Bowie, the Beatles. I know people will often quote Springsteen as an influence on your work but what influence have British artists had on you?

Anyone who is a Rock and Roll fan will have had a British influence on them. There's no way around that. When I was writing ‘Butter Miracle' I was living in England. There's definite Roy Harper influences on ‘The Tall Grass', probably Nick Drake too. On ‘Elevator Boots' I was very much thinking of Spiders From Mars and a bit of Bad Company, Mick Ronson and Mott the Hoople too.

I was living on this farm over there and one day I went down into town. I was driving back listening to the radio and BBC was playing the new single from the Bombay Bicycle Club that had a real bounce to it.There was keyboard line I really liked in it so even those influences were playing on me and not just the classic guys from the 70s. I ended up humming the melody and the keyboard line into my phone which became the basis for ‘Angel of 14th St'.

We spent a lot of time touring with The Who when we were younger and I've been a huge fan of The Who my whole life. I was definitely going for those power chords on ‘Bobby and the Rat Kings' although the song does go in more of a Springsteen-type of direction at times.

Do you have plans for ‘Butter Miracle Suite Two' in the pipeline?

I actually wrote the second suite when I was over in England after the pandemic, or rather, what we thought was after the pandemic! Whilst I was over there I sang on my friends' record – the band Gang of Youths. They're Australians who live in London now. We both, independently of each other, at almost the exact same time, wrote ‘Angel of 8th Ave' (Gang of Youths) and ‘Angel of 14th St' (Counting Crows).

After finishing their record (‘angel in realtime'), David Le'aupepe, their lead singer, sent me it to listen to and when I heard it I thought, “Oh shit, my record is not good enough!' I threw the whole thing out. That's the only time in my entire career that I've ever done something like that. ‘angel in realtime' is the best record anyone has ever made in years and it is what my songs should be like and they're not. So I tossed mine away.

Something I've loved about Counting Crows over the years and something that the band is famous for, is how you swap and change your setlist from night to night. How difficult it is now for you, with the size and depth of your back catalogue, to choose the setlist each night for each show?

It does get difficult sometimes because I really want to play stuff from every album. Some albums are harder to sing live than others too. ‘Saturday Nights, Sunday Mornings' is a really hard album to sing live, my voice gets really tired on those songs.

The added issue on this tour is that we have a twenty minute suite (‘Butter Miracle') that has to be played each night now too. ‘Pallisades Park' is a 10 minute song which discourages you then from playing other long songs like ‘Mrs Potter's Lullaby' but we've been enjoying playing ‘…. Lullaby' recently though. Then you go back and find older songs that you haven't played for a while, like ‘Butterfly in Reverse' and they become exciting to play again.

On top of those considerations there are some songs that are really structurally part of the set, like the first album songs like ‘Round Here', ‘Rain King' and ‘Mr Jones', you know? If we want to play anything else from the debut album, do you take one of those big ones out? It's hard and the longer we go, the bigger problem that it gets!

Looking at the sets right now. Some nights you open with ‘Speedway' or ‘Sullivan Street' and others seem to be ‘Round Here' or ‘Mrs Potter's Lullaby'. Those songs all have very different vibes for the opener to a show. How do you decide which one to go with?

There's moods and things that will and won't work when it comes to that. ‘Round Here' seems to work really well at the top of the set but we've also been playing it a lot in the encore lately too which really seems to flip people out. We hadn't played ‘Sullivan Street' for a long time but we've played it a couple of times on this tour and it seems to really set a great mood at the top of a set.

There was a sequence of ‘Speedway', ‘Come Around' and ‘Mr Jones' that really worked at one of the shows recently, it was unexpected but so cool. ‘Colourblind' tends to come in fourth, after ‘Mr Jones' because it provides a nice drop down but then ‘Black and Blue' can work in that slot too. We play around with stuff all the time, it's exciting.

It's harder for new songs to grab some of the big spaces because we just don't have the promotional mechanism or the cultural eye on us to reach as many people right now. Ideally I'd like to open the show with the ‘Butter Miracle' suite, that would be so cool, or maybe ‘Pallisades Park' but I'm not as sure people are as familiar with the newer songs as they are some of the older ones.

I love it when you elongate your songs or improvise extra bits in them, something else you've been famous for over the years. Does that get harder to do as your catalogue expands but the time allowed for a live show doesn't?

I've sort of stopped doing a lot of that lately. I love the improvising but I also find myself, right now, really just wanting to play songs and play as many songs as I can, more than playing a 10 minute ‘Round Here'. I love playing a tight ‘Round Here' and then getting to play another song like ‘Butterfly in Reverse'.

On this tour it's really great playing the ‘Butter Miracle' suite and then just crashing into ‘Rain King' followed by ‘A Long December' meaning I haven't really wanted to extend either of those songs. I'm feeling the pressure, I guess, of having so many songs and wanting to play them. You just can't do the long extended versions of things all the time – I also used to feel so inspired to do all that stuff and then I feel like it kinda became a thing that everyone expected. More than that, people began to want me to improvise but make it something they already knew, right? (laughing) Which kinda defeated the object of the whole thing. It stopped feeling as creative to me in some respects, because people expected it from us. You know, when people start to say ‘Play this alt-version' I was, like, ‘I gotta play some other stuff for a little bit!' (laughing)

How do you feel you've changed and evolved as a writer over the course of your career?

One thing that really freed me up was the working on ‘Underwater Sunshine' (The covers album Counting Crows did) and the theatre piece I was doing at the same time. Those projects got me to think about how other people write and perform their songs but it also taught me how to write for other people and people who aren't me. It showed me how to write songs that weren't autobiographical but told stories instead. So songs like ‘Pallisades Park' or ‘Elevator Boots' aren't in the first person, they tell a story about a character instead, I hadn't previously written in that way.

That was a big deal for me. When I started writing the songs that would become ‘Somewhere Under Wonderland' I initially didn't think they were any good because what was good to me and what I knew of, up to that point, was really just first person songs about me! (laughing) I was worried that the songs that weren't in the first person didn't have any emotional resonance so I played them to Immer and he was like, ‘I love these songs!'

It's just like apples and oranges, I guess. If all that's been good is apples then the orange might seem like it's weird, but it's not wrong, just different. That opened me up to the possibility of writing in a different way.

This year is the 20th anniversary of ‘Hard Candy' and next year will be the 30th anniversary of ‘August and Everything After'. Would you ever consider touring these albums as anniversary celebrations or is playing new music still more important to you than nostalgia?

I never really think about the anniversaries. I guess we did at first, when ‘August…' was ten years old but those type of shows don't really interest me much. The album I would wanna play if we were doing something like that would be ‘This Desert Life'. I imagine everyone else would want to be there for ‘August…' but I would want to play ‘…Desert Life'.

I kinda like mixing all the songs up from the different albums and playing them that way.

There are a few limited tickets left for Counting Crows' UK tour, which begins in Birmingham on October 10th. Grab them while you can.

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Counting Crows tour dates 2024

Counting Crows is currently touring across 1 country and has 1 upcoming concert.

The final concert of the tour will be at Oceans Calling in Ocean City.

Currently touring across

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Oceans Calling

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North Island Credit Union Amphitheatre

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Recent tour reviews

This gig was marketed as part of Bluesfest and thus you got 3 bands for the price of one. The opening act was The White Buffalo. When they took to the stage there weren't many people in the arena, but those that were there got a real treat. The White Buffalo are a 3 piece band playing a mix of blues and ballads and went down well with those that were there to see them. Really enjoyed their set.

Then after a change of stage set Alison Krauss came on. Alison has a beautiful voice complimented by the two members of the The Cox Family. Alison also plays fiddle, and the crowd were treated to a mixture of country and folk music.

Then the headline act. I was disappointed to see the O2 Arena had not sold out this gig, especially as the Crows played two sell out concerts there back in 2014. Also the Arena had curtained off the upper tier so the O2 was probably only really half full, if that. With the London gig following the Dublin gig these were the only two venues on the tour for the UK and Ireland so I was surprised not to see a bigger crowd.

No matter, the Crows were playing the last night of their worldwide tour celebrating 25 years and didn't disappoint. This concert leant heavily on the August And Everything album with songs like Mr Jones, Omaha, Rain King, Round Here, Raining in Baltimore and Murder of One. They also played a Teenage Fanclub number that they usually play in the warm-up earlier in the day, and a favourite of mine, Mrs Potter's Lullaby. Adam likes to chat to the audience and explained the background to nearly every song. As is quite often the case the the sound mix was not quite right for the opening numbers and Adam's vocals were slightly drowned out by the instruments, but once the mix was right the Crows really got into their stride. They finished with Holiday in Spain and you came away feeling you had your money's worth. It was the first time in 25 years I had seen the Crows live and was determined no to miss them this time they came to the UK. I thoroughly enjoyed the show.

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I've been a big fan since I was very young, but i'm sad to say this will almost certainly be the last time I see them live. Adam sounds nothing like he used to and there is seemingly little effort put into compensating for the decline in quality with additional effort and or set design. This band is a shell of what they were a decade ago and it's a damn shame to see them go out this way.

The VA beach show was AMAZING!!! The Counting Crows has and will be our favorite band forever. The prolific songwriting coupled with awesome harmonies and tight backing instrumental work is continually jaw dropping. Thank you, Adam, for letting us into your world for a few moments while talking about the inspiration for some of your songs. Here’s to another 25 years!! Can’t wait for the next album and every one to follow!!!!

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Counting Crows

Counting crows will bring the butter miracle tour to the uk and ireland in autumn 2022 catch them at o2 academy glasgow on friday 14th october.

About Counting Crows

Introspective Californian roots rockers with a string of high-profile hits including Mr Jones and Accidentally In Love. It’s easy to see Counting Crows as a band out of time. While their neighbours to the north spent the early 90s backing their angst and disillusionment with monolithic distortion, the Californians instead turned their attention to Laurel Canyon and the laidback, introspective folk rock of Dylan, Joni Mitchell and John Phillips, and the twanging country rock of Gram Parsons, The Byrds and The Grateful Dead. In 2021 Counting Crows returned to the road with a US tour, followed by the announcement in October of a European jaunt in 2022. As part of that trans-Atlantic excursion, Counting Crows confirmed a run of UK dates in autumn 2022.

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Hold Steady / Counting Crows Tour Is Still Happening

Are the Counting Crows cooler than any of us realized? First the Gaslight Anthem quote Adam Duritz's "wish I looked like Elvis" line on their ridiculously great  song "High Lonesome", and then the long-maligned dreaded-up dorm-rockers announced that they'd be bringing the Hold Steady on tour with them in the UK and Ireland.

We reported that story last year, but Counting Crows went and postponed the tour. It turns out the reason for the schedule change wasn't that Duritz and them knew they'd be blatantly outrocked every night. Rather, it was the economy .

NME reports that the whole tour has been rescheduled and will in fact be going down in May. And apparently the Counting Crows are still big enough in England to headline Wembley Arena? Which means the Hold Steady will get to rock Wembley, which will be ridiculous.

If the Counting Crows guys know what's good for them, they will spend the intervening months getting their alcohol-tolerance levels up. Those Hold Steady dudes do not play.

Rescheduled dates:

05-10 Glasgow, Scotland - SECC 05-11 Manchester, England - Manchester Evening News Arena 05-13 Birmingham, England - NIA 05-14 London, England - Wembley Arena 05-16 Cardiff, England - Cardiff Arena 05-18 Bournemouth, England - BIC 05-19 Nottingham, England - Royal Centre 05-21 Brixton, England - Academy__ __

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Past Events

Here are the most recent UK tour dates we had listed for Counting Crows. Were you there?

October 2022

• Fri 21 Oct London, Eventim Apollo Counting Crows
• Thu 20 Oct London, Eventim Apollo Counting Crows
• Sun 16 Oct O2 Guildhall Southampton Counting Crows
• Fri 14 Oct O2 Academy Glasgow Counting Crows
• Thu 13 Oct O2 Academy Sheffield Counting Crows
• Tue 11 Oct O2 Apollo Manchester Counting Crows
• Mon 10 Oct O2 Academy Birmingham Counting Crows
• Fri 1 Apr O2 Guildhall Southampton Counting Crows
• Thu 31 Mar O2 Academy Sheffield Counting Crows
• Tue 29 Mar O2 Academy Glasgow Counting Crows
• Sun 27 Mar Dublin, 3Arena Counting Crows
• Fri 25 Mar London, Eventim Apollo Counting Crows
• Thu 24 Mar London, Eventim Apollo Counting Crows
• Tue 22 Mar O2 Academy Birmingham Counting Crows
• Mon 21 Mar O2 Apollo Manchester Counting Crows

October 2018

• Sun 28 Oct London, The O2 Counting Crows, Alison Krauss, The White Buffalo
• Thu 9 Jul → Sat 11 Jul Bilbao BBK Festival 2015 Mumford & Sons, Disclosure (2), Counting Crows, Future Islands, Black Rebel Motorcycle Club…
• Thu 11 Jun → Sun 14 Jun Newport, Festival Site Isle Of Wight Festival 2015 The Prodigy, The Black Keys, Blur, Fleetwood Mac, Paolo Nutini…
• Wed 10 Jun Wolverhampton, The Civic at The Halls Counting Crows

November 2014

• Tue 11 Nov London, The Roundhouse Counting Crows, Lucy Rose
• Mon 10 Nov London, The Roundhouse Counting Crows, Lucy Rose
• Sat 8 Nov Leicester, De Montfort Hall Counting Crows, Lucy Rose
• Fri 7 Nov O2 Apollo Manchester Counting Crows, Lucy Rose
• Wed 5 Nov O2 Academy Leeds Counting Crows, Lucy Rose
• Tue 4 Nov Newcastle upon Tyne, NX Newcastle Counting Crows, Lucy Rose
• Sun 2 Nov O2 Academy Glasgow Counting Crows, Lucy Rose
• Sat 1 Nov O2 Academy Birmingham Counting Crows, Lucy Rose
• Fri 26 Apr O2 Academy Glasgow Counting Crows, Lucy Rose
• Thu 25 Apr O2 Apollo Manchester Counting Crows, Lucy Rose
• Tue 23 Apr London, Eventim Apollo Counting Crows, Lucy Rose
• Mon 22 Apr London, Eventim Apollo Counting Crows, Lucy Rose
• Sat 20 Apr Bristol Beacon Counting Crows, Lucy Rose
• Fri 19 Apr O2 Academy Birmingham Counting Crows, Lucy Rose
• Mon 1 Jun London, O2 Academy Brixton Counting Crows
• Sat 30 May The BIC, Bournemouth Counting Crows
• Fri 29 May Nottingham, Theatre Royal and Royal Concert Hall Counting Crows
• Wed 27 May Newcastle upon Tyne, NX Newcastle Counting Crows
• Tue 26 May O2 Academy Sheffield Counting Crows
• Sun 24 May Brighton Centre Counting Crows
• Thu 21 May London, O2 Academy Brixton Counting Crows
• Tue 19 May Nottingham, Theatre Royal and Royal Concert Hall Counting Crows
• Mon 18 May The BIC, Bournemouth Counting Crows, The Hold Steady
• Sat 16 May Utilita Arena Cardiff Counting Crows, The Hold Steady
• Thu 14 May London, OVO Arena, Wembley Counting Crows, The Hold Steady
• Wed 13 May Utilita Arena Birmingham Counting Crows, The Hold Steady
• Mon 11 May Manchester, The AO Arena Counting Crows, The Hold Steady
• Sun 10 May Glasgow, SEC Counting Crows, The Hold Steady
• Thu 7 May SSE Arena, Belfast Counting Crows, The Hold Steady

December 2008

• Sun 21 Dec SSE Arena, Belfast Counting Crows, The Hold Steady
• Thu 18 Dec Glasgow, SEC Counting Crows, Melee, The Hold Steady
• Sun 14 Dec Utilita Arena Sheffield Counting Crows, Ben Folds, Melee
• Sat 13 Dec Birmingham, bp pulse LIVE Counting Crows, Ben Folds, Melee
• Thu 11 Dec Brighton Centre Counting Crows, Ben Folds, Melee
• Wed 10 Dec The BIC, Bournemouth Counting Crows, Ben Folds, Melee
• Mon 8 Dec Utilita Arena Cardiff Counting Crows, Ben Folds, Melee
• Sun 7 Dec Manchester, The AO Arena Counting Crows, Ben Folds, Melee
• Fri 5 Dec London, OVO Arena, Wembley Counting Crows, Ben Folds, Melee
• Thu 4 Dec Motorpoint Arena Nottingham Counting Crows, Ben Folds, Melee
• Tue 2 Dec Newcastle upon Tyne, Utilita Arena Newcastle Counting Crows, Ben Folds, Melee
• Sun 13 Jul Kinross, Balado Airfield REM, Kings Of Leon, Amy Winehouse, Counting Crows, Amy Macdonald, Shed Seven, Bowling For Soup …
• Tue 8 Jul M&S Bank Arena Liverpool Counting Crows, The Hold Steady
• Sun 6 Jul London, Hyde Park Counting Crows, Ben Harper, Powderfinger, Goo Goo Dolls, Eddy Grant, Magic Christian, Royworld …

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• LINKIN PARK - Greatest Hits album ‘Papercuts (Singles Collection 2000-2023)’ out now!

Live Review: Counting Crows - Cologne 2022

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Counting Crows

Counting crows concert setlists & tour dates, oneness tour 2024 tour, upcoming shows.

• Date and Venue Doors Scheduled
• Sep 29 2024 Oceans Calling 2024 Ocean City, MD, USA Add time  –  Scheduled: 7:45 PM Add time Add times 7:45 PM

Counting Crows at Lambeau Field, Green Bay, WI, USA

• If I Could Give All My Love -or- Richard Manuel Is Dead
• Anna Begins
• Angels of the Silences
• Friend of the Devil
• Big Yellow Taxi
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Counting Crows at Pacific Amphitheatre, Costa Mesa, CA, USA

• Sullivan Street
• St. Robinson in His Cadillac Dream
• Butterfly in Reverse
• Washington Square

Counting Crows at North Island Credit Union Amphitheatre, Chula Vista, CA, USA

• Mrs. Potter's Lullaby
• When I Dream of Michelangelo

Counting Crows at Kia Forum, Inglewood, CA, USA

• Black and Blue
• A Long December

Counting Crows at Shoreline Amphitheatre, Mountain View, CA, USA

Counting crows at rv inn style resorts amphitheater, ridgefield, wa, usa.

• Recovering the Satellites
• God of Ocean Tides

Counting Crows at White River Amphitheatre, Auburn, WA, USA

Counting crows at moody center, austin, tx, usa.

• Hanginaround

Counting Crows at Toyota Center, Houston, TX, USA

Counting crows at dickies arena, fort worth, tx, usa.

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Most played songs

• A Long December ( 1210 )
• Rain King ( 1153 )
• Mr. Jones ( 1144 )
• Omaha ( 968 )
• Hanginaround ( 927 )

More Counting Crows statistics

10 Year Gap Abbie Ozard Adeem the Artist Adequate AFTYN John Allen Jason Anderson Sara Bareilles Bobby Barnett Andrew Belle Sam Bettens Big Bad Juju The Bitteroots BLØF Blue Dogs Bonny Doon Brian Eldridge Marcos Cabanas The Campfire Camaraderie Brandi Carlile Cesare Carugi Aaron Celentano Christopher Lewis Kelly Clarkson Jacob Collier Colorjoy Combat David Cook Cracker Joel Cummins Dashboard Confessional Deaf Havana Decades Paul Dempsey Kevin Devine Directors' Cut downey Dunston Ashe Adam Duritz Eclectic Red ELE Emergency Hairspray Mission Mark Erelli Evan + Zane Brian Fallon Jimmy Fallon The Fray Fun. girlhouse Go Fish

Showing only 50 most recent

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Artists covered

[traditional] Ryan Adams America Kasey Anderson Augustana Syd Barrett The Beatles Chris Bell Big Star David Bowie Billy Bragg & Wilco Elton Britt and The Skytoppers Coby Brown Jackson Browne The Byrds Vanessa Carlton C.J. Chenier Cracker The Cure Dashboard Confessional Willie Dixon Bob Dylan Steve Earle Faces Fairport Convention Fountains of Wayne Jackson C. Frank Gator Creek George Gershwin Dave Gibbs Grand Funk Railroad Grateful Dead Nanci Griffith Woody Guthrie Merle Haggard, Willie Nelson Tim Hardin John Hiatt Mildred J. Hill & Patty Hill Robyn Hitchcock Robyn Hitchcock and the Egyptians George Jones Stephen Kellogg The Kinks Cyndi Lauper Led Zeppelin Low Stars Lynyrd Skynyrd Madonna The Mamas & the Papas Bob Marley & The Wailers

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Gigs seen live by

7,315 people have seen Counting Crows live.

EricBalkman annalyn Jr4625 MBrandenburg Castalan jwinter65 Scwagner TheHoagieFish Teedub2440 nuni0315 kendallss1 ahiru rocke031 KnowWonder CCConcerts GeoE pixieparable curtfoxx54 Helenprn robabston david2400 BennyTibs frozenmetalhead Hirebrad MichaelHartman trevorneeb erccr wmbaze AAHH PinballDave ElManu28 Ginaaaaa Lord_Dahlius damanpotatoman ufoufoufo AGalvinSetLists zacray snudsy Harvest58 josh_vaughn OdinRosado bibi59 blumsf17 BrendanB jmh225 ShorelineKim ShorelineBrad Maynard1399 CrazyWhammer sinopoli32

Counting Crows on the web

Music links.

• Counting Crows Lyrics (de)
• Official Homepage

Tour Update

Setlist insider: foster the people.

• Foster the People
• Sep 22, 2024
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• Sep 19, 2024
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• Sep 17, 2024
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