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Musicians thank their audiences all the time, but Jeff Tweedy did it even more than usual over the weekend at Solid Sound.

Time and again, he kept thanking his fans for allowing Solid Sound to happen. “It’s too nice of you guys to be here, to make this happen,” he said at one point. Of course, the same thing could be said of all festivals and concerts: They wouldn’t happen if nobody showed up. But it’s unusual to hear a rock star acknowledge that debt to his audience as explicitly as Tweedy did. He sounded humbled and maybe overwhelmed by the whole thing.

Tweedy’s band Wilco organizes the Solid Sound Festival every other year at Mass MoCA, aka the Massachusetts Museum of Contemporary Art, which has taken over the sprawling grounds of a 19th-century factory complex in North Adams, a town in the state’s northwest corner. That setting is one of the event’s key attractions: The surrounding landscape is bucolic, and the museum’s cleverly repurposed industrial spaces are filled with oversized, ambitious, eccentric and playful art.

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Even though Wilco’s headquarters are in Chicago, North Adams is a second home of sorts for the band and its extended musical family. Solid Sound — which returned to the museum June 26-28 for its fourth edition — isn’t totally and completely about Wilco. It does feature other musicians of various genres, as well as standup comedy, films and assorted artsy happenings. But it all revolves around Wilco, and it’s designed with Wilco’s fans in mind. Would you really go to Solid Sound if you didn’t like Wilco?

This year’s festival felt even more Wilco-dominated than the previous fest, in 2013, because a couple of major musical acts, Taj Mahal and King Sunny Ade, canceled their appearances. And yet there were many sterling musical moments that had little or nothing to do with Wilco.

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Luluc, a duo from Australia by way of Brooklyn, entranced with its luminous songs; singer Zoë Randell’s voice was chillingly lovely as it melded with Steve Hassett’s expressive guitar lines. After their regular set, they showed up in the museum for an unamplified “pop-up” performance, casting a spell over a small group of people sitting on the gallery floor.

Richard Thompson played his set in electric-guitar mode, focusing on songs from his new album, Still, which was recorded by Tweedy at the Wilco Loft. Perhaps he would have played more of his classics if he’d had more than an hour; he did return to the stage with his trio for a short encore: a rocking cover of the Otis Blackwell song “Daddy Rolling Stone.”

NRBQ, an old band that sounds rejuvenated with its new lineup, played the most party-inducing set of the weekend. The group’s longtime keyboardist, Terry Adams, was clearly having a blast, and Scott Ligon ripped through an extended guitar solo that was staggeringly great.

Other highlights of the weekend included Jeff Davis’ traditional folk songs; a slightly more modern take on that genre by Sam Amidon and Bill Frisell; the energetic indie rock of Speedy Ortiz and Parquet Courts, perhaps the only band all weekend that prompted anything that resembled moshing; the eloquent guitar instrumentals of William Tyler; and the placid breeziness of Real Estate — which was too mellow for many audience members, but still rather nice. (For the record, I missed the sets by the Felice Brothers, Mac DeMarco, Charles Lloyd and Cibo Matto because of schedule conflicts, and caught only a bit of Shabazz Palaces.)

The brilliant John Hodgman curated the comedy portion of Solid Sound, including hilarious improvisation by the group Superego. When Jessica Williams of The Daily Show and Phoebe Robinson took the stage, the two African-American comedians said they had a bet over how many black audience members there would be. (Robinson predicted five; Williams, seven). They asked any black people in the crowd to say “Woo!” and counted six. (Yes, it should be noted here that Solid Sound attracts an overwhelmingly white audience, though it is diverse in other ways, covering a wide age range but skewing toward middle-aged folks and families with kids.)

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The weekend was filled with Wilco side projects. The band’s virtuoso guitarist, Nels Cline, showed off his art-school side with a solo set of evocative noises and textures, while the big screen behind him in the Hunter Center displayed a picture being painted and rapidly transformed by artist Norton Wisdom on the other side of the stage. Meanwhile, dancers choreographed by Sarah Elgart writhed inside colored fabric like fetuses desperate to escape the womb. This multimedia experience, called “Stained Radiance,” may sound a bit pretentious on paper, but it was an impressive and affecting spectacle.

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Wilco’s remarkable drummer, Glenn Kotche, performed contemporary chamber music with former Kronos Quartet cellist Jeffrey Zeigler. It culminated with “The Immortal Flux,” a percussion piece composed by Kotche using recordings that evoke the history of the Mass MoCA building. Fifty volunteer percussionists played drums specially created for the occasion. Unfortunately, the muffled acoustics in the back of the big gallery space failed to convey all of the music’s nuances.

The Autumn Defense, the soft-rock band led by Wilco members John Stirratt and Pat Sansone, teamed up with the Australian band The Windy Hills for another unusual set. They played music composed and recorded for Spirit of Akasha, a film that celebrates an earlier surf movie with a cult following, Morning of the Earth. But this wasn’t typical surf rock. The Windy Hills’ songs, which dominated the set, were more like Crosby, Stills & Nash. Even when the Autumn Defense guys joined in for an instrumental jam, it had a hippy groove reminiscent of CSN’s “Long Time Gone.”

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There was an also a museum exhibit showing an interactive Wilco timeline, with fans’ memories on Post-It notes. Elsewhere in the museum, a replica of Wilco’s stage setup gave fans a chance to see what it looks like standing by those guitars, keyboards and drums.

But of course, the main attractions were Wilco itself and Jeff Tweedy. Friday night’s headline concert was an all-acoustic show by Wilco — the first time the band has ever done a show that was unplugged from beginning to end. Some of the songs (including a couple from Tweedy’s days with Uncle Tupelo) were acoustic in the first place, but others sounded radically different in this format, with Cline’s lap steel guitar or trilling acoustic strings replacing electric riffs, as xylophone and melodica filled in for synthesizers and other layers from the full rock arrangements. This show came on the same day as the Supreme Court decision in favor of same-sex marriage, and after Wilco played “Hesitating Beauty,” Tweedy commented: “I was thinking it’s so much nicer singing that song now that everyone can get married.”

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SET LIST: Misunderstood / War on War / I’m Always in Love / Company in My Back / Hummingbird / Bull Black Nova / Handshake Drugs / Hesitating Beauty / She’s a Jar / One Wing / Kamera / New Madrid / Forget the Flowers / It’s Just That Simple / Airline to Heaven / Dawned on Me / I Got You (At the End of the Century) / Passenger Side / Outta Mind (Outta Sight) / Whole Love / Jesus, Etc. / Walken / The Thanks I Get / Theologians / A Shot in the Arm / ENCORE: True Love Will Find You in the End (Daniel Johnston cover) / We’ve Been Had / Casino Queen / Hoodoo Voodoo / I’m a Wheel

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Saturday ended with a more typical Wilco concert, which began an hour early because of a rainstorm predicted for later in the night. As it turned out, the rain started falling before Wilco played the first notes of “I’m the Man Who Loves You,” and it kept falling throughout the show — but it never got bad enough to cut off the music. After all of the quiet strumming and banjo plucking on Friday night, Wilco came out ready to rock on Saturday night. The set was heavy on music from the Yankee Hotel Foxtrot era, including some of Wilco’s best obscurities, and it was as solidly entertaining as any Wilco show I’ve ever seen, the rain notwithstanding.

SET LIST: I’m the Man Who Loves You / Kamera / Candyfloss / I Am Trying to Break Your Heart / Art of Almost / At Least That’s What You Said / Either Way / Pot Kettle Black / Panthers / Sunken Treasure / Secret of the Sea / Heavy Metal Drummer / Born Alone / Laminated Cat (aka Not for the Season) / Ashes of American Flags / Hotel Arizona / Box Full of Letters / Impossible Germany / A Magazine Called Sunset / Via Chicago / ENCORE: Let’s Not Get Carried Away / Dark Neon / The Late Greats / Kingpin / Monday / Outtasite (Outta Mind)

On Sunday afternoon, the festival finished up with a set by Tweedy, the band behind 2014’s Sukierae album, which includes Jeff as well as his son Spencer on drums, plus Jim Elkington on guitar, Darin Gray on bass, Liam Cunningham on keyboards, and Sima Cummingham on harmony vocals. The songs from this record aren’t radically different from the style of Jeff Tweedy’s music with Wilco, but there’s a different dynamic among these players. The band stretched out a few moments with fierce krautrock-style repetition. When someone in the crowd called out, “You’re doing a good job, Jeff,” Tweedy thanked him for the vote of confidence. He said he must have the sort of face that prompts people to feel the need to offer words of encouragement. The sky was gray and a light drizzle fell as the band played. “This is the perfect weather for these songs, I think,” Tweedy remarked.

After an hour by Tweedy the band, Jeff Tweedy played a solo acoustic set. “I’m trying to think of the happiest songs I can play, to get you guys going,” he said. Before he played the Golden Smog song “Pecan Pie,” he said, “I don’t think this song has any death in it. I never know until I start singing. There’s just so much death.” Like usual, Tweedy was self-deprecating with his stage banter. Later, when Tweedy made a slight misstep in “Summerteeth,” he commented: “I know the words and the chords. I just wanted to display a little infallibility so the weekend isn’t too perfect.”

Various musicians who’d played during the festival came out and played with Tweedy. When Cibo Matto joined with him, the opening chords on Tweedy’s acoustic guitar sounded like “All Along the Watchtower,” but it turned out to be a cover of Madonna’s “Into the Groove.” When Tweedy played “I’m the Man Who Loves You,” he dedicated it to his wife, Sue, adding: “I always dedicate this song to her, and if I ever don’t dedicate it to her, I want you to know on the record, it is dedicated to her.”

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Tweedy the band returned to the stage for the final segment of the concert, which included a faithful cover of John Lennon’s “God.” “You probably thought that was going to be the last song, didn’t you?” Tweedy said afterward. “It would have made sense … John Lennon mic drop.” But he had a few more songs to go. A big crowd of musicians joined him for “Give Back the Key to My Heart” and “California Stars,” with a grinning Bill Frisell taking a guitar solo on the latter song.

SET LIST — BAND: Hazel / Fake Fur Coat / Diamond Light Pt. 1 / Flowering / World Away / New Moon / Summer Noon / Honey Combed / Desert Bell / High As Hello / Wait For Love / Love Like a Wire (Diane Izzo cover) / Low Key / Nobody Dies Anymore / SOLO: Remember the Mountain Bed / Please Tell My Brother / Summerteeth / Pecan Pie / The Ruling Class / Chinese Apple (with Glenn Kotche and Ryley Walker) / Too Far Apart / Into the Groove (Madonna cover, with Cibo Matto and Nels Cline) / Grandpa Was a Carpenter (John Prine cover, with the Felice Brothers) / Harvest Moon (Neil Young cover, with Luluc) / Be Not So Fearful (Bill Fay cover, with John Stirratt and Pat Sansone) / I’m the Man Who Loves You / BAND: You Are Not Alone / Only the Lord Knows (Mavis Staples cover) / God (John Lennon cover, with Bill Frisell) / Losing End (Neil Young cover) / Give Back the Key to My Heart (Doug Sahm cover) / California Stars

Over the course of the three nights, Wilco and Tweedy repeated only a couple of songs, showing once again how rich their repertoire is. Wilco’s a rare example of a band with the depth, talent and creativity to justify and sustain an event like Solid Sound.

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Photos from the second day of the 2015 Solid Sound Festival, June 27, 2015, at Mass MoCA in North Adams, Mass. (Also see Can I Take 8 Ibuprofen And 8 Paracetamol In 24 Hours and my photos of Propecia Uk Prescriptionand Viagra Online.gr.)

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Photos from the first day of the 2015 Solid Sound Festival at Mass MOCA (the Massachusetts Museum of Modern Art), in North Adams, Mass. — including an all-acoustic show by Wilco, the band curating the festival. (Also see Buy Cialis 5mg Daily Use and my photos of Is Prevacid Prescription Only and Viagra Online.gr.)

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My recap of Solid Sound 2013, continued from blog posts Propecia Cost At Pharmacy, Betnovate Chemist Prescription Only Side Effects and Flagyl Pills Online

The Solid Sound festival also featured rousing soul music by the Relatives; rootsy jamming by White Denim; harmonic pop by Lucius (who were most impressive when they guested with Wilco); Miracle Legion founder Mark Mulcahy doing solo music, with J. Mascis playing guitar in the back part of the stage; a nice set of solo singer-songwriter music by Sean Rowe; and singer-songwriter Sam Amidon playing quiet songs in the vein of Nick Drake as well as more traditional Appalachian folk, with Beth Orton (his wife) joining in for one song. Marc Ribot and Los Lobos’ David Hidalgo played a terrific set of their “Border Music,” and Brazil’s Os Mutantes playing songs from its new album Foot Metal Jack (which I’m not so keen on) but also some of its classic psychedelic tunes. And as mentioned in Buy Lasix Online With Mastercard, the fest closed with a strong set by Medeski Martin & Wood, supplemented by various guests.

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Watching all of the music, I missed most of the comedy cabaret hosted by Hodgman, though the portion I caught — featuring Hodgman and Jen Kirkman — was hilarious and eccentric.

In between the concerts, I stopped into MASS MoCA’s galleries and saw a few of the most striking and memorable artworks I’ve experienced in a while. The Chinese artist Xu Bing’s Phoenix, a pair of hundred-foot-long mythical birds constructed out of debris, is hanging from the ceiling in a room the size of an airport hangar. (And Xu Bing’s remarkable super-wide-screen animated film The Character of Characters was screening in another room.) Another gallery displayed a thousand or so miniature paintings that Tom Phillips created on the pages of an obscure Victorian-era novel, W.H. Mallock’s A Human Document. I could have spent many more hours examining these fascinating pictures. And then there was an entire building devoted to the paintings of minimalist Sol LeWitt. Now, I must confess here that I am unenthusiastic and generally bored by most minimalist art. When I see a big canvas covered in one color of paint, my typical response is, “Big deal.” So I wasn’t thrilled with the prospect of seeing all those LeWitt paintings. But there was something damn impressive about seeing all of them assembled in the three floors of this building. Taken as a whole, they became more like a weird piece of architecture.

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All in all, Solid Sound lived up to its name. It’s an inspiring model for how to run an arts festival — although it’ll be hard to emulate elsewhere, because how many other places are there like MASS MoCA?

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My last two blog posts about Solid Sound were about what the members of Wilco were up to during this festival. But like any decent fest, this one wasn’t entirely about one band. In brief, the other highlights included a high-energy show on Saturday afternoon by The Dream Syndicate, who were cult favorites in the 1980s California indie-rock scene. This was their first North American gig in more than two decades, but as it felt like they’d never stopped playing.

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Yo La Tengo played not one, but two shows during Solid Sound. Alas, I arrived too late on Friday night to get a set at the screening of the film The Love Song of R. Buckminster Fuller, featuring a live score performed by Yo La Tengo. On Saturday afternoon, the group played a typically excellent set of its songs, both old and new, with the most drastic shift in dynamics I heard all weekend. After blasting a couple of noisy songs to open their concert, Yo La Tengo took the volume way, way down for a couple of its hushed, whispery ballads, “The Point of It” and “Decora” — and it seemed like everyone in the crowd stopped making any sound so they could listen in. (At least, that’s what it was like by the stage, where I was standing.) By the end of the set, the band back at full volume.

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Out of all the artists playing at Solid Sound, the one that seemed to represent younger, hyped bands was Foxygen. Just as they acted goofy during their recent in-store at Chicago’s Saki, Foxygen’s members seemed loopy at Solid Sound as they cavorted on the stage, playing their quirky, catchy songs. Perhaps they cavorted a bit too much. I heard most of Foxygen’s set, but I was away from the stage when lead singer Sam France reportedly tried to climb the scaffolding and got pulled down by security. Later in the day, I noticed three security guards surrounding Foxygen’s tambourine player, who looked intoxicated, and escorting him away from a tree. During Wilco’s show that night, Jeff Tweedy told the audience that the members of Foxygen had been “kicked out” of the festival. “They’re awesome. A little too awesome, I think,” he said. Later, he apologized, saying he hadn’t meant to disparage the band. But he dedicated the song “Passenger Side,” a song about drunk driving, to Foxygen. And then Tweedy brought up Foxygen one more time, suggesting that they might want to try drinking water onstage. The Prescription Viagra Substitute has more about the Foxygen story. Whatever happened, I was charmed by what I saw of Foxygen’s set.

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Although LowBestalla Proscar Online for playing one long droning song at the recent Rock the Garden festival in Minneapolis, the band played a standard set of its songs at Solid Sound on Saturday. And with Low, standard means beautiful.

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Neko Case is another artist who nearly always delivers a good to great performance, and her show on Saturday night included a few songs from her forthcoming album The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You, which comes out Sept. 3 on Anti. On first impression, the new songs sounded like a strong continuation of the singular style of music Case has been shaping over her last few records. For me, the highlight of the set was a heart-stopping performance of her 2002 song “I Wish I Was the Moon,” with Case’s voice plaintively calling out across the park in the opening verse. “We’re kind of a weird band for a festival because all of songs are bummers,” Case remarked at one point. Her stalwart harmony singer, Kelly Hogan, pointed out: “Low played earlier.” At the end of her set, Case said, “Every single song in our set is dedicated to that girl playing drums on her dad’s head.”

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Given the fact that Solid Sound was a festival organized by Wilco, it’s not surprising that it also featured side projects by the band’s various members on Sunday (June 23). The most impressive of these may have been Wilco member Nels Cline’s eloquent, virtuosic guitar duets with Julian Lage. Cline later showed up as one of the guests during the festival-closing set on Sunday night by the jazz trio Medeski Martin & Wood, and he ended up playing for about half of their set, bending and twisting the notes on his guitar in a frenetic style reminiscent of John McLaughlin’s legendary work with the Mahavishnu Orchestra. (Tweedy, Hidalgo and Ribot also sat in on that set at various points.)

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Nels Cline and Billy Martin during the set by Medeski Martin & Wood

Mikael Jorgensen — the keyboardist and electronics whiz who generally sits at the back of the stage during Wilco shows, making himself the least showy member of the band — had a couple of chances at Solid Sound to show off what he does. On Saturday, he generated live electronic analog synth music in a dark museum room, accompanied by longtime Wilco techs Nathaniel Murphy, Travis Thatcher and Josh Goldsmith. I dipped into the performance for a short sample, and it felt like I’d stepped out of the summer festival and into a … well, not a rave, exactly, since no one was dancing. A laboratory?

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Mikael Jorgensen in the “Oscillator Fumes” room

And then, the following afternoon, Jorgensen took his pulsing electronic music out into the broad daylight, playing a set with Greg O’Keeffe and Oliver Chapoy. I’m not sure if Wilco’s more traditional-music-loving fans knew what to make of it, but the droning noise settled over the museum courtyard like an invasion of cicadas — but with a danceable rhythm.

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Another member of Wilco with avant-garde tendencies outside of the band, drummer Glenn Kotche, played as part of the duo On Fillmore, which also includes bassist Darin Gray. But it wasn’t a straightforward concert of their music. Rather, they provided accompaniment for an entertaining live version of the public radio show “Radio Lab,” which featured Jad Abumrad and Robert Krulwich reading from scripts and playing short clips from interviews as Kotche and Gray made sounds to evoke the story of the dinosaurs’ extinction.

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The key mammal that survived the meteor explosion that killed off the dinosaurs — the shrewdinger — appears during “Radio Lab,” with Jad Abumrad, right.

While some members of Wilco contribute elements of jazz, electronic and avant-garde music to the mix, John Stirratt and Pat Sansone bring a power pop, classic rock and soft rock sensibility, and that was on full display when they performed as the Autumn Defense. After playing pretty pop songs from their own albums, they closed with a perfect cover of Bob Welch’s 1977 radio hit “Sentimental Lady.”

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Meanwhile, the Blisters — a band featuring Jeff Tweedy’s son, Spencer, on drums — also played at Solid Sound. The youngsters got plenty of adults dancing as they rocked out near the end of their noontime Sunday set.

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Wilco’s home base is Chicago, but the band’s vacation home seems to be MASS MoCA — the Massachusetts Museum of Contemporary Art in North Adams, Mass.  Wilco held its Solid Sound festival of music and arts June 21-23 on the museum’s sprawling grounds, the third time in four years that it has brought this event to this spot in the Berkshires. (The previous two Solid Sound fests were in 2010 and 2011, and then the event took the year off in 2012.) This past weekend was my first visit to Solid Sound and MASS MoCA.

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What a cool place to hold a festival. The maze-like museum has been open only since 1999, but most of the 26 brick buildings on the 13-acre site have been standing there Pletal Viagra Online, when 3,200 people worked there, making printed textiles for Arnold Print Works. During World War II, the industrial complex was transformed into the Sprague Electric Co.’s factory.

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The Wilco strongman carnival game

Now, it’s a place for putting up works of modern and contemporary art, with enough space to hang up some truly massive sculptures and paintings. And for three days in June, it was also a place to make music — and to explore. During his performance on Sunday with David Hidalgo, guitarist Marc Ribot marveled at the sight of music fans gathered in one of the old factory courtyards. “If they took all of the factories and turned them into art museums, everyone would have fun,” he remarked. (Not exactly a sound idea in economic terms, but let’s not quibble too much.)

Like many other music festivals, this one had a bunch of bands playing on a few stages, with their performances taking place over a few days. That’s one of the main reasons people attend festivals: to see a whole lot of bands in one fell swoop. The pace was more leisurely at Solid Sound than it is at, say, Lollapalooza or Pitchfork, with only a little bit of overlap in the performances. There was plenty of room for people to move around, anywhere other than the clusters right in front of the stages for the most popular musical artists.

There was a lot more than live music at Solid Sound. John Hodgman, who emceed the comedy portion of the festival, called it “a nexus of fantastic things coming together in an amazing space.” Of course, Hodgman was emceeing, so you’d expect him to hype up the festival a bit, but his description wasn’t far off from the truth.

Naturally, art was on display in and around the art museum — as well as displays created specifically for Solid Sound. “Jeff Tweedy’s Loft” exhibited pieces of Wilco memorabilia.

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One of the museum’s galleries filled with Sol LeWitt paintings featured Wilco drummer Glenn Kotche’s sonic soundscapes playing over the speakers. Kotche also created some “earth drums,” which were embedded in the ground, with signs encouraging festival attendees to tap out messages in Morse code to one another. (I got the impression that most people were just playing random rhythms.) Wilco bassist John Stirratt and Chicago artist Chad Gerth created the “Rickshaw of Forward Motion,” a mobile sound installation. (I failed to catch a ride on it.)

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Jeff Tweedy, during the June 21 Wilco concert

And of course, Wilco performed on the concert stage — an all-request show on Friday night, followed by a more standard Wilco show on Saturday night. Saturday’s concert was fine, as far as Wilco concerts go. Just another night starring an outstanding band playing a wide range of songs from throughout its career. If you’ve seen a Wilco concert in the last few years, you’ve seen a show like this one. But the one on Friday was something else entirely.

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John Hodgman, “randomizing” during the June 21 Wilco concert

The band asked for fans to request songs, and boy did they ever — apparently dozens of pages listing songs. Pulling from that list, the songs that Wilco chose to play were almost entirely covers. Hodgman came out onto the stage several times to “randomize” the concert, pulling out ping-pong balls with numbers assigned to songs on the huge master list and challenging the band to play them. This resulted in a few of the less-rehearsed and sloppier tunes of the night (Grateful Dead’s “Ripple” and Yo La Tengo’s “Tom Courtenay,” which was rescued by the participation of Yo La Tengo itself). Just to prove that all of his choices weren’t rigged, Hodgman also brought up three audience members to play “stump the band.” It turned out that Wilco couldn’t really play two of these audience requests (Lucinda Williams’ “Atonement” and the Cranberries’ “Dream”) without learning and rehearsing them, but the band delighted much of the crowd when it succeeded at playing the third audience member’s unlikely request: Daft Punk’s current hit, “Get Lucky.”

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Jeff Tweedy, Pat Sansone and James McNew of Yo La Tengo, during the June 21 Wilco concert

The members of Wilco were clearly having a blast as they played covers of some terrific tunes, ranging from the delicate, wistful beauty of the Kinks’ “Waterloo Sunset” to a goose-bump-raising guitar solo by Nels Cline during Television’s epic “Marquee Moon.” And Replacements guitarist Tommy Stinson made a surprise appearance when Wilco played the Mats classic “Color Me Impressed.” Stinson (who will play with the reunited Replacements — er, Westerberg and Stinson — at Riot Fest in September) had a big grin on his face the entire time, and Tweedy seemed to relish sharing the stage with him.

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Jeff Tweedy and Tommy Stinson, during the June 21 Wilco concert

At a couple of points during the night, a fan or two shouted, “Play some Wilco songs!” If you had never seen Wilco before, this concert would’ve served as a rather unusual introduction to the band’s live act. But for longtime fans, this was a night to treasure, filled with delightful musical nuggets. (Where To Buy Lasix)

The set list almost speaks for itself:

The Boys Are Back in Town (Thin Lizzy) 
/ Cut Your Hair (Pavement)
 / In the Street (Big Star)
 / New Madrid (Uncle Tupelo)
 / Dead Flowers (Rolling Stones)
 / Simple Twist of Fate (Bob Dylan) / Ripple (Grateful Dead)
 / Who Loves the Sun (Velvet Underground)
 / And Your Bird Can Sing (The Beatles)
 / And Your Bird Can Sing (repeat) / Psychotic Reaction (Count Five)
 / Tom Courtenay (Yo La Tengo)
 with Yo La Tengo / James Alley Blues (Richard Rabbit Brown)
 / Waterloo Sunset (Kinks)
 with Lucius / Waterloo (ABBA)
 with Lucius / Peace Love and Understanding (Nick Lowe)
 / Marquee Moon (Television)
 / Happy Birthday (to Pat Sansone) / Don’t Fear The Reaper (Blue Oyster Cult) / Cinnamon Girl (Neil Young) / (Stump the Band) / Get Lucky (Daft Punk)
 / Surrender (Cheap Trick)
 / Color Me Impressed (Replacements)
 with Tommy Stinson
 / Kingpin
 / Thank You Friends (Big Star)
 / ENCORE: The Weight (The Band)
 with Lucius / Roadrunner (The Modern Lovers) with Yo La Tengo

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