Don't Miss

Review: Counting Crows at Ruoff Music Center: Nostalgia and Nuance

By Clarissa Darling on June 25, 2024

As the sun dipped below the horizon, the Ruoff Music Center became a canvas for the Counting Crows to paint their musical journey, opening for the legendary Santana on their Oneness Tour 2024. The amphitheater, with its sprawling lawn and intimate pavilion, was the perfect backdrop for an evening of soulful rock and poetic storytelling.

The band, led by the enigmatic Adam Duritz (sporting a new look, without the dreadlocks) on vocals, with David Bryson strumming the guitar, Dan Vickrey adding layers with his lead guitar, Millard Powers on bass, Jim Bogios keeping the beat on drums, and Charlie Gillingham coloring the soundscape with his keyboards, took the stage with a presence that was both commanding and familiar.

Fiile Photo: Counting Crows perform in Noblesville, Indiana, June 23, 2024. (Copyright 2024 Larry Philpot,/ Soundstage Photography.com)

They kicked off with “Hard Candy,” a sweet, upbeat number that set the tone for the night. It was a reminder of their ability to blend pop sensibilities with deeper lyrical content. The transition into “Richard Manuel” was seamless, the song’s haunting tribute to The Band’s late pianist resonating with the crowd’s collective consciousness.

“Mr. Jones,” arguably the band’s most iconic song, had everyone on their feet, singing along to the chorus with a fervor that matched Duritz’s passionate delivery. The energy was palpable, a shared moment between artist and audience that epitomized the live music experience.

The mood shifted as they delved into “Colorblind,” a poignant ballad that showcased Duritz’s emotive range. The raw vulnerability in his voice was a stark contrast to the earlier exuberance, leaving the audience hanging onto every word.

“Omaha” followed, a folksy tune that had the crowd swaying in unison, while “St. Robinson” brought a sense of whimsy to the set. The band’s storytelling prowess was on full display, each song a chapter in a larger narrative.

“Miami” transported the audience to the sultry streets of its namesake city, the rhythm section creating a groove that was both laid-back and insistent. Then came “Big Yellow Taxi,” a cover that Counting Crows has made their own, infusing it with their unique style while paying homage to Joni Mitchell’s original.

“Round Here” was a standout performance, the band stretching out the song’s structure, allowing each member to shine. The improvisational nature of the rendition was a testament to their musicianship and chemistry.

“Rain King” erupted with an energy that matched the earlier “Mr. Jones,” the band feeding off the crowd’s renewed vigor. “Long December,” with its introspective lyrics and anthemic chorus, provided a moment of collective catharsis.

“Hanginaround” kept the momentum going, its catchy hook and upbeat tempo a stark contrast to the reflective “Long December.” The set closed with “Holiday,” a lesser-known gem that encapsulated the band’s range and versatility. Throughout the night, the Counting Crows demonstrated why they remain relevant in the rock landscape.