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New Jersey’s music scene experienced an unforgettable weekend as Billy Strings brought his arena tour to the Prudential Center in Newark on November 14 and 15, 2025, selling out both shows and leaving fans buzzing with excitement. Strings, known for his extraordinary ability to fuse traditional bluegrass with rock intensity and jam-band improvisation, delivered performances that blended technical virtuosity with emotional storytelling, solidifying his place as one of the most innovative musicians in contemporary Americana. For those following New Jersey’s vibrant live music scene, Explore New Jersey’s music coverage offers a closer look at artists who are redefining performance and genre boundaries.

The first night carried a distinctly psychedelic energy, with Strings and his full touring band keeping the audience on their feet through a set that flowed seamlessly between originals and covers. Highlights included “I’m One of Those,” “Hellbender,” and a blazing rendition of Black Sabbath’s “Planet Caravan,” demonstrating the band’s ability to translate classic rock intensity into a bluegrass framework. The interplay between banjo, fiddle, mandolin, and acoustic guitar created a rich tapestry of sound, with Strings’ lightning-fast flatpicking guitar providing a dazzling centerpiece. Fans widely praised the musicianship, noting that the energy on stage was matched by a palpable connection with the audience. Some attendees expressed disappointment over the absence of large video screens, but the music itself more than compensated for the traditional arena visuals.

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The second night carried even deeper emotional weight. November 15, 2025, was marked by the passing of Todd Snider, the revered singer-songwriter and folk troubadour. Billy Strings opened the show with a live debut of Snider’s “Play a Train Song,” a performance that became a profoundly moving tribute.

Midway through the song, Strings paused, visibly emotional, bowing his head and wiping away tears as he continued to play. The sincerity of the moment resonated deeply with fans, illustrating the rare ability of live music to capture grief, admiration, and celebration all at once. Following the performance, Strings shared a personal anecdote about Snider, recalling a humorous encounter involving his favorite denim jacket and a photo of Snider wearing it, leaving the audience both teary-eyed and smiling.

Musically, the tribute exemplified Strings’ signature style: bluegrass instrumentation infused with jam-band improvisation and a touch of rock edge. Snider’s original folk-country arrangement was transformed through Strings’ virtuosic flatpicking and the dynamic interplay of his touring band, offering a fresh perspective while honoring the song’s narrative heart. Fans and critics alike hailed the performance as a highlight of the tour, celebrating both the technical mastery and the emotional authenticity that Billy Strings brings to every stage.

The weekend’s setlists reflected Strings’ eclectic musical vision. On November 14, the first set included classics such as “Little Maggie” and “Harbor of Love” alongside originals like “Red Daisy” and “Libby Phillips Rag.” The second set blended high-energy originals like “Leadfoot” with covers that included “Planet Caravan.” On November 15, the set featured Snider’s tribute, “Midnight Train” by The Delmore Brothers, and ended with encores like Townes Van Zandt’s “Pancho & Lefty” and Jimmy Martin’s “Tennessee,” leaving fans with a sense of awe at both the scope and intimacy of the performances.

The tribute to Snider was part of a wider outpouring of respect from the Americana, country, and folk communities. Artists such as Cody Canada, Margo Price, Jack Johnson, Robert Earl Keen, Jason Isbell, Rhett Miller, and Ben Greenman all acknowledged Snider’s influence through covers, social media posts, and collaborative works.

Strings’ performance underscored the profound role Snider played as a mentor and source of inspiration for contemporary musicians, highlighting how his storytelling and lyrical insight continue to resonate across generations.

Billy Strings’ Newark shows exemplified the evolving landscape of modern bluegrass, combining the genre’s traditional roots with rock energy, improvisational flair, and emotional depth. For fans of Americana and live performance, these concerts offered more than music—they provided a communal experience marked by virtuosity, heartfelt homage, and the enduring power of storytelling through song.

Each note, from the intricate guitar work to the soulful covers, reinforced Strings’ reputation as a transformative artist capable of connecting deeply with audiences while expanding the boundaries of bluegrass for the modern era.

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Billy Strings continued to push the boundaries of contemporary bluegrass, bringing his virtuosic style to a national audience with a standout performance on the Late Show With Stephen Colbert on Thursday, November 20, 2025. Performing the song “Leaning on a Travelin’ Song,” the opening track from his Grammy-nominated album Highway Prayers, Strings and his ensemble delivered a show-stopping set that highlighted both technical mastery and the soulful depth that has made him one of the most celebrated artists in modern bluegrass. For fans keeping up with the latest in New Jersey’s live music scene, Explore New Jersey’s music coverage provides insight into performances like this one that bridge tradition with innovation.

The performance took place at the iconic Ed Sullivan Theater in New York City, home of the Late Show With Stephen Colbert. Strings was joined by his regular touring band, including Royal Masat on upright bass, Billy Failing on banjo, Jarrod Walker on mandolin, and Alex Hargreaves on fiddle. Adding an extra layer of excitement, esteemed fiddler Jason Carter, who features on the studio version of the track, joined the live set, creating a dynamic “twin fiddle” arrangement that amplified the song’s energetic drive.

Edit this setlist | More Billy Strings setlists

“Leaning on a Travelin’ Song” showcases Strings’ ability to honor traditional bluegrass while infusing it with modern sensibilities and improvisational flair. Each musician took moments to shine, with the banjo, mandolin, and fiddle weaving intricate patterns around Strings’ flatpicking guitar, demonstrating a level of precision and cohesion rarely captured on televised performances. The band’s formal attire added a touch of elegance to the high-energy performance, underlining the professional polish that complements their raw musical talent.

The song itself, inspired by the themes of movement, reflection, and connection found throughout Highway Prayers, perfectly aligns with Strings’ reputation for transforming bluegrass into a genre that speaks to both longtime enthusiasts and new listeners. By performing a Grammy-nominated track on national television, Strings has brought the genre into broader recognition, showing that bluegrass can command attention in arenas far beyond its traditional roots.

Fans who missed the broadcast can view the live performance on the official Late Show With Stephen Colbert YouTube channel, where the combination of tight musicianship, engaging arrangements, and Strings’ signature energy is on full display. This appearance continues a remarkable year for Strings, following high-profile arena shows, heartfelt tributes, and critical acclaim for his latest recordings, reinforcing his status as a transformative figure in the Americana and bluegrass scenes.

Billy Strings’ Colbert performance exemplifies the modern trajectory of bluegrass: deeply rooted in tradition yet boldly innovative, blending technical virtuosity with expressive storytelling. For audiences across New Jersey and beyond, it’s a reminder of how live performance, whether on stage or on screen, can celebrate a genre’s heritage while pushing it into exciting new directions.

The core band for both of the Billy Strings shows at the Prudential Center in Newark on November 14 and 15, 2025, along with the Colbert gig consisted of:

• Billy Strings (guitar, vocals)
• Royal Masat (upright bass)
• Billy Failing (banjo)
• Jarrod Walker (mandolin)
• Alex Hargreaves (fiddle)

There were no guest musicians who joined the band on stage for either of the two shows. The performances relied on the core quintet’s renowned musicianship and energy.

New Jersey’s vibrant live-music scene gets a major lift this weekend as the Morris Museum partners with WBGO to bring acclaimed jazz-soul pianist and composer Alex Bugnon to Morristown for a special evening performance. On Saturday, November 22, 2025, at 7:30 PM, audiences will be treated to an intimate, high-energy concert from an artist whose name has been synonymous with contemporary jazz brilliance for nearly 30 years.

Bugnon’s career has long been defined by a distinctive blend of soulful melodies, elegant improvisation, and a deep respect for jazz tradition. His musical roots stretch back to Caux, Switzerland, a scenic village perched above Montreux—home to the globally renowned Montreux Jazz Festival. Growing up in such a musically charged environment meant Bugnon was constantly surrounded by world-class artists, performers, and the kind of creative energy that sparks lifelong passion. Add to that his early friendship with Herbie Hancock and his family’s direct connection to jazz royalty—his uncle was legendary trumpeter Donald Byrd—and it’s no surprise that Bugnon carved his own path as one of the genre’s standout voices.

His performances are known for their warmth, spontaneity, and emotional power, blending contemporary groove with the sophistication of jazz’s golden era. Fans can expect a setlist that travels across his celebrated catalog, from smooth, contemplative pieces to lively rhythmic compositions that spotlight his unmatched command of the keys. Whether you’ve followed his decades-long career or are discovering his sound for the first time, the evening promises a layered musical journey shaped by experience, heritage, and deep artistic intuition.

The event is part of the museum’s ongoing commitment to elevating cultural programming in the region, offering North Jersey music lovers the chance to experience world-class artistry in an intimate and inviting setting. For readers who want more coverage of concerts, performances, and the evolving soundscape of the Garden State, Explore New Jersey’s section on music is a hub for upcoming shows, artist spotlights, and statewide arts events.

With Bugnon bringing his signature style—and decades of storytelling through sound—to Morristown, this weekend stands out as a must-see moment for jazz fans and live-music regulars across New Jersey.

Thats a Joke of course but when Steve Earle rolled into Montclair for his “Fifty Years of Songs and Stories (Solo & Acoustic)” tour, the Outpost in the Burbs felt less like a concert hall and more like a living room where one of America’s most essential songwriters sat down, tuned up and unpacked five decades of grit, heartbreak, wandering and renewal. Fans got the kind of night that reminds you why live music in New Jersey continues to thrive, especially in cultural hubs like Montclair—one of the state’s constantly growing destinations for anyone who loves authentic storytelling and the kind of songwriting that still burns hot long after the last chord fades. (Explore more New Jersey music happenings under music.)

And yes—before we go any further—yours truly happened to be the person who initially processed his MCA Records recording deal back in the early ’90s and in essence issued his advance money which i sure was a minor oversight, of course. I am joking of course though I did start his deal and issue his money with swift action way back in like 1990 or whenever near then which was surely a simple, accidental omission in a show filled with stories about Nashville, Springsteen and cosmic twists of fate.

Still, Earle didn’t need to remember his initial deal at MCA for the evening to be unforgettable. We released Copperhead Road which grew out of a blend of real geography, a memorable news story, and the deep Scotch-Irish roots of the Appalachian region.

The Real Road and Its Local History
Copperhead Road is a real road near Mountain City in Johnson County, Tennessee, in an area locals call Big Dry Run. The region has long been associated with moonshine production and bootlegging—history that directly feeds into the song’s storyline. After the song became popular, the road’s signs were repeatedly stolen, prompting officials to rename it Copperhead Hollow Road.

A News Story That Sparked the Plot
Earle has explained that the specific narrative came from a news article he read in a Nashville pizza shop in 1974. The report told the story of a woman in her late seventies from North Carolina who was arrested for growing marijuana in a holler (a small, secluded valley). Her family had a moonshining past, and she had two sons who had served in Vietnam. That combination of heritage, hardship, and generational continuity inspired the seed of the song’s plot.

The Fictional Storyline
Drawing from these influences, Earle created the character of John Lee Pettimore III and a three-generation saga:

• The grandfather made moonshine in a still hidden up the holler.
• The father transported the moonshine to Knoxville using a surplus police cruiser.
• John Lee Pettimore III served two tours in Vietnam and, upon returning home, chose to grow marijuana on the family land—using guerrilla warfare tactics he learned from the Viet Cong to protect the crop from federal agents.

The song’s signature driving rhythm features a keyboard effect mimicking bagpipes, a nod to the Scots-Irish heritage that shaped Appalachian culture and helps anchor the story in its historical and regional context.

The November 8, 2025 performance was an intimate, autobiographical deep-dive, the kind of show where the stories were just as commanding as the songs. The concept of “Songs & Stories” is simple enough, but in Earle’s hands, it becomes a full-blown oral history—personal, raw, funny, occasionally brutal, and always delivered with the weight of someone who has lived every word he sings.

He opened with “Tom Ames’ Prayer,” setting the tone for a night of outlaws, underdogs and wanderers carved out of the American landscape. From there, the setlist became a chronological map of his life: the Civil War narratives of “Ben McCulloch,” the hard-luck energy of “The Devil’s Right Hand,” the restless motion of “Guitar Town,” and the anthemic storytelling of “Copperhead Road.” Every song served as a breadcrumb trail leading the audience through his highs, lows and improbable comebacks.

What made the night feel especially rooted in New Jersey was Earle’s open admiration for Bruce Springsteen—a theme he returned to more than once. He recalled how Springsteen bought a copy of Guitar Town in 1986 and how that singular act helped propel the album toward the top of the country charts. Earle joked that Guitar Town was essentially his answer to Born in the U.S.A., a “post-Vietnam record” capturing the mood of working-class America from a different angle. Coming from a songwriter who built an entire career on poetic realism, the comparison landed with the kind of authenticity that resonates in a state that knows a thing or two about its musical legends.

But the night wasn’t all musical lore. Earle spent time reflecting on adolescence, telling the story behind “No. 29”—a song rooted in the memory of a high school football player who once stood up for him when he was relentlessly bullied. His storytelling here drew the audience in with a kind of unexpected tenderness, a contrast to the rugged outlaw persona many associate with him.

Then came the stories of addiction and recovery, which Earle approached with unflinching honesty. He spoke candidly about the years he lost to drugs, the time he spent incarcerated, and the hard work of getting clean. These moments weren’t framed as confessions or warnings—they were part of his artistic DNA, the experiences that shaped both the man and the music. I also think he had times dealing with people back then but then resurfaced for me in The Wire I think was the first time I saw him since thos days. He was also in treme which was done by the same writers and film people. I forget what else he was in or if I saw that he was doing acting and cameos. Recently like this year or last year he was in Poker face.

We play his live music on Live Jam and then we play songs from every album on JamFest. I forget if we play his stuff on Unplugged but I bet we do or we should at least.

Anyway, his collaboration with Del McCoury on The Mountain offered one of the night’s funniest anecdotes. Earle recounted how McCoury walked off the tour after deciding he couldn’t handle the songwriter’s well-known fondness for colorful language. “There’s no room in profanity for bluegrass,” Earle quipped, earning the kind of hearty laugh only he can pull off in a room full of devoted fans.

By the time he reached the portion of the night devoted to his modern life in New York City—yes, a Texas-born country-rock icon living among skyscrapers—the audience felt like they had traveled through five decades with him. His stories blended seamlessly into songs like “City of Immigrants,” underscoring how New York continues to inspire him creatively.

The encore, joined by rising artist Zandi Holup, closed the evening with warmth and camaraderie. Their rendition of “I’m Not Missing Anything But You” and “The Galway Girl” felt like a final toast to a night rooted in connection, memory and musical craftsmanship.

New Jersey has always embraced artists who tell the truth—even the messy parts—and Steve Earle remains one of America’s most fearless truth-tellers. Whether he’s talking about Springsteen, sobriety, or old Nashville war stories, he brings the audience right into the heart of each moment. And while he didn’t shout out the guy who helped process his early MCA Records deal decades ago, we’ll let it slide. After all, the show was too good to hold a grudge.

For more stories, performances and artist spotlights across the Garden State, Explore New Jersey continues to be the state’s destination for everything music.

The setlist for the November 8, 2025, show at the 

Outpost in the Burbs included: 

• “Tom Ames’ Prayer”
• “Ben McCulloch”
• “The Devil’s Right Hand”
• “Guitar Town”
• “My Old Friend the Blues”
• “Someday”
• “I Ain’t Ever Satisfied”
• “No. 29”
• “Copperhead Road”
• “Billy Austin”
• “Goodbye”
• “South Nashville Blues”
• “CCKMP”
• “Transcendental Blues”
• “The Mountain”
• “City of Immigrants”

Encore (with Zandi Holup, the opening act):

• “I’m Not Missing Anything But You” (Zandi Holup cover)
• “The Galway Girl”