An important year for Bob Dylan including the announcement of The Bob Dylan Archive in Tulsa, Oklahoma, two record releases, Fallen Angels and the mammoth 36-CD Live 1966 Recordings, continued touring, a new exhibition The Beaten Path at The Halcuon Gallery in London and of course the Nobel Prize in Literature.

2 2016 AT A GLANCE

3 THE 2016 CALENDAR

10 January	David Bowie dies in New York City at the age of sixty-nine,
February	Dylan and the current touring band record 30 new songs associated with Frank Sinatra in Capitol Studio C in Los Angeles.
April	It is announced that Bob Dylan has sold his private archive, said to contain more than 6000 items, to The George Kaiser Family Foundation in Tulsa. Oklahoma. Different parts of The Bob Dylan Archive will be open to visitors in open exhibitions and to students and researchers.
4 April	A 16-date tour in six Japanese cities starts in Tokyo. Same band and pretty much the same set-list as during the last tour.
5 April	The second show features the live premiere of That Old Black Magic. The set-list from this show was repeated during the rest of the tour,
20 May	Fallen Angels, the second album with songs recorded by Frank Sinatra is released. More info in section 4.1.
4-5 June	Dylan resumes The Never Ending Tour with two shows in Woodinville, Washington. The shows structure remins intact and I Could Have Told You, another song associated with Franl Sinatra, is debuted.
28 June	First live performance of How Deep Is The Ocean in Kettering, Ohio.
3 July	First live performance of That Old Feeling in Mashantucket, Connecticut
17 July	The US Summer tour ends with a show in -
7 October	After taking time off for other activities Bob Dylan resumes touring with a lengthy United States Fall tour. The first and third shows are part of Desert Trip, a two weekends extravaganza at the Empire Polo Club in Indio, California. The set is somewhat shorter than usual and is the first concert without “Sinatra-covers” since Los Angeles, California, 25 October 2014. The Rolling Stones opened.
13 October	The Announcement of the 2016 Nobel Prize in Literature to Bob Dylan, is presented by Professor Sara Danius, Permanent Secretary of the Swedish Academy.
	Meanwhile Dylan plays in Las Vegas, but fails to acknoledge the Nobel Prize. In fact he will not do so for another two weeks, causing both astonishment and irritation. The set contains just one Sinatra song this evening.
14 October	Another show in Indio, with The Rolling Stones as openinmg act. First live performance of Like A Rolling Stone since Rome, Italy, 6 November 2013.
27 October	The set-list now contains five Sinatra songs.
28 October	Dylan and the band record Once Upon A Time in Birmingham. Alabama, for the NBC special, "Tony Bennett Celebrates 90: The Best Is Yet to Come” broadcast 20 November.
5 November	The exhibition The Beaten Path opens at The Halcuon Gallery in London. A number of paintings, drawings, watercolours and acrylic works, showing Bon Dylan’s view of the American landscape.
7 November	Leonard Cohen dies in Los Angeles at the age of eighty-two.
11 November	Release of the 36-CD box The 1966 Live Recordings. For Further details plese see section 4.2.
12 November	Starting with the show in Asheville, North Carolina, the “Sinatra-ratio” is usually 1/3. i.e. 7 songs!
23 November	Last show of the Fall tour is played in Fort Lauderdale, Florida. The short intermission after nine songs was abandoned during this tour.
10 December	During the Nobel Prize ceremony in The Stockholm Concert Hall the presentation speech is delivered by Horace Engdahl. Later during the banquet in Stockholm City Hall Azita Raji, the United States Ambassador to Sweden, reads a speech by Bob Dylan, and Patti Smith sings A Hard Rain’s A-Gonna Fall accompanied by the Royal Stockholm Philharmonic Orchestra. She is so moved by the occasion that she has to restart the performance in the middle of the first verse and then delivers a magnificient version which draws the longest applause of the evening.

4 NEW RELEASES

4.1 Fallen Angels

This album containing another set of songs from 40’ and 50’s was recorded in the famous Studio B in Capitol Recording Studios in Los Angeles, California, at the same occasion as Shadows In The Night. Frank Sinatra once recorded his great Capitol albums in the 50s in this studio.

All songs, except Skylark, were once recorded by Frank Sinatra.

Dylan is accompanied by his regular road band and three horn players on ome of the tracks.

Fallen Angels was released on 20 May 2016. For further details please refer to the session page for February March 2014.

4.2 The 1966 Live Recordings

4.2.1 Background

This release can be seen both as a companion piece to Bootleg Series vol 12. The Cutting Edge and another 50^th Anniversary collection to pass these recordings in the public Domain. The release consists of 36-CD box and also a 2 LP vinyl release.

This release was partly like the three previous years, triggered by European copyright laws which would pass these recordings onto public domain unless Sony claims ownership by releasing them one way or another.

Insightful liner notes are written by Clinton Heylon.

4.2.2 CDs

CD #	Location & date	Source	Comment
01-02	Sydney Stadium, Sydney, New South Wales, Australia, 13 April 1966	TGN	incomplete
03	Festival Hall, Melbourne, Victoria, Australia, 20 April 1966	TGN	incomplete
04	KB-Hallen, Copenhagen, Denmark, 1 May 1966	*	incomplete
05-06	Adelphi Theatre, Dublin, Ireland, 5 May 1966	N
07-08	ABC Theatre, Belfast, Northern Ireland, 6 May 1966	N	incomplete
09-10	Colston Hall, Bristol, England, 10 May 1966	N, A
11	Capitol Theatre, Cardiff, Wales, 11 May 1966	N	Electric set only
12-13	Odeon Theatre, Birmingham, England, 12 May 1966	N	incomplete
14	Odeon Theatre, Liverpool, England, 14 May 1966	N	incomplete
15-16	De Montford Hall, Leicester, England, 15 May 1966	N
17-18	Gaumont Theatre, Sheffield, England, 16 May 1966	CBS, N
19-20	Free Trade Hall, Manchester, England, 17 May 1966	CBS
20	Free Trade Hall, Manchester, England, 17 May 1966, Soundcheck	N
21	Odeon Theatre, Glasgow, Scotland, 19 May 1966	N	incomplete
22-23	ABC Theatre, Edinburgh, Scotland, 20 May 1966	N	incomplete
24-25	Odeon Theatre, Newcastle, England, 21 May 1966	N	incomplete
26-27	Olympia, Paris, France, 24 May 1966	N	incomplete
28-29	Royal Albert Hall, London, England, 26 May 1966	CBS
30-31	Royal Albert Hall, London, England, 27 May 1966	CBS
32	Westchester County Center, White Plains, New York, 5 February 1966	A	incomplete
33	Syria Mosque, Pittsburgh, Pennsylvania, 6 February 1966	A	incomplete
34	Island Garden, Hempstead, New York, 26 February 1966	A	incomplete
35	Festival Hall, Melbourne, Victoria, Australia, 19 April 1966	A	incomplete
36	Konserthuset, Stockholm, Sweden, 29 April 1966	A	incomplete

5 THE NOBEL PRIZE

5.1 The Announcement

The Announcement of the 2016 Nobel Prize in Literature to Bob Dylan, was presented by Professor Sara Danius, Permanent Secretary of the Swedish Academy, on 13 October 2016:

“The Nobel Prize in Literature for 2016 is awarded to Bob Dylan for having created new poetic expressions within the great American song tradition".

5.2 The Presentation Speech

The presentation speech was delivered by Swedish Academy member Horace Engdahl in the Stoclholm Concert Hall, 10 December.

Your Majesties, Your Royal Highnesses, Your Excellencies, Ladies and Gentlemen,

What brings about the great shifts in the world of literature? Often it is when someone seizes upon a simple, overlooked form, discounted as art in the higher sense, and makes it mutate. Thus, at one point, emerged the modern novel from anecdote and letter, thus arose drama in a new age from high jinx on planks placed on barrels in a marketplace, thus songs in the vernacular dethroned learned Latin poetry, thus too did La Fontaine take animal fables and Hans Christian Andersen fairy tales from the nursery to Parnassian heights. Each time this occurs, our idea of literature changes.

In itself, it ought not to be a sensation that a singer/songwriter now stands recipient of the literary Nobel Prize. In a distant past, all poetry was sung or tunefully recited, poets were rhapsodes, bards, troubadours; 'lyrics' comes from 'lyre'. But what Bob Dylan did was not to return to the Greeks or the Provençals. Instead, he dedicated himself body and soul to 20th century American popular music, the kind played on radio stations and gramophone records for ordinary people, white and black: protest songs, country, blues, early rock, gospel, mainstream music. He listened day and night, testing the stuff on his instruments, trying to learn. But when he started to write similar songs, they came out differently. In his hands, the material changed. From what he discovered in heirloom and scrap, in banal rhyme and quick wit, in curses and pious prayers, sweet nothings and crude jokes, he panned poetry gold, whether on purpose or by accident is irrelevant; all creativity begins in imitation.

Even after fifty years of uninterrupted exposure, we are yet to absorb music's equivalent of the fable's Flying Dutchman. He makes good rhymes, said a critic, explaining greatness. And it is true. His rhyming is an alchemical substance that dissolves contexts to create new ones, scarcely containable by the human brain. It was a shock. With the public expecting poppy folk songs, there stood a young man with a guitar, fusing the languages of the street and the bible into a compound that would have made the end of the world seem a superfluous replay. At the same time, he sang of love with a power of conviction everyone wants to own. All of a sudden, much of the bookish poetry in our world felt anaemic, and the routine song lyrics his colleagues continued to write were like old-fashioned gunpowder following the invention of dynamite. Soon, people stopped comparing him to Woody Guthrie and Hank Williams and turned instead to Blake, Rimbaud, Whitman, Shakespeare.

In the most unlikely setting of all - the commercial gramophone record - he gave back to the language of poetry its elevated style, lost since the Romantics. Not to sing of eternities, but to speak of what was happening around us. As if the oracle of Delphi were reading the evening news.

Recognising that revolution by awarding Bob Dylan the Nobel Prize was a decision that seemed daring only beforehand and already seems obvious. But does he get the prize for upsetting the system of literature? Not really. There is a simpler explanation, one that we share with all those who stand with beating hearts in front of the stage at one of the venues on his never-ending tour, waiting for that magical voice. Chamfort made the observation that when a master such as La Fontaine appears, the hierarchy of genres - the estimation of what is great and small, high and low in literature - is nullified. “What matter the rank of a work when its beauty is of the highest rank?" he wrote. That is the straight answer to the question of how Bob Dylan belongs in literature: as the beauty of his songs is of the highest rank.

By means of his oeuvre, Bob Dylan has changed our idea of what poetry can be and how it can work. He is a singer worthy of a place beside the Greeks' ἀοιδόι, beside Ovid, beside the Romantic visionaries, beside the kings and queens of the Blues, beside the forgotten masters of brilliant standards. If people in the literary world groan, one must remind them that the gods don't write, they dance and they sing. The good wishes of the Swedish Academy follow Mr. Dylan on his way to coming bandstands.

5.3 The Banquet Speech

The Banquet speech by Bob Dylan was given by the United States Ambassador to Sweden Azita Raji, at the Nobel Banquet, 10 December 2016.

Good evening, everyone. I extend my warmest greetings to the members of the Swedish Academy and to all of the other distinguished guests in attendance tonight.

I'm sorry I can't be with you in person, but please know that I am most definitely with you in spirit and honored to be receiving such a prestigious prize. Being awarded the Nobel Prize for Literature is something I never could have imagined or seen coming. From an early age, I've been familiar with and reading and absorbing the works of those who were deemed worthy of such a distinction: Kipling, Shaw, Thomas Mann, Pearl Buck, Albert Camus, Hemingway. These giants of literature whose works are taught in the schoolroom, housed in libraries around the world and spoken of in reverent tones have always made a deep impression. That I now join the names on such a list is truly beyond words.

I don't know if these men and women ever thought of the Nobel honor for themselves, but I suppose that anyone writing a book, or a poem, or a play anywhere in the world might harbor that secret dream deep down inside. It's probably buried so deep that they don't even know it's there.

If someone had ever told me that I had the slightest chance of winning the Nobel Prize, I would have to think that I'd have about the same odds as standing on the moon. In fact, during the year I was born and for a few years after, there wasn't anyone in the world who was considered good enough to win this Nobel Prize. So, I recognize that I am in very rare company, to say the least.

I was out on the road when I received this surprising news, and it took me more than a few minutes to properly process it. I began to think about William Shakespeare, the great literary figure. I would reckon he thought of himself as a dramatist. The thought that he was writing literature couldn't have entered his head. His words were written for the stage. Meant to be spoken not read. When he was writing Hamlet, I'm sure he was thinking about a lot of different things: "Who're the right actors for these roles?" "How should this be staged?" "Do I really want to set this in Denmark?" His creative vision and ambitions were no doubt at the forefront of his mind, but there were also more mundane matters to consider and deal with. "Is the financing in place?" "Are there enough good seats for my patrons?" "Where am I going to get a human skull?" I would bet that the farthest thing from Shakespeare's mind was the question "Is this literature?"

When I started writing songs as a teenager, and even as I started to achieve some renown for my abilities, my aspirations for these songs only went so far. I thought they could be heard in coffee houses or bars, maybe later in places like Carnegie Hall, the London Palladium. If I was really dreaming big, maybe I could imagine getting to make a record and then hearing my songs on the radio. That was really the big prize in my mind. Making records and hearing your songs on the radio meant that you were reaching a big audience and that you might get to keep doing what you had set out to do.

Well, I've been doing what I set out to do for a long time, now. I've made dozens of records and played thousands of concerts all around the world. But it's my songs that are at the vital center of almost everything I do. They seemed to have found a place in the lives of many people throughout many different cultures and I'm grateful for that.

But there's one thing I must say. As a performer I've played for 50,000 people and I've played for 50 people and I can tell you that it is harder to play for 50 people. 50,000 people have a singular persona, not so with 50. Each person has an individual, separate identity, a world unto themselves. They can perceive things more clearly. Your honesty and how it relates to the depth of your talent is tried. The fact that the Nobel committee is so small is not lost on me.

But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life's mundane matters. "Who are the best musicians for these songs?" "Am I recording in the right studio?" "Is this song in the right key?" Some things never change, even in 400 years.

Not once have I ever had the time to ask myself, "Are my songs literature?"

So, I do thank the Swedish Academy, both for taking the time to consider that very question, and, ultimately, for providing such a wonderful answer.

My best wishes to you all,

Bob Dylan

5.4 The Nobel Lecture

Bob Dylan did not attend the Prize Ceremonies or the Nobel Banquet on 10 December 2016 in Stockholm and have not at the time of this writing delivered the Nobel Lecture required to receive the prize money.

6 THE NEVER-ENDING TOUR CONTINUES

6.1 Introduction

The Never-Ending Tour rolled on with 75 new shows during these three legs:

April	Tour of Japan	16 shows
June – July	US Summer Tour	30
October – November	US Fall Tour	29

For the first since 1988 there were no shows in Europe.

6.2 The musicians

Charlie Sexton	lead guitar
Donnie Herron	violin, viola, mandolin, pedal steel guitar
Stu Kimball	electric and acoustic guitar, maracas
Tony Garnier	bass
George Recile	drums

6.3 The show

	Japan	Summer	Fall
Main set:	19 songs	18 songs	16-19 songs
Encores:	2 songs	2 songs	2 songs

There was a short intermission between song 9 and 10 in the first set during the first two tours.

6.4 Tour of Japan

6.4.1 Dates and venues

APRIL

4	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
5	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
6	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
9	Miyagi, Japan	Tokyo Electron Hall Miyagi
11	Osaka, Japan	Festival Hall
12	Osaka, Japan	Festival Hall
13	Osaka, Japan	Festival Hall
15	Nagoya, Japan	Century Hall
18	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
19	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
21	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
22	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
23	Tokyo, Japan	Tokyo Dome City Hall
25	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
26	Tokyo, Japan	Bunkamura Orchard Hall, Shibuya
28	Yokohama, Japan	Pacifico-Yokohama

6.4.2 The songs

There was only two different setlists played during this tour: thr first concert in Tokyo 4 April (A) and the rest of the concerts (B).

	A	B
Things Have Changed	1	1
She Belongs To Me	2	2
Beyond Here Lies Nothin'	3	3
What'll I Do?	4	4
Duquesne Whistle	5	5
Melancholy Mood	6	6
Pay In Blood	7	7
I'm A Fool To Want You	8	8
That Lucky Old Sun	9
Tangled Up In Blue	10	10
High Water (For Charley Patton)	11	11
Why Try To Change Me Now?	12	12
Early Roman Kings	13	13
The Night We Called It A Day	14	14
Spirit On The Water	15	15
Scarlet Town	16	16
All Or Nothing At All	17	17
Long And Wasted Years	18	18
Autumn Leaves	19	19
Blowin' In The Wind	20	20
Love Sick	21	21
That Old Black Magic		9

6.4.3 Statistics

Number of shows	16
Number of circulating shows	16
Number of circulating & complete shows	16
Number of unique shows[1]	2
Number of different shows[2]	2
Number of songs	22
Number of performed songs	336
Mean number of performed songs	21
Variation[3]:	1.0

	# of		# of
	songs	%	perf.	%
Albums	12	54.5	192	57.1
Singles	1	4.5	16	4.8
Outtakes	0	0.0	0	0,0
Covers	9	41.0	128	36.1

6.4.4 Comments

First live performance of That Old Black Magic in Tokyo 5 April.

There are circulating recordings from all shows.

6.5 US Summer Tour

6.5.1 Dates and venues

JUNE

4	Woodinville, Washington	Chateau Ampitheatre Chateau Ste. Michelle Winery
5	Woodinville, Washington	Chateau Ampitheatre Chateau Ste. Michelle Winery
7	Eugene, Oregon	Cuthbert Amphitheater
9	Berkeley, California	Greek Theatre, University Of California, Berkeley
10	Berkeley, California	Greek Theatre, University Of California, Berkeley
11	Santa Barbara, California	Santa Barbara County Bowl
13	San Diego, California	Humphreys Concerts By The Bay
14	San Diego, California	Humphreys Concerts By The Bay
16	Los Angeles, California	Shrine Auditorium
19	Morrison, Colorado	Red Rocks Amphitheatre
21	Kansas City, Missouri	Starlight Theatre
22	Lincoln, Nebraska	Pinewood Bowl Theater
24	Highland Park, Illinois	The Pavilion at Ravinia
25	Indianapolis, Indiana	The Lawn at White River State Park
26	Nashville, Tennessee	Carl Black Chevy Woods Amphitheater at Fontanel
28	Kettering, Ohio	Fraze Pavilion
29	Toledo, Ohio	Amphitheater, Toledo Zoo
30	Lewiston, New York	Artpark Mainstage

JULY

2	Lenox, Massachusetts	Tanglewood-Koussevitzky Music Shed
3	Mashantucket, Connecticut	Grand Theater at Foxwoods Resort Casino
5	Vienna, Virginia	Filene Center, Wolf Trap Farm Park For The Performing Arts
6	Vienna, Virginia	Filene Center, Wolf Trap Farm Park For The Performing Arts
8	New York City, New York	Forest Hills Stadium
9	Bethlehem, Pennsylvania	Sands Bethlehem Events Center
10	Atlantic City, New Jersey	Borgata Hotel Casino and Spa Event Center
12	Canandaigua, New York	Constellation Brands–Marvin Sands Performing Arts Center
13	Philadelphia, Pennsylvania	Mann Music Center
14	Boston, Massachusetts	Blue Hills Bank Pavilion
16	Portland, Maine	Thompson's Point
17	Gilford, New Hampshire	Bank of New Hampshire Pavilion

6.5.2 The songs

IN ORDER PLAYED

A: 4 – 26 June	B: 28 June – 2 July	C: 3 – 10 July
D: 12 July	E: 13 – 14 July	F: 16 July
G: 17 July

	A	B	C	D	E	F	G	∑
Things Have Changed	1	1	1	1	1	1	1	30
She Belongs To Me	2	2	2	2	2	2	2	30
Beyond Here Lies Nothin'	3	3	3	3	3	3	3	30
What'll I Do?	4							15
Pay In Blood	5	5	5	5	5	5	5	30
Melancholy Mood	6	6	6	6	6	6	6	30
Duquesne Whistle	7	7	7	7	7	7	7	30
I'm A Fool To Want You	8							15
Tangled Up In Blue	9	9	9	9	9	9	9	30
High Water (For Charley Patton)	10	10	10	10	10	10	10	30
Why Try To Change Me Now?	11	11	11	11	11	11	11	30
Early Roman Kings	12	12	12	12	12	12	12	30
I Could Have Told You	13	13	13	13	13	13	13	30
Spirit On The Water	14	14	14	14	14	14	14	30
Scarlet Town	15	15	15	15	15	15	15	30
All Or Nothing At All	16	16	16	16	16	16	16	30
Long And Wasted Years	17	17	17	17	17	17	17	30
Autumn Leaves	18	18	18	18	18	18	18	30
Blowin' In The Wind	19	19	19	19	19	19	19	30
Love Sick	20	20	20	20				26
The Night We Called It A Day		4	4			4	4	12
How Deep Is The Ocean		8		8	8		8	8
That Old Feeling			8			8		7
Full Moon And Empty Arms				4	4			3
Stay With Me					20	20	20	4
# of shows	15	4	6	1	2	1	1	30
Total # of songs	300	80	120	20	40	20	20	600

IN SONG ORDER

A: 4 – 26 June	B: 28 June – 2 July	C: 3 – 10 July
D: 12 July	E: 13 – 14 July	F: 16 July
G: 17 July

	A	B	C	D	E	F	G	∑
All Or Nothing At All	16	16	16	16	16	16	16	30
Autumn Leaves	18	18	18	18	18	18	18	30
Beyond Here Lies Nothin'	3	3	3	3	3	3	3	30
Blowin' In The Wind	19	19	19	19	19	19	19	30
Duquesne Whistle	7	7	7	7	7	7	7	30
Early Roman Kings	12	12	12	12	12	12	12	30
Full Moon And Empty Arms				4	4			3
High Water (For Charley Patton)	10	10	10	10	10	10	10	30
How Deep Is The Ocean		8		8	8		8	8
I Could Have Told You	13	13	13	13	13	13	13	30
I'm A Fool To Want You	8							15
Long And Wasted Years	17	17	17	17	17	17	17	30
Love Sick	20	20	20	20				26
Melancholy Mood	6	6	6	6	6	6	6	30
The Night We Called It A Day		4	4			4	4	12
Pay In Blood	5	5	5	5	5	5	5	30
Scarlet Town	15	15	15	15	15	15	15	30
She Belongs To Me	2	2	2	2	2	2	2	30
Spirit On The Water	14	14	14	14	14	14	14	30
Stay With Me					20	20	20	4
Tangled Up In Blue	9	9	9	9	9	9	9	30
That Old Feeling			8			8		7
Things Have Changed	1	1	1	1	1	1	1	30
What'll I Do?	4							15
Why Try To Change Me Now?	11	11	11	11	11	11	11	30
# of shows	15	4	6	1	2	1	1	30
Total # of songs	300	80	120	20	40	20	20	600

6.5.3 Statistics

Shows:

Number of shows	30
Number of circulating shows	24
Number of circulating & complete shows	24
Number of unique shows [4]	4
umber of different shows[5]	4
Number of songs	25
Number of performed songs	600
Mean number of performed songs	30
Variation[6]	1,2

Songs:

	# of		# of
	songs	%	perf.	%
Albums	12	48	356	59.3
Singles	1	4	30	5,0
Outtakes	0	0	0	0.0
Covers	12	48	214	35.7

6.5.4 Comments

The same setlist was played:

Recordings from the following shows are not in general circulation:

Woodinville, Washington 5 June, Berkeley, California 9 June, Berkeley, California 10 June,

Kansas City, Missouri 21 June, Gilford, Neww Hampshire 17 July.

First live performance of

How Deep Is The Ocean in Kettering, Ohio 28 June,

I Could Have Told You in Woodinville, Washington 4 June,

That Old Feeling in Mashantucket, Connecticut 3 July 2016.

6.6 US Fall Tour

6.6.1 Dates and venues

OCTOBER

7	Indio, California	Empire Polo Club
13	Las Vegas, Nevada	The Chelsea, The Cosmopolitan of Las Vegas
14	Indio, California	Empire Polo Club
16	Phoenix, Arizona	Comerica Theatre
18	Albuquerque, New Mexico	Kiva Auditorium, Convention Center
19	El Paso, Texas	Abraham Chavez Theatre
22	Thackerville, Oklahoma	WinStar World Casino and Resort
23	Tulsa, Oklahoma	Brady Theater
25	Shreveport, Louisiana	Municipal Auditorium, Shreveport Civic Center Complex
26	Baton Rouge, Louisiana	River Center Theater
27	Jackson, Mississippi	Thalia Mara Hall, City Auditorium
29	Huntsville, Alabama	Mark C. Smith Concert Hall, Von Braun Center
30	Paducah, Kentucky	Luther F. Carson Four Rivers Center

NOVEMBER

Louisville, Kentucky

Kentucky Center for the

A: 4 – 26 June	15 shows
B: 28 June – 2 July	4 shows
C: 3 – 10 July	6 shows
D: 12 July	1 show
E: 13 – 14 July	2 shows
F: 16 July	1 show
G: 17 July	1 show

1 INTRODUCTION

3 THE 2016 CALENDAR

4 NEW RELEASES

01-02

6.4.4 Comments