eeing The Doobie Brothers live is like being handed a time machine fueled by harmony, groove, and pure California soul. When I caught them at Turning Stone Casino in July of 2010, the band delivered a two-hour set that was both a deep dive into their catalog and a joyous reunion of classic rock royalty. Sharing the stage with Chicago for the encore turned an already unforgettable night into something that felt truly historic.
A Welcome That Rocked From the First Note
The house lights dimmed and the crowd erupted, a mixture of longtime fans who had been with the band since the early ‘70s and younger faces drawn by the timeless appeal of their music. The Doobies wasted no time, kicking off with “Take Me in Your Arms (Rock Me a Little While),” their punchy Eddie Holland cover that’s become a fan favorite over the years. From the very first chord, it was clear this wasn’t going to be a nostalgia act phoning it in. The band came out swinging with crisp guitar work, tight harmonies, and the unmistakable rhythmic drive that defines their sound.
Rolling straight into “Jesus Is Just Alright,” the Art Reynolds Singers gospel tune that the Doobies transformed into a rock staple, the energy inside Turning Stone went up another notch. Patrick Simmons and Tom Johnston traded vocals with ease, their chemistry obvious as they leaned into the song’s call-and-response hooks. It’s the kind of number that reminds you how effortlessly the band blends rock muscle with soulful groove.
A Setlist That Dug Deep
The night wasn’t just about the hits. One of the real treats of this show was how much love the Doobies gave to their deeper cuts. “Dangerous” followed, with its bluesy swagger and tight guitar interplay showcasing the band’s knack for stretching out without ever losing the pocket. Then came “Nobody,” a resurrected gem from their very first album. Hearing it live was like opening a time capsule back to their earliest days, and the crowd clearly appreciated the nod to the band’s roots.
The title track from their then-new album, “World Gone Crazy,” kept things current, proving that the Doobies weren’t content to just play the classics. The song’s socially conscious lyrics and driving rhythm fit seamlessly alongside the older material, a reminder that this band still had something to say. “Chateau” and “Clear as the Driven Snow” followed, the latter a gorgeous showcase of the band’s acoustic side and their intricate three-part harmonies. It’s in moments like these that the Doobies show how they can shift from barn-burning rock to delicate, almost folk-like textures without losing their identity.
A gritty cover of Sonny Boy Williamson’s “Don’t Start Me Talkin’” brought a dose of Chicago blues to the set, with smoking harmonica fills and a rhythm section locked in like a freight train. The band then lightened the mood with a playful rendition of Bobby Day’s “Little Bitty Pretty One,” a reminder of their deep appreciation for classic R&B and doo-wop.
The Big Sing-Alongs
Of course, no Doobie Brothers show would be complete without the songs that have become part of rock’s permanent soundtrack. When the unmistakable opening riff of “Black Water” floated out across the room, the audience was ready. Patrick Simmons led the sing-along, and when the crowd took over the a cappella section—“I’d like to hear some funky Dixieland”—it felt like every person in the room was part of the band.
The one-two punch of “Long Train Runnin’” and “China Grove” closed the main set in spectacular fashion. “Long Train” was a rhythmic masterpiece, with drummer Michael Hossack (rest his soul) driving the groove and Johnston’s guitar work slicing through the mix. By the time they tore into the hard-charging “China Grove,” the entire crowd was on its feet, clapping, dancing, and shouting every word. The energy in the room was pure joy.
The Chicago Connection
After a brief break, the Doobies returned for an encore that felt less like a final bow and more like a full-blown summit meeting of classic rock heavyweights. Joining them on stage were members of Chicago, and together they launched into “Rockin’ Down the Highway.” The combination of the Doobies’ tight harmonies and Chicago’s horn section was nothing short of electric, breathing new life into a song that already cooks on its own.
What followed was a dream set for fans of both bands. They traded songs and shared vocals like old friends at a backyard jam. Chicago’s “Free” and “Does Anybody Really Know What Time It Is?” gave the Doobies a chance to flex their horn-driven chops, while the Doobies’ “Takin’ It to the Streets” sounded even bigger with Chicago’s brass filling out the arrangement.
When the unmistakable opening chords of “Listen to the Music” rang out, the entire Turning Stone showroom turned into one massive sing-along. It’s the kind of song that feels like a mission statement for the Doobies—optimistic, unifying, and impossible not to dance to. The grand finale, Chicago’s “25 or 6 to 4,” was pure adrenaline, with guitars and horns locked in a joyful battle to see who could push the energy higher.
Musicianship That Still Stuns
What struck me throughout the night was just how good this band still is. Tom Johnston’s guitar work remains fiery and precise, his rhythm playing as funky as ever. Patrick Simmons continues to be the band’s melodic heart, his fingerstyle guitar adding texture and depth to every song. John McFee’s multi-instrumental wizardry—guitar, fiddle, pedal steel—gave the set an extra layer of richness, while the rhythm section kept everything tight and propulsive.
The Doobies’ signature harmonies were spot-on all night. Whether on the gospel-infused “Jesus Is Just Alright,” the swampy “Black Water,” or the soaring “Listen to the Music,” their vocal blend was as warm and powerful as it was in their 1970s heyday. It’s that combination of instrumental chops and vocal precision that makes their live shows so special.
More Than Just Nostalgia
What made this Turning Stone performance truly memorable was how alive it all felt. The Doobie Brothers weren’t simply recreating old hits—they were inhabiting them, playing with the same joy and conviction that first made them stars. New songs like “World Gone Crazy” fit comfortably alongside classics like “China Grove,” showing that the band wasn’t stuck in the past.
The encore with Chicago elevated the night into something unique. Two legendary bands sharing the stage, swapping songs, and clearly having the time of their lives—it was a reminder of why we go to concerts in the first place. It’s not just about hearing familiar tunes; it’s about witnessing musicians connect with each other and with the audience in real time.
A Night to Remember
Walking out of the casino after the final notes of “25 or 6 to 4” rang out, I felt the kind of buzz that only comes from a truly great live show. The Doobie Brothers proved once again why their music endures: impeccable musicianship, timeless songs, and an ability to bring people together through sound. Adding Chicago to the mix was the icing on an already delicious cake, turning a great concert into a once-in-a-lifetime experience.
For two solid hours, the Turning Stone Casino was a sanctuary of rock and roll, where generations of fans sang, danced, and celebrated a catalog that continues to define American music. Whether you came for the hits, the deep cuts, or just the chance to see legends at work, this show delivered on every level.
Setlist – The Doobie Brothers – Turning Stone Casino – July 2, 2010
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Take Me in Your Arms (Rock Me a Little While) (Eddie Holland cover)
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Jesus Is Just Alright (The Art Reynolds Singers cover)
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Dangerous
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Nobody
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World Gone Crazy
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Chateau
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Clear as the Driven Snow
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Don’t Start Me Talkin’ (Sonny Boy Williamson cover)
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Little Bitty Pretty One (Bobby Day and The Satellites cover)
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Black Water
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Long Train Runnin’
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China Grove
Encore (with Chicago):
13. Rockin’ Down the Highway
14. Free (Chicago cover)
15. Takin’ It to the Streets
16. Does Anybody Really Know What Time It Is? (Chicago cover)
17. Listen to the Music
18. 25 or 6 to 4 (Chicago cover)
This wasn’t just a concert—it was a reminder that great music never fades, and that when bands like The Doobie Brothers and Chicago come together, the result is pure magic.