When I bought my last-minute ticket to see America at the American Music Theatre in Lancaster, Pennsylvania, I was mostly expecting a cozy night of nostalgia. After all, this is a band that’s been soundtracking road trips, campfires, and AM radio memories for over four decades. What I didn’t expect was just how alive the music would feel. For a group whose earliest hits date back to the early ’70s, America played with a sharpness and warmth that made the evening feel less like a museum piece and more like a celebration of timeless songs.
Arriving and Settling In
The American Music Theatre is one of those venues that feels intimate without being cramped. My seat was halfway back in the orchestra—close enough to catch the details, far enough to take in the full stage setup. The audience was a mix of longtime fans who had clearly followed the band for decades, younger listeners brought along by parents, and casual classic-rock lovers curious to see what America sounds like in the 21st century.
As the house lights dimmed and the band strode onstage, the cheers were warm and immediate. Founding members Gerry Beckley and Dewey Bunnell, the heart of America since their 1970 formation, greeted the crowd with easy smiles and a few casual waves before launching straight into the opening song.
Opening Salvo: Hits Right Out of the Gate
They wasted no time diving into “Tin Man,” one of their most enduring hits. From the first shimmering guitar chords, the audience erupted. Dewey’s voice carried that familiar laid-back warmth, while Gerry’s harmonies wrapped around it like a well-worn blanket. The sound was full but uncluttered, every note ringing clear in the theatre’s excellent acoustics.
Without a pause, they rolled into “You Can Do Magic.” Written by Russ Ballard and a big comeback hit in the early ’80s, the song still sounds fresh. Gerry’s keyboard work gave it a sparkling, almost pop sheen, and the crowd clapped along enthusiastically, clearly thrilled to hear one of the band’s later successes right up front.
The band kept the momentum with “Don’t Cross the River,” a breezy, banjo-driven tune that showcased their country-rock roots. This was the first song of the night to feature some serious instrumental interplay, with rich harmonies and tight picking that reminded everyone of the musicianship beneath those smooth radio hits.
Mid-Set Gems and Deep Cuts
The night’s first true ballad arrived with “Daisy Jane.” Gerry took the lead vocal, his voice tender and steady, proving that time has been kind to his range. The arrangement stayed true to the original but felt a little more lived-in, a touch more reflective—a beautiful reminder of how these songs have matured along with the band.
They followed with “Riverside,” a cut from their debut album that still shimmers with that early-’70s Laurel Canyon vibe. The crowd nodded along to its easy groove, and the band seemed to relish revisiting a song that dates back to their very beginning.
Next came “I Need You,” a plaintive, minor-key love song that has always been one of Gerry Beckley’s finest moments. The audience fell into an attentive hush, hanging on every wistful lyric. Then came “Here,” another early track that offered a showcase for America’s intricate acoustic interplay. Watching Gerry and Dewey trade lines and guitar fills felt like being let in on a long-standing musical conversation between old friends.
The mood shifted again as they launched into “Ventura Highway.” This is one of those songs that seems to carry the California sun inside it, and it drew one of the biggest sing-alongs of the night. The crowd shouted the “alligator lizards in the air” line with particular gusto, smiling at each other in shared recognition.
A Few Surprises
After basking in that wave of nostalgia, the band surprised the audience with “Driving” and “Monster,” two lesser-known tunes that showed off their willingness to dig deeper into the catalog. “Driving” had a rolling rhythm that kept feet tapping, while “Monster” offered a darker, moodier palette that gave the set a welcome change of texture.
Then came one of the night’s most unexpected moments: a cover of The Beatles’ “Eleanor Rigby.” Their arrangement stripped the song of its famous string section and replaced it with acoustic guitars and rich vocal harmonies. It was striking, respectful, and entirely their own—a clever nod to their British roots (the band famously formed in London despite being American).
The deep-cut adventure continued with “Cornwall Blank,” which segued seamlessly into “Hollywood.” Both songs reminded me that America was always more than their radio hits. Their albums contain hidden gems filled with complex chord changes and subtle lyrics, and hearing these tracks live highlighted just how musically ambitious they were—and still are.
A Flow of Classics
The band brought things back to familiar territory with “The Border,” a moody ’80s single that balanced Gerry’s keyboard textures with Dewey’s steady guitar. Then came “Greenhouse,” a funky, upbeat tune that had the crowd bouncing in their seats.
“Woman Tonight” followed, a playful number that let the rhythm section stretch out. The groove was tight and infectious, giving the audience another chance to clap along. They kept the good vibes flowing with “Only in Your Heart,” a track that has always felt like a love letter to soft rock’s golden era.
A special highlight was their cover of “California Dreamin’.” Paying tribute to The Mamas & the Papas, America infused the song with their trademark harmonies while keeping the arrangement warm and faithful. The audience sang along as if it were one of the band’s own classics.
The energy stayed high for “Lonely People,” which came with a fun twist: the band paused afterward for introductions, sharing a few light-hearted stories about their decades on the road. It was a charming, communal moment that made the theatre feel even more intimate.
Closing the Main Set
As the night edged toward its climax, America delivered a one-two punch of pure classic-rock gold. “Sandman,” with its haunting harmonies and dynamic shifts, filled the room with dramatic tension. The band played it with a slow build that eventually erupted into a roaring finale.
Then came “Sister Golden Hair,” perhaps their most beloved hit after “Horse With No Name.” From the opening chords, the crowd leapt to their feet. Everyone sang the chorus—“Will you meet me in the middle?”—with arms raised, voices blending into one giant choir. It was the kind of collective sing-along that makes live music unforgettable.
The band left the stage to thunderous applause, the audience already chanting for more. Of course, everyone knew what was coming.
Encore: The Song That Started It All
After a brief pause, Gerry and Dewey returned for the inevitable encore: “A Horse With No Name.” The familiar, hypnotic guitar riff sent the crowd into a frenzy. Even if you somehow didn’t know every word, the melody carries you along. Hundreds of voices sang about the desert, the horse, and the rain you can’t remember—an anthem of open roads and endless horizons. Hearing it live was nothing short of transcendent, a perfect capstone to a night filled with musical memories.
The Full Setlist
For those who like to keep score, here’s the complete set as it was played that night:
Main Set
-
Tin Man
-
You Can Do Magic (Russ Ballard cover)
-
Don’t Cross the River
-
Daisy Jane
-
Riverside
-
I Need You
-
Here
-
Ventura Highway
-
Driving
-
Monster
-
Eleanor Rigby (The Beatles cover)
-
Cornwall Blank
-
Hollywood
-
The Border
-
Greenhouse
-
Woman Tonight
-
Only in Your Heart
-
California Dreamin’ (The Mamas & the Papas cover)
-
Lonely People (followed by band introductions)
-
Sandman
-
Sister Golden Hair
Encore
22. A Horse With No Name
Reflections on a Timeless Band
What impressed me most was the band’s ability to balance deep cuts with their biggest hits, making the evening satisfying for both hardcore fans and casual listeners. The setlist moved gracefully between eras, touching on their early ’70s beginnings, their ’80s resurgence, and some overlooked gems along the way.
Gerry Beckley’s voice remains astonishingly strong—clear and warm, capable of hitting those high notes without strain. Dewey Bunnell brought his own relaxed charm, his guitar work steady and assured. Together, their harmonies remain the defining element of America’s sound, as tight and beautiful as ever.
The backing band deserves equal praise. Each member brought energy and precision, from the tasteful drum fills to the fluid bass lines and tasteful keyboard textures. They gave the songs a polished but never sterile feel, striking the perfect balance between faithful reproduction and live spontaneity.
The Emotional Resonance
As I listened, I realized how deeply these songs have embedded themselves in American musical culture. “Ventura Highway,” “Tin Man,” “Sister Golden Hair,” and of course “A Horse With No Name” aren’t just hits—they’re part of the soundtrack of countless lives. Hearing them performed with such care and vitality felt like revisiting old friends who somehow haven’t aged a day.
But beyond nostalgia, the concert carried a subtle message about endurance. Gerry and Dewey have been performing together for over 45 years, and their camaraderie is evident in every glance and every harmony. They don’t just play these songs; they inhabit them, keeping them fresh for a new generation.
Final Thoughts
Walking out of the American Music Theatre that night, I felt a deep appreciation for the way music can bridge time. America didn’t rely on pyrotechnics or flashy stage effects. They relied on melody, harmony, and the sheer craftsmanship of great songwriting.
For a few hours, Lancaster was transformed into a sun-drenched California highway, a quiet desert night, a memory of love and youth. The band’s name has always been a bold one, but after this show, it felt entirely fitting. America remains not just a relic of the ’70s but a living, breathing testament to the enduring power of classic rock.
If you ever get the chance to see them, take it. Whether you know every album or just hum along to the hits, you’ll leave with a smile, a song in your head, and the sense that some music truly is timeless.