There’s something fitting about seeing Billy Gibbons play a room just a short walk from one of the natural wonders of the world. Niagara Falls roars with timeless force; Gibbons’ guitar does the same. On a cold February night in 2026, inside the intimate Avalon Ballroom Theatre in Niagara Falls, Ontario, Gibbons and The BFG’s delivered a show that felt less like a side project and more like a living, breathing extension of the Texas blues machine that made him famous.
The crowd was packed early — leather jackets, faded concert tees, and a noticeable amount of well-groomed facial hair in tribute to the man of the hour. The Avalon isn’t a cavernous arena; it’s the kind of room where you can feel the amps pushing air against your chest. That intimacy worked in Gibbons’ favor. This wasn’t about giant screens or pyrotechnics. It was about tone, groove, and swagger.
The band walked onstage with minimal fuss, and without much banter, they tore straight into “Waitin’ for the Bus.” The opening riff hit like a freight train — thick, greasy, unmistakable. The transition into “Jesus Just Left Chicago” was seamless, just as fans of ZZ Top have loved for decades. The crowd roared at that first descending blues line, and Gibbons’ voice — gravelly, relaxed, ageless — settled comfortably into the mix.
By the time “Gimme All Your Lovin’” kicked in, the entire floor was moving. Even without the MTV-era flash, the song still feels built for fist pumps and air guitar. The groove was tight but loose in all the right ways, the rhythm section locking in while Gibbons’ leads danced just ahead of the beat. “Cheap Sunglasses” followed, the riff slinking across the room with that signature cool. If there’s a doctoral thesis to be written on minimalist guitar tone, Billy Gibbons is the primary source.
One of the evening’s early surprises was “I Got Love If You Want It,” the Slim Harpo cover. It was here that the BFG’s identity really came into focus. This wasn’t just a greatest-hits revue; it was a blues showcase. Gibbons stretched out tastefully, letting notes breathe, bending strings until they practically cried. The smaller theatre amplified the intimacy — you could hear every subtle vibrato.
“Q-Vo” brought a bit of that Latin-tinged flair Gibbons has explored in his solo work. It injected fresh texture into a set heavy on classics and kept the momentum from feeling predictable. Then came “Blue Jean Blues,” which felt almost meditative. The crowd quieted down, and Gibbons milked every phrase, letting the bends hang in the air like cigarette smoke in an old Texas barroom.
When the band ripped into “Foxy Lady,” the Hendrix cover, it felt less like imitation and more like tribute from one guitar legend to another. Gibbons didn’t try to out-Hendrix Hendrix; instead, he filtered the iconic riff through his own fuzzed-out sensibility. It was raw, muscular, and respectful.
“Brown Paper Bag” kept the groove simmering before the familiar opening lick of “Francine” drew a wave of cheers. That was the moment the show fully shifted into celebratory mode. From there, the set became a masterclass in blues-rock economy.
“Just Got Paid” had the crowd clapping along instantly. The stop-start riff hit with precision, and Gibbons’ vocals carried that half-smirk swagger he’s perfected over decades. “Beer Drinkers & Hell Raisers” followed, and you could practically smell the Texas heat in the room. It’s amazing how songs written half a century ago can still feel so alive.
Then came the deep cuts and fan favorites that separate casual listeners from lifers. “Manic Mechanic” brought a bit of sleaze and humor, while “Precious and Grace” delivered that hard-driving rhythm that feels tailor-made for highway speakers turned all the way up. “Nasty Dogs and Funky Kings” was pure groove — low, dirty, and hypnotic.
When the opening riff of “Brown Sugar” (the ZZ Top original) hit, it felt like a jolt of electricity. The band played it lean and mean, resisting any temptation to overextend. And then came the inevitable: “La Grange.” That chugging, instantly recognizable riff brought the house down. Phones came out, fists went up, and for a few glorious minutes, Niagara Falls felt like a Texas roadhouse.
After a brief exit, the band returned for the encore. “Sharp Dressed Man” exploded out of the amps with polished punch. Even stripped of its ‘80s sheen, the song remains bulletproof. The crowd sang every word, and Gibbons looked genuinely pleased, flashing that subtle grin beneath his beard.
They closed with “Thunderbird,” ending the night on a bluesy, almost celebratory note. It wasn’t bombastic; it was confident. A reminder that at the core of all the hits, all the imagery, and all the decades of success lies the blues — simple, powerful, eternal.
What stood out most about this show was Gibbons’ restraint. He doesn’t overplay. He doesn’t chase speed or spectacle. Every note has intention. Every riff serves the groove. In an era where many legacy acts lean heavily on backing tracks or overproduction, Billy Gibbons and The BFG’s rely on feel. That’s harder to fake — and infinitely more satisfying when done right.
The Avalon Ballroom Theatre proved to be the perfect venue for this kind of performance. The acoustics allowed the grit to shine without turning muddy. You could hear the pick scrape, the subtle slide work, the amp hum between songs. It felt authentic — like you were witnessing something organic rather than manufactured.
At 2026, Billy Gibbons isn’t trying to reinvent the wheel. He’s polishing it, spinning it, and reminding everyone why it worked in the first place. The songs of ZZ Top — and the blues foundations beneath them — remain sturdy, timeless, and undeniably fun.
Niagara Falls may be known for its thunderous roar, but on this February night, it had some serious competition coming from inside the Avalon.
Setlist
Set:
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Waitin’ for the Bus (ZZ Top cover)
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Jesus Just Left Chicago (ZZ Top cover)
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Gimme All Your Lovin’ (ZZ Top cover)
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Cheap Sunglasses (ZZ Top cover)
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I Got Love If You Want It (Slim Harpo cover)
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Q-Vo
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Blue Jean Blues (ZZ Top cover)
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Foxy Lady (The Jimi Hendrix Experience cover)
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Brown Paper Bag
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Francine (ZZ Top cover)
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Just Got Paid (ZZ Top cover)
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Beer Drinkers & Hell Raisers (ZZ Top cover)
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Manic Mechanic (ZZ Top cover)
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Precious and Grace (ZZ Top cover)
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Nasty Dogs and Funky Kings (ZZ Top cover)
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Brown Sugar (ZZ Top cover)
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La Grange (ZZ Top cover)
Encore:
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Sharp Dressed Man (ZZ Top cover)
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Thunderbird (ZZ Top cover)
Final Grade: A-