I still get that electric buzz just thinking about stepping into Ovation Hall that night. The lobby was a stirring blend—Aerosmith jerseys, leather jackets, seasoned rockers huddled near the merch table comparing stories, first-timers eyes wide with that “I’m about to see legends” glimmer. It was that kind of night where everything felt momentous, like it already mattered more than any concert I’d ever seen. I was pacing in my seat before the lights dropped, replaying riffs in my head, trying to ride the wave ahead of it crashing over me.
Stage & Production
The setup was classic Aerosmith—slick, but not flashy, built for attitude. Two big speaker towers flanked the stage, lighting rigs overhead aimed to highlight every hair flip and guitar bend. Screens off to the sides flashed closeups and abstract graphics, but nothing was distracting—just enough to amplify, not overwhelm. And yes, Steven Tyler’s mic stand was draped in scarves, instantly iconic. The stage felt cozy but charged, like something just cracked its knuckles, and whatever came next was ready to pounce.
Setlist & Performance
They launched right in—no slow build, just gritty, immediate energy. Here’s how the setlist unfolded:
Setlist – Aerosmith at Ovation Hall, Atlantic City – November 23, 2012
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Mama Kin
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Love in an Elevator
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Jaded
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Oh Yeah
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Livin’ on the Edge
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Movin’ Out
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Walking the Dog (Rufus Thomas cover)
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Last Child
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Drum Solo
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Rag Doll
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Boogie Man
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Combination
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Lover Alot
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What It Takes
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No More No More
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Come Together (The Beatles cover)
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Dude (Looks Like a Lady)
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Walk This Way (with snippet of “Mother Popcorn” by James Brown)
Encore:
19. Dream On (with snippet of “Home Tonight”)
20. Sweet Emotion
21. The Train Kept A-Rollin’ (Tiny Bradshaw cover)
Highlights
Let me take you through what really landed.
Mama Kin kicked everything into gear—the moment that riff hit, my chest got tight; it was like falling straight into memory but current, alive. Then Love in an Elevator and Jaded cracked open the crowd’s roof, energy shooting skyward fast.
Oh Yeah was a fun-out moment—smiles, stepping in place, feeling Tyler’s swagger real and present. Livin’ on the Edge pulled in that gritty drama, and Movin’ Out felt like catching up with an old friend who still knows how to drive.
When Walking the Dog popped in—soulful cover—my heart went soft for a second; it’s such a cool nod to blues roots. Last Child followed, tough and funky—still a growl in those notes.
The Drum Solo from Joey Kramer? A spotlight drum rumble, a tease, full-body shake—epic build. Then Rag Doll, Boogie Man, and Combination slashed through the tension with sharp groove and swagger.
When Lover Alot came on, it felt like a wink—still making new material that lands. What It Takes was that late-night slow-burn moment, deep and honest.
Then came the wallop: No More No More—raw, direct, and soaked in decades of rock spirit—and straight into Come Together, bridging eras as effortlessly as hinge to door.
By the time Dude (Looks Like a Lady) ripped in, the dance floor was bouncing, friends singing along in the most ridiculous grins. Walk This Way with that James Brown snippet? Lawd, the crowd’s energy became a living thing—swaying, shouting, owning the groove.
Encore was the emotional payoff. Dream On hit every tender, high-lifted note as if it still needed to prove the point. And then Sweet Emotion, closing the night where so many rock lovers begin—the roar, the grin, the spine prickle.
Finally, The Train Kept A-Rollin’ barreled us out—raw, rollicking, roll-call rock history. Walked out buzzing, feeling like I’d just been baptized by sound.
Crowd Energy
I’ve never felt a hall vibrate like that. Everyone was electrocuted—singing, jumping, resting their breath at moments, then colliding back into noise. People hugged during slow breakdowns; smiles exploded everywhere during choruses like “Sweet Emotion.” A dude dozens of years older than me tapped my shoulder and yelled, “Still the best live!” mid-“Walk This Way.” During Dream On, stadium voices cracked and hummed in that fragile clutch of emotion you can’t fake. After the show, I passed other fans who looked like they’d gone through something big—hair mussed, hearts racing, reluctant to speak again for fear of breaking the spell.
Vocals & Musicianship
Steven Tyler hit those notes like he was rewinding time, voice still roll-coaster fearless—month-old grit in the whisper, high scream still there, hanging. He danced around, played harmonica, dipped into that playful growl, barely aging.
Joe Perry, Brad Whitford—they weren’t just playing; they were conversing with amps, riffing punchlines, trading licks. “Combination” felt like their secret handshake. The rhythm section smiled through the beat, in-sync, drum-thumpy and bass-thick.
Even the covers felt lived-in—not just throwaways, but love letters to rock’s roots.
Personal Reflection
Walking back down the aisle after The Train Kept A-Rollin’, I was grinning so wide I couldn’t hold it back. My voice was shot; my shadow felt electric. It was just one evening, but I carried an echo of it for days—every time I heard a riff or the echo of Tyler’s “Dream on,” I’d flash right back there.
This wasn’t nostalgia; it was validation. Showed me that decades in, Aerosmith still knows how to light the fuse and ride the blast. Songs we’ve sung a million times still resonate, if delivered with that sweat, swagger, and sincerity. I walked out feeling like I’d signed something—like I witnessed living rock history in motion.
Conclusion
Aerosmith at Ovation Hall on November 23, 2012, wasn’t a greatest-hits routine—it was a full-charged celebration of rock, rhythm, history, and heart. The setlist balanced swagger and soul, rough and smooth, old and new. The band’s energy was electric, performance tight, and crowd completely immersed.
That night wasn’t just a concert—it was a signature. Some nights pass; this one stays, still vibrating when the guitar riff kicks back in your mind. I’ll tell people for years: “I was there. And it was alive.”