There’s something sacred about the first roar of Billy Gibbons’ guitar — that thick, fuzzy, unmistakable Texas tone that could sandblast the paint off a pickup truck. On a cool May night in 2022 at the Avalon Ballroom Theatre in Niagara Falls, ZZ Top brought that sound north of the border and proved that even after more than five decades, they were still the “Little Ol’ Band from Texas” — loud, tight, funny, and as greasy as a Gulf Coast diner breakfast.
This was one of their first tours without the late, great Dusty Hill, whose death in 2021 left a massive hole in rock and roll’s soul. But the spirit of Dusty was everywhere — from the low-end thunder of his successor, longtime guitar tech Elwood Francis, to the way Billy Gibbons would glance to his right mid-song, as if Hill were still standing there. The crowd knew it too. Every cheer, every chant, every moment of groove carried a little extra reverence.
By the end of the night, with beers raised and beards shaking, ZZ Top reminded everyone why they’ve always been one of rock’s most reliable, no-nonsense good-time machines.
Starting with Pressure
The band didn’t ease into it — they kicked the doors wide open with “Got Me Under Pressure.” The song’s tight, grinding riff hit like a power drill to the chest, Frank Beard’s drumming snapping with metronomic precision while Gibbons and Francis locked into that trademark boogie groove. The Avalon Ballroom’s acoustics gave the guitar an extra bite — thick, crunchy, and beautifully raw.
Billy Gibbons, sporting a rhinestone jacket and that iconic beard that’s somehow grown more majestic with time, delivered his vocals with that smoky, sly growl. You could feel decades of swagger in every “She likes cocaine and filé gumbo!”
It was a perfect opener — fast, loud, and confident, immediately reminding everyone that ZZ Top doesn’t do slow burn intros. They come out swinging.
Soul, Blues, and Barbecue Boogie
Next up was “I Thank You,” their Sam & Dave cover that’s been a staple of their set for years. It was equal parts Memphis soul and Texas grit, Gibbons laying down a bluesy shuffle while Elwood Francis filled in those familiar vocal harmonies. The song carried a warmth that felt like a nod to their roots — ZZ Top might have been born out of the blues, but they’ve always known how to blend it with heart and humor.
From there, they launched into the one-two punch of “Waitin’ for the Bus” and “Jesus Just Left Chicago.” The transition between the two — always one of their greatest live moments — was seamless. “Bus” had that funky, bouncy rhythm, the crowd clapping along, while “Jesus” slowed things down to a simmering blues sermon.
Gibbons’ guitar solo on “Jesus Just Left Chicago” was pure tone magic. Every note was fat, deliberate, and dripping with soul. He didn’t play fast — he didn’t need to. One bend, one sustain, one little flick of his pick, and the room erupted. That’s the thing about Billy Gibbons: he’s not just playing guitar; he’s speaking it fluently.
The MTV Era Still Kicks Hard
The crowd was already loud, but when the familiar synth stabs of “Gimme All Your Lovin’” hit, the Avalon Ballroom turned into a time machine back to 1983. It was pure MTV-era nostalgia — slick, punchy, and endlessly fun. The synchronized moves between Gibbons and Francis — the little shoulder shuffles and perfectly timed spins — felt like a tribute to those iconic videos that made ZZ Top unlikely pop stars in the ‘80s.
By the end of the song, people were dancing in the aisles, phones up, grinning ear to ear. Gibbons cracked a smile and said into the mic, “We’re just gettin’ warmed up, amigos.”
“Pearl Necklace” followed, the band leaning into its cheeky humor and groove-heavy beat. Elwood handled the basslines beautifully — fat, funky, and faithful to Hill’s tone. The song’s sly lyrics and gritty delivery reminded everyone that ZZ Top’s best moments are equal parts blues club and barroom comedy.
“I’m Bad, I’m Nationwide” came next, and it was glorious. That lazy, rolling groove hit hard live, Gibbons stretching out each phrase with swagger. The crowd swayed and sang along, fully in the pocket with the band.
Blues Born in Texas
Then came a modern highlight: “I Gotsta Get Paid.” It’s one of their newer songs, but it fits perfectly alongside the classics. The riff — a reworking of DJ DMD’s “25 Lighters” — thumped with menacing cool. It was ZZ Top proving they could still sound dangerous, still push blues into new corners.
“My Head’s in Mississippi” followed, a deep-cut fan favorite that had Gibbons in full preacher mode, growling through the verses like a man possessed. Frank Beard, often the unsung hero of the band, drove the song with his tight, no-frills drumming — pure backbone, pure groove.
The biggest surprise of the night came next with “Sixteen Tons.” The Merle Travis classic — famously sung by Tennessee Ernie Ford — got the full ZZ Top treatment. Gibbons turned the coal miner’s lament into a swampy blues-rock stomp, the tone as heavy as the song’s namesake. The crowd loved it; you could see heads nodding and boots tapping all across the floor. It was one of those moments that reminded you how seamlessly ZZ Top could blend country, blues, and rock into something unmistakably their own.
Money, Style, and Swagger
When Gibbons hit the first chugging riff of “Just Got Paid,” the crowd roared. It’s one of those songs that defines the ZZ Top experience — built around groove, guts, and grit. The extended jam in the middle let Billy stretch out with a solo that was part blues clinic, part showboat. He walked to the edge of the stage, grinning under the brim of his hat, and let that Les Paul sing.
Then came the power duo — “Sharp Dressed Man” and “Legs.” The neon-soaked heart of ZZ Top’s 1980s superstardom.
“Sharp Dressed Man” turned the venue into a dance floor. The bass thumped, the guitars shimmered, and Gibbons strutted across the stage, delivering every line with perfect tongue-in-cheek cool. The synchronized guitar moves — the kind of choreography that only ZZ Top could pull off with complete seriousness — drew cheers and laughter from the crowd.
“Legs” kept the energy sky-high, its driving rhythm and synth-laced groove translating surprisingly well live. The crowd clapped in time, singing every word. Gibbons’ guitar tone on this one was massive — a fuzzy wall of sound that felt like it could rattle the Falls themselves.
Encore: A Texas Farewell
After a short break, the trio returned for the encore, greeted with a deafening ovation. Billy leaned into the mic with a grin and said, “We got a few more miles left on this ol’ road trip.”
They launched into “Brown Sugar,” their rollicking blues-rock gem from 1971. It was raw, dirty, and joyous — classic ZZ Top. Elwood Francis’ bass was thunderous, and Beard’s drumming felt like a locomotive. The song reminded everyone of just how deep the band’s catalog runs — before the MTV hits, before the beards became pop culture icons, they were a pure blues trio tearing up Texas bars.
Next came “Tube Snake Boogie,” and the whole room turned into a honky-tonk party. The groove was unstoppable — funky, tight, and full of that trademark innuendo-laden humor. Gibbons’ voice was playful, his guitar riff slicing through the rhythm like a knife. The crowd danced, laughed, and hollered through every chorus.
Then came the inevitable closer — “La Grange.” The holy grail of ZZ Top riffs. The second that dirty, hypnotic guitar line started, the crowd erupted. It was blues heaven. Gibbons leaned into every lick, dragging notes out like a man savoring the last drag of a fine cigar. The jam in the middle stretched out, the band trading glances, pushing the groove further and further until the final explosion of sound brought the house down.
Gibbons gave a little bow and said softly, “We still got the blues, baby.”
The Groove That Never Dies
The 2022 Avalon Ballroom show wasn’t just a gig — it was a statement. ZZ Top, even after 50 years, still sounded like a bar band that stumbled into superstardom without ever losing their grit. They played with the same humor, heart, and swagger that’s defined them since the start.
Billy Gibbons’ guitar tone remains one of rock’s wonders — that perfect marriage of distortion and groove. Every solo was measured, every note full of intent. Frank Beard, the lone beardless member, kept the pocket tight and propulsive, anchoring the chaos with his unfussy precision. And Elwood Francis — now fully settled into his role — honored Dusty Hill’s legacy while bringing his own personality to the mix. His energy, his chemistry with Gibbons, and his deep respect for the material made him feel like family.
The setlist was perfectly curated: a blend of the hits everyone came for, a few deep cuts for the diehards, and some well-placed surprises that reminded everyone that this band’s roots run far deeper than MTV ever showed.
A Band Built to Last
ZZ Top’s appeal has always been deceptively simple. They never chased trends, never lost sight of who they were — just three guys making rock and roll that grooves. In a world of overproduced spectacles, their stripped-down show felt almost rebellious. No pyrotechnics, no video screens blasting choreography — just tone, timing, and Texas attitude.
What made this night special was how alive it all felt. Even after decades of playing “La Grange” and “Sharp Dressed Man,” the band played them like they were brand new. Gibbons’ jokes between songs — “We’re a little ol’ band from Texas, but we sure like Canadian beer” — kept the crowd laughing. The atmosphere was loose, joyful, and full of gratitude.
When the lights finally came up, people lingered. You could hear fans humming riffs, smiling, shaking their heads in disbelief that three guys could make that much noise and that much joy.
ZZ Top didn’t just deliver a concert that night — they delivered a reminder of what real rock and roll feels like.
Grade: A-