Tag Archives: Pure Prairie League

Live Review: Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orleans at Indian Ranch

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Pure Prairie League; photo by Luca DePalo

by Luca DePalo, Contributing Blogger

Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orelans

Indian Ranch, Webster, MA

August 23, 2026

For what started off as a rainy Sunday morning in Webster, Massachusetts, the weather gradually warmed up in the afternoon, setting the stage for an enjoyable day of live music at the Indian Ranch with Pure Prairie League, Atlanta Rhythm Section, Firefall, and Orleans.

The show was everything you’d expect it to be: an abundance of pop and country rock music that transported you back in time to a more free-spirited place. And sure, the members of these bands have changed over the years, with only one or two original members in each. However, each bands have retained their signature sounds and feels that produced their hit songs in the ’70s and still have fans eagerly returning to hear them perform over 50 years later.

Orleans; photo by Luca DePalo

Opening up the show was Orleans, performing a killer set as part of their ongoing farewell tour, which will continue through the end of 2026 and into 2027. Currently, Orleans is led by longtime bassist Lance Hoppen (who has been with the band since 1972), his brother and keyboardist Lane Hoppen (a member since 1980), Tony Hooper (guitar, vocals), Brady Spencer (drums, vocals), and Tom Lane (lead vocals, guitar).

After starting the set off with “Let There Be Music,” Lance introduced to the crowd, “Well, it looks like the weather has cleared out.” Lance continued, “We’re here to play some music and have some fun,” before slamming right into the band’s classic single “Dance With Me,” a song which by itself was worth the ticket price. Ending with “Love Takes Time” and their Billboard chart-topping hit “Still the One,” Orleans performed an incredible 40 minute set to start off a long day of dancing, rockin’, and grooving.

Firefall; photo by Luca DePalo

Then came Firefall, the most surprising band out of the four. Coming out with “Livin’ Ain’t Livin’,” the band decided to stay true to their roots, only performing songs from their first three records (their self-titled album Firefall, Luna Sea, and Élan), a decision which seemed to persuade the audience.

The Colorado-based band currently features Jock Bartley (guitar, vocals), as well as longtime members Sandy Ficca (drums), Steven Weinmeister (guitar, vocals), multi-instrumentalist Jim Waddell (saxophone, flute, keyboard, backing vocals), and the band’s newest member, John Bisaha (bass and vocals). Among hits like “You Are the Woman,” “Strange Way,” and “Just Remember I Love You,” Firefall brought the audience out of their seats!

Atlanta Rhythm Section; photo by Luca DePalo

Afterwards came Atlanta Rhythm Section, a band that came out swingin’ with “Champagne Jam.” Sometimes described as a southern rock band or as a more radio-friendly version of Lynyrd Skynyrd, the Atlanta Rhythm Section was one of many bands from that genre to hit the upper reaches of the charts during the late ’70s.

Hailing from the small town of Doraville, Georgia, the beginning of the Atlanta Rhythm Section can be traced back to 1970. Fifteen albums and over 50 years later, the band features the legendary original vocalist Rodney Justo, and I gotta tell you, he is still going strong! The band played all their crowd pleasers, including “Spooky,” “Doraville,” “So Into You,” and then “Imaginary Lover.”

photo by Luca DePalo

Finally, came Pure Prairie League. Jogging on stage, lead singer and guitarist Jeff Zona introduced the band and stated “Welcome to the country rock surface this afternoon,” before kicking into “Two Lane Highway” probably one of my favorite songs out of all the bands throughout the day. And I can’t forget about “Let Me Love You Tonight,” what an awesome song!

Other than Jeff, the band currently is carrying on the legacy of co-founder Craig Fuller, who retired from touring in 2012, with Scott Thompson (drums), Randy Harper (keyboards and guitar), Jared Camic (bass), and John Heinrich (steel guitar and saxophone), including all the members providing lead vocals. Overall (even with no original members), I thoroughly enjoyed the band’s set, especially with three songs from their latest album Back on Track. And ending with the crowd-pleaser “Amie” was just perfect!

Album Review: Pure Prairie League – Back on Track

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Pure Prairie League

photo courtesy of Michael J. Media Group

Album Review: Pure Prairie League – Back on Track

Old-school country pop-rock from a legendary band. Sure, I wasn’t initially as excited as I would have been by a new Garth Brooks disc. Or, going back to a more comparable ’70s star, a new Crystal Gayle record. But then I listened to Back on Track and remembered why we all know Pure Prairie League‘s name. Damn, these guys know how to write – and perform – a pleasant soft country pop-rock song. And when I say “country pop-rock,” I mean like from the ’70s, when that branch of country music leaned more toward the Eagles than toward more explosive rock bands like Poison. And yet, this new record is modern-sounding, not stuck in the past. I don’t know why I’m surprised – sorry, Pure Prairie League, I guess I underestimated you a little. Then again, this is the band’s first studio album in 20 years, and with the longest-tenured band member having joined in 2011, none were band members the last time Pure Prairie League released an album.

Pure Prairie League – Back on Track album cover

image courtesy of Michael J. Media Group

Of modern successful country acts, I’d compare this Pure Prairie League album perhaps to Lonestar, a band whose most recent release, 2016’s Never Enders, is actually one of my favorites of theirs, even if it didn’t chart as highly as any of their preceding studio albums. But I digress. This review is supposed to be about Pure Prairie’s League’s wicked-cool, brand-spanking-new, December 2024 release.

From note number one, “The Beginning” kicks things off nicely with a distinct soft country-rock twang. Second track, “Picture Perfect Life,” is more of a swinging, classic country number. And “I Believe” follows with a deep-voiced, rich, heartfelt ballad. Man, this stuff would have been all over country radio in the late ’70s/early ’80s.

“Skipping Stones” has a big, rich, somewhat modern country sound mixed in with old-school harmonies, leaning toward the rock edge of country-rock, suitable for back-to-back playlist status with Poco. You’ll dig the opening lyric, “I don’t like trouble. Trouble likes me.” Oh, yeah!

“Crazy World” is a peppy, softly tuneful number. This is the one that reminds me the most of the Eagles on this record, though it’s clearly more country with the requisite twang. And it’s a bit more of a striding, bouncing, walking-along song than the Eagles’ smoother California style. But oh, those Eagles-esque harmonies!

Pure Prairie League

photo by Laura Schneier; photo courtesy of Michael J. Media Group

“Modern Problem” sounds almost like a ’70s soft progressive track that would have gained airplay at the time. (Alan Parsons, anyone?) If you’d like a back-to-back playlist pairing, I’d suggest Michael Martin Murphey’s “Wildfire.”

Next up, “A Love Like Yours” offers up an almost-bluesy-pop arrangement of a light pop-country song. With horns. This is a smooth song. And I love the jamming, all-instrumental long-outro.

“I’m the Lucky One” follows, the sort of sweet, mildly energetic crooner no country album would be complete without. Sonically, the country artist I’d think would be best-suited to cover this song would be Blog favorite Houston Bernard. Indeed, this sounds like exactly the sort of song you’d find on one of his records, complete with Houston’s confident vocal delivery.

“Love Song” comes across as one of those harmonizing ’70s folk-influenced soft psychedelic rock numbers. Then “Price of Love” follows, adding a Jimmy Buffett-reminiscent style to this smoothly harmonized, old-school tune.

“Six Feet of Snow” is an old-fashioned, at least partly fiddle-driven country dancehall number. And “Back on Track” kicks off with a funky beat, closing the album as a fast-paced number that sounds like a runaway train during the chorus but dabbles in a variety of other influences in-between.

As a whole, this is an impressive album. And I didn’t realize how varied the influences were until I starting writing about each song individually. During dozens of pre-review listens, I could have sworn was a collection of songs that would be described similarly. Indeed, though, almost every song has a very distinct, different influence, yet the album is an impressive, cohesive whole.

To be honest, I wasn’t sure I’d be interested a Pure Prairie League album until I listened to it and realized this is a great record. If you loved the sound that earned Pure Prairie League its hits in the late ’70s/early ’80s, you’ll really like this album. And if you don’t know what that sounds like, give this record a listen and find out.