Dark and intriguing drumming opens the action in the second half before the tell-tale chords of Victim Or The Crime ring out. And the Victim certainly reaches the spine-chilling promise of its beginning in the stormy and chaotic jam during the latter half. But like the sun breaking through foreboding clouds, Touch of Grey emerges. And with the sparkling keys, this would be a top-flight rendition, but for Jerry’s voice, which is absolutely shot. Afterwards, Playin’ In The Band comes out, descending into a rambling and discordant, yet thoroughly satisfying, jam out of which the unmistakable opening notes of Dark Star materializes. And this sends it off on a pleasurable, meandering trip to the first verse, after which things grow ever more spacey before the drummers take things over. On the flip side, Bruce builds out of Drums with a fantastic piano jam, which eventually coalesces into another verse of Dark Star before that spins off into the deep recesses of the universe. And much of this spacey exploration is unsettling and shadowy, reminding us of the Dark Star of just a few days – and two years – prior in Miami. Eventually, the band brings it out of the discomposed ether for another round of Playin’, which, somewhat like Touch earlier, washes all the uneasiness away in its pure unbridled joy. Following that, the band launches into Standing On The Moon only to shift seamlessly – perhaps Jerry realized he didn’t have the voice for it – into Wharf Rat. Even without the extraordinary tease, Jerry’s ragged voice and his towering guitar along with Vince and Bruce’s combined contributions make this a memorable version. A rocking, powerful Throwing Stones then struts out, the pounding beat eventually leading, to the surprise of no one, to Not Fade Away, which sends the set out. The boys come back out for US Blues, which is a bit of a bungled effort for their final European send off.