Kyle Gass Setlist

Gettin’ the Band Back Together
You Ain’t Seen Nothing Yet
Guitar Man
Coming Into Los Angeles
Can’t Get Enough
Spooky
Time After Time
The Pick of Destiny
Kickapoo / Baby / Master Exploder / Dude (I Totally Miss You) / The Metal / Classico
Tremendous
We’re an American Band
Hard to Handle
I’m Gonna Be (500 Miles)
Tribute
Fuck Her Gently

Kyle Gass Tour Dates

MAR. 31, 2026 IOWA CITY, IA
APR. 1, 2026 ST LOUIS, MO
APR. 2, 2026 INDIANAPOLIS, IN
APR. 3, 2026 NASHVILLE, TN
APR. 4, 2026 COLUMBUS, OH

The Green Room holds maybe 200 on the floor, another 150 upstairs, but last night the upstairs was closed. Kyle Gass has made films, toured arenas, and probably gets a Christmas card from Dave Grohl. On Monday in Minneapolis, he played to an intimate gathering, in what was a genuinely good time.

Mt. Air opened. The Ohio trio traffic in what their Bandcamp bio calls “Robe Rock”: fingerpicked guitars, warm synth pads, whispered three-part harmonies. It’s soft but not gentle; at least a few songs ventured into romantic outlooks that were not optimistic. The humor in their songs doesn’t announce itself. A lyric offers a twist, or an insight, and you blink. Solid set, chops to spare, moody-but-funny — which turned out to be an ideal warm-up for what followed.

Gass entered from the floor, already singing, already working the room. Mt. Air doubles as the Kyle Gass backing band, with one addition: John, who materialized for the headline set with a guitar and a willingness to take solos that were technically proficient in exactly the way six months of shredding lessons will make you technically proficient. Perfectly calibrated. This is Tenacious D’s whole thing: the joke is in the execution, and the execution has always been better than the joke requires.

The set leaned hard on the canon of drive-time classic rock radio: “Can’t Get Enough of Your Love,” “Spooky” (introduced as “an even deeper cut,” which Gass clearly found funnier than anyone), “American Band,” “Hard to Handle.” A recorder appeared for two songs — his estimate that it was worth over a hundred thousand dollars didn’t stop him from giving it away to someone in the crowd. He called Minneapolis his favorite crowd yet on this tour, then the biggest crowd yet, then noted soberly that the tour was not drawing a lot of people — a joke that landed somewhere between self-deprecating and nakedly honest. (Tenacious D is embroiled in a bit of scandal, a situation that has arguably cost Gass a rich late-career moment he’s rightfully earned. None of that was discussed. None of it needed to be.)

What rescued the evening from any heaviness was the crowd itself, and specifically Abby. Gass asked who knew “Tribute” really well. Hands rose, then wavered on Kyle’s follow-up questioning. Abby, somewhere in the middle of the floor, did not step back. “Yeah. Yeah. I feel good about it.” She came up on stage, didn’t miss a word, and handled the skibbidy-beep sections originated by Jack Black. The crowd was with her completely.

Here’s the thing about “Tribute”: it’s a song about a musical experience that can never be fully reproduced, only approximated, only described. The greatest song in the world, by definition, is gone. “You had to be there.” And yet here was Abby, and here were a hundred people who were, in fact, there — which is the whole argument for these smaller-venue tours, distilled.

Kyle Gass clearly enjoys this. That’s not nothing. That might be everything.