Killah

Killah PLAYLIST Power to the People
October 3, 2026
Merriweather Post Pavilion
Columbia, Maryland The master music archive: standalone sets, collaborations, covers, guest explosions and the final convergence. STATE RADIO Democracy in Kind
CIA
Revolutionaries
Calling All Crows
Cry Out
Gang of Thieves
Camilo GRANDSON AUTONOMOUS DELIVERY ROBOT
BURY YOU
We Did It!!!
Oh No!!!
SELF IMMOLATION
Masters of War — Bob Dylan, 1963
Blood // Water The set also carried the recurring “My president's a felon” refrain and the Trump/Epstein political theater. JACK SABBATH Jack Black / Roman Morello / Revel Ian / Yoyoka Soma / Hugo Weiss Mr. Crowley — Ozzy Osbourne, 1980
The Wizard — Black Sabbath, 1970
War Pigs — Black Sabbath, 1970 Jack Black played harmonica on The Wizard. Geezer Butler joined for War Pigs. THE LINDA LINDAS Young punk enters the day's musical timeline. Their complete song sequence remains one of the surviving holes in the archive. BRITTANY HOWARD Soul, rock and American roots enter the mix. Complete song sequence remains open. KILLER MIKE Rap, gospel, spiritual and political music. His set carried one of the day's strongest explicit voting messages. DOWN BY LAW
Shed Tears
Never Scared
Never Scared — Reprise
Kryptonite (I'm on It)
SLUMMER
Reagan
YES! CYPRESS HILL Standalone Cypress Hill set. Jump Around — House of Pain cover — closed the set. Flavor Flav joined. B-Real and Sen Dog would later reappear inside Morello's musical universe. NATHANIEL RATELIFF Tonight #2
Heartless
South of Here
Standing in the Rain Boys
The Future
And It's Still Alright
Time Stands Rateliff later returned repeatedly as the festival moved toward collaboration and convergence. TOM MORELLO + FREEDOM FIGHTER ORCHESTRA The concert inside the concert. Soldier in the Army of Love Date Night Hold the Line — with grandson RAGE / AUDIOSLAVE MEDLEY Bombtrack
Know Your Enemy
Bulls on Parade
Guerrilla Radio
Sleep Now in the Fire
Bullet in the Head
Cochise Then the guest doors open. Adjourn It — with Serj Tankian Like a Stone — with Serj Tankian
Chris Cornell / Audioslave connection. Prophets of Rage — with Chuck D and B-Real It's Tricky — with DMC Walk This Way — with DMC, Scott Ian, Chuck D, B-Real, Sen Dog and Jack Black Fight the Power — with Flavor Flav, Chuck D, B-Real, Sen Dog and DMC Killing in the Name Rock and Roll All Nite — with Dave Grohl By the end, genre had largely ceased being useful information. SUNS OF SOUNDGARDEN Taylor Momsen / Matt Cameron / Mike McCready / Robbie Mangano / Tom Morello Loud Love
Outshined
Spoonman Three Soundgarden songs. One missing giant standing invisibly in the middle: Chris Cornell. PUBLIC ENEMY Standalone set. Material included: By the Time I Get to Arizona Can't Truss It Shut 'Em Down Black Steel in the Hour of Chaos Welcome to the Terrordome 911 Is a Joke Bring the Noise — with Scott Ian Ball of Confusion — The Temptations/Motown foundation pushed into a contemporary Public Enemy treatment Fight the Power The second Fight the Power of the day. This time Public Enemy takes it home. DAVE MATTHEWS Acoustic. Don't Drink the Water
including a This Land Is Your Land reference/snippet Peace on Earth So Damn Lucky Papertown Save Me Then the borders begin disappearing again. Mercy Mercy Me (The Ecology) — Marvin Gaye, 1971
with Cindy Mizelle JOAN BAEZ + NATHANIEL RATELIFF Deportee (Plane Wreck at Los Gatos)
Woody Guthrie lyrics / Martin Hoffman music Ain't Gonna Let Nobody Turn Me 'Round
traditional civil-rights freedom song An American folk/civil-rights bloodline enters the late-day sequence. STEPHEN STILLS + TOM MORELLO with the surrounding Matthews/Rateliff configuration For What It's Worth — Buffalo Springfield, 1966 Written by Stephen Stills. Sung again by Stephen Stills sixty years later. DROPKICK MURPHYS Who'll Stand With Us? The Boys Are Back Citizen I.C.E. Don't Call Me a Fucking Terrorist Johnny, I Hardly Knew Ya Bury the Bones First Class Loser
with Michael Fanone The Men Behind the Wire Rose Tattoo Worker's Song I'm Shipping Up to Boston Jimmy Williams Jr., president of IUPAT, joined the stage during the Dropkick portion of the day. The set tied punk, immigration, organized labor, Irish political history and contemporary American politics together. FOO FIGHTERS Times Like These Young Man Blues — Mose Allison, 1957 The old lyric was widened in performance: young man / young woman. All My Life The Pretender My Hero Best of You Everlong Then Grohl disappears for a while. He isn't finished. THE FINAL CONVERGENCE After hours of rotating musicians, bands and political voices, the architecture reverses. Instead of people leaving the stage— they begin accumulating. BRUCE SPRINGSTEEN — ALONE Streets of Minneapolis Acoustic. Present tense. The audience answers: ICE OUT NOW. BRUCE SPRINGSTEEN + JOAN BAEZ Chimes of Freedom — Bob Dylan, 1964 Two people. One old song. Sixty-two years of history sitting inside it. SPRINGSTEEN + TOM MORELLO + FREEDOM FIGHTER ORCHESTRA Springsteen switches to electric. Clampdown — The Clash, 1979 The machine. Workers. Authority. Assimilation. The 1979 warning returns outside Washington in 2026. SPRINGSTEEN + MORELLO The Ghost of Tom Joad — Bruce Springsteen, 1995 Steinbeck → Springsteen → Morello. Workers, migrants and people living underneath the American promise. SPRINGSTEEN + MORELLO + DAVE MATTHEWS + NATHANIEL RATELIFF Fortunate Son — Creedence Clearwater Revival, 1969 “It ain't me, I ain't no senator's son.” The stage gets larger. DAVE GROHL JOINS Rockin' in the Free World — Neil Young, 1989 Springsteen and Morello trade guitar fire. Dave Matthews pulls the song toward 2026 with contemporary lyrical material, including references to: school shootings and trees being cut down for toilet paper. Neil Young's chassis. 2026 driving. EVERYBODY GET BACK ONSTAGE The call goes out for the day's performers to return. The festival becomes one giant ensemble. Then America gets one of its oldest songs back. THIS LAND IS YOUR LAND Woody Guthrie — 1940 Before the performance, the history of the song's omitted/censored political material is addressed. The framing reaches into: private property
exclusion
Indigenous dispossession
concentrated wealth
billionaires and oligarchs Then the song moves through the stage. Bruce Springsteen Joan Baez Dave Matthews grandson — contemporary contribution DMC / Darryl McDaniels — contemporary contribution Tom Morello the mass cast the audience An 86-year-old folk song becomes an open-source political document. The simplest chorus of the day carries one of its biggest arguments. POWER TO THE PEOPLE John Lennon / Plastic Ono Band — 1971 The final song. The festival's name becomes its chorus. The chorus becomes a chant. The stage becomes a crowd. The crowd becomes the song. THE HISTORICAL SPINE 1940 — This Land Is Your Land 1948 — Deportee 1957 — Young Man Blues 1963 — Masters of War 1964 — Chimes of Freedom 1966 — For What It's Worth 1969 — Fortunate Son 1970 — The Wizard 1970 — War Pigs 1970 — Ball of Confusion 1971 — Mercy Mercy Me (The Ecology) 1971 — Power to the People 1975 — Walk This Way 1975 — Rock and Roll All Nite 1979 — Clampdown 1989 — Rockin' in the Free World 1989 — Fight the Power 1992 — Killing in the Name 1995 — The Ghost of Tom Joad 2026 — Streets of Minneapolis Eighty-six years of music. Folk became rock. Rock became punk. Soul became political testimony. Metal became protest. Hip-hop became political journalism. Genres crossed. Lyrics changed. Old musicians stood beside young ones. Dead writers entered through living voices. And the final sequence reduced the entire archive to two songs: THIS LAND IS YOUR LAND. Then: POWER TO THE PEOPLE. The songs ended. The fucking argument didn't.