At 8:50 the stage went dark. L.A. deejay & Doors fan Jim Ladd was recognizable standing at the front mike as some bizarre (okay, unfamiliar to me) music played. The young lion photo of Jim with 1943-1971 written underneath was projected on the back as well as the two giant screens flanking the stage. Jim recited the "Is everybody in ... is everybody in ... is everybody in ... the ceremony is about to begin ... ladies and gentlemen, from Los Angeles, California" introduction ... according to my scribbled notes, they were introduced as The 21st Century Doors.

The audience jumped to their feet and stayed there as the stage lights went up to reveal the shadowy figures onstage, and the band launched into the rousing Roadhouse Blues. Ray was wearing a dark jacket draped over his shoulders, over a light grey long sleeved shirt and a dark knit shirt. Robby was in his brown & black long-sleeved print shirt over a dark t-shirt and camouflage pants. Ian was in blue jeans, black leather jacket over black t-shirt and wraparound sunglasses. Bassist Angelo Barbera was all in black, and drummer Ty Dennis was in a black shirt, light pants, and dark knit cap on his head (but only for awhile).

Ray removed his jacket before the band went into Break On Through, which included the Dead Cats, Dead Rats section. There was a psychedelic light show projected behind the band during this song, and throughout much of the show: globby, colorful psychedelic bubbles. This show's video backdrop also included images of Presidents Bush and Nixon, cemetery crosses, etc. There were some new, timely lines inserted, asking "Are we going to war?" and "Bush is gonna drive us all insane." Ian did some AMAZING strutting through this song. What an exciting focal point he makes!

It was 9:05 as the band began When The Music's Over. Some of the backdrop images included a bullfight and the moon, but most of the time I was focused on the performances! As the song reached its climax, Robby and Ray took turns singing "We want the world" after Ian sang that line first. Robby ended the song with a cool jump.

Ian told the audience (who, by the way, were STILL on their feet) that he was there to honor Jim, just like the rest of us ... but, the music lives! That was followed by Love Me Two Times. Ian introduced Ray during this song, and asked the audience if that was any way to behave at a rock & roll concert. Ray replied: "Damn right it is."

The band went into Alabama Song (Whisky Bar). Ian's sunglasses were removed, Ray's shirt sleeves were rolled up, and Robby had removed his shirt to reveal a one-sided black & white t-shirt with Jim's face. This is the shirt with all the song titles written in small white letters across Jim's face.

Next up: Back Door Man with the lyric changed from 'eat more chicken' to 'eat more pussy' than any man ever seen. Following the song, Ray introduced Ty on drums, Angelo on bass, and Robby.

During Five To One, the videos projected included clips of war scenes, Martin Luther King, protests, bombs, NO ONE HERE GETS OUT ALIVE words, fires, etc. At the end of the song as Ian described what he was going to do out in the car with some people, he threw in LSD, ecstasy, and porno magazines.

The curtains closed off the background video screen as Ray introduced Strange Days with its new re-worked intro and arrangement. Ray's grey shirt was gone, and he was down to a black or dark blue short-sleeved shirt. He explained that there would be a new recording released by the end of 2003 with song and poetry contributions by Jim Carroll, John Doe, and Michael McClure --- in honor of Jim and spoken word poetry.

The curtains re-opened to reveal the video screen again. We noticed that Robby switched guitars and strapped on his Rick Turner, which always signals Spanish Caravan. Robby took the center stage spotlight for an extended and beautifully intricate introduction to that incredible song. It was easy to tell when a large portion of the audience suddenly realized what song that intro was leading into. It was amazingly executed as always, and especially enthusiastically received.

Ray came to the front microphone to introduce Jim's poetry. The stage floor was awash in smoke effects and Ian began reciting Awake / Ghost Song. This was a much bigger production than previous performances of this number, as this time there were at least 10 American Indians in native dress entering the stage and dancing all around the band. It didn't stop there, as many of them left the stage and danced up the aisles. I recognized two of them as the ones who had performed this section at the Las Vegas show last month. Ray took over the vocals for the Hill Dwellers section. At the conclusion he recited and credited many Indian tribe names.

As visually entertaining as this section was, it is my least favorite. Not only would I prefer to be "rocking out" to another favorite Doors song, but its effect overall seems to (only temporarily) slow the show's momentum. Audience members took the opportunity to answer nature's call or go for more refreshments.

People Are Strange was next up; this was the first time that audience members began to sit down (but not for long).

Moonlight Drive followed, evoking a terrific response. Fans know this is the first song that Jim, Robby, Ray and John ever played together, and how much Jim was taken with Robby's bottleneck playing ... telling Robby he wanted that used on every song! Ian took the opportunity to shake or slap a few hands at the front of the stage during the "going down, down section" sung by Ray.

Horse Latitudes followed. Robby was still using the bottleneck, and Ray added a boogie-woogie / jazzy outro to the song. Ian introduced Ray when the song ended.

Wild Child ensured that everyone was on their feet again, as Robby continued with the bottleneck. Ian did some emphatic stage-stomping during this song ... Ian really inhabits it and makes it his own like no other.

By now it was 10:10. Ray thanked the audience for coming before they launched into L.A. Woman. I was so glad to have this back in the set with Ty Dennis on drums. The L.A. Woman video with John Doe and Julee Cruise was projected behind the band. During the "mojo risin" section, Ian was standing on Ty's drum riser. He threw something out into the audience at the end ... I think it was a tambourine.

Ian told the audience they f**king ruled, and then Ray introduced the band members again. At 10:20 they began Light My Fire. When the instrumental ride began, Ian left stage front and knelt behind the drums. Robby sat on the edge of Ty's drum riser during part of Ray's keyboard lead, before he took center stage for his own lead. At one point he moved over near bassist Angelo, generously sharing the spotlight with him as he always does. There was a very psychedelic light show going on during this song. Robby infused the guitar solo part with bits from both My Favorite Things and Eleanor Rigby. The giant screens projected close-ups of Robby's always astounding guitar work. Ian returned to the mike and injected the Get Up, Stand Up, Stand Up For Your Rights that he has been including in this song. Robby shared the spotlight with drummer Ty as the song was climaxing; Ray was up on his feet, and Ian tipped over his mike stand in all the frenzy.

The band left the stage, but Ian stayed to say that we should let them know if we wanted more. DAMN RIGHT WE DID. The Doors logo was projected on the backdrop; The Doors 21st Century manager Tom Vitorino appeared onstage asking if we wanted to hear one more; the audience answered resoundingly, and were rewarded with a prompt band return to the stage for Riders On The Storm. Ray was wearing the grey shirt again when they returned.

One of them said "Here's one for you," and they gave us Maggie M'Gill. That is such a great song, it's terrific that the band is including it in their sets. Again, there were camera close-ups of Robby's bottleneck work on this song. Ray joined in on the vocals during the song outro. It was 10:45 when they left the stage.

Marco then came onstage; it appeared he was preparing to remove the mike stands and guitars. He had a surprised look on his face as Ray and the others strode back onstage to the thunderous audience chanting and applause.

The second encore began with Peace Frog, such a universal favorite! Ray enjoined everyone to love one another and reminded us that we are all native Americans, that everyone born on this soil is a native American.

Soul Kitchen was the FINAL finale. Not very far into the song, an audience member jumped onstage and was led off by Tom Vitorino. Another one jumped up to hug Ian. A girl with orange hair, then another guy, and another and another ... very soon there were so many people jumping onstage that the security could not keep up with escorting them offstage and gave up. I estimate that there may have been close to 50 people onstage at the end ... it was SO rock and roll! Although there were a few trying to hug Ian and the others, the band kept playing and never missed a beat. Robby, Ray, and Ian were flanked by stage crew members while they finished out the song. At one point Ian exclaimed that sex is back in rock and roll! Ian was lifted up onto shoulders and was visible above the joyful, exuberant audience members dancing and crowding the band as they played.

Ian's performance continues to become more confident and more his own ... he is NOT a Jim imitation. His moves are purely his ... Jim did not move and dance onstage in the manner that Ian does; their performance styles are distinctly different. I wish nay-sayers would stop accusing him of being a Jimitator; Ian is one helluva frontman for this band, and I am now an Ian fan. He should be accepted for the contributor that he is, which includes providing a magnetic and visual presence that allows us to enjoy the joint talents of Robby and Ray onstage together, again.

Angelo's quiet and energetic presence behind Robby onstage is fun to watch. He has his own unique way of demonstrating how into the groove he is. Ty's strong and exciting drumming is the perfect driver for this band; his jazz influences put him in exactly the right mode to fill John Densmore's still sorely missed presence. But that's another whole topic. I heard nothing but rave reviews about Ty's drumming; scarcely anyone seemed to regret that Stewart Copeland was missing from the stage. The drumming talent matters more than the headline name.

WHAT AN EXCITING NIGHT IT WAS! There were plenty of fans in line outside the box office without tickets hoping to score admission. I didn't see anyone selling extra tickets or even scalpers with tickets that they couldn't unload, so there may have been many disappointed fans who waited too long to buy theirs.