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Joni Mitchell’s October 19, 2024, Hollywood Bowl concert was a two-set, 27-song journey through familiar favorites and less expected corners of her catalog. “Both Sides, Now” closed the first set; “The Circle Game,” sung with the ensemble, brought the night to a close. Marcus Mumford and Annie Lennox joined her for two documented guest performances.
How the concert unfolded
The official Joni Mitchell chronology lists 27 songs across two sets. The sequence moved between recognizable songs and selections from across her catalog, including later-period material. Reviewers described that balance as a deliberate alternative to a predictable hits-only program.
Set One
- “Be Cool”
- “Harlem in Havana”
- “Hejira”
- “Cherokee Louise”
- “Coyote”
- “Carey”
- “The Sire of Sorrow (Job’s Sad Song)”
- “God Must Be a Boogie Man”
- “Sunny Sunday”
- “If I Had a Heart”
- “Refuge of the Roads”
- “Night Ride Home”
- “Both Sides, Now”
Set Two
- “Big Yellow Taxi”
- “Raised on Robbery”
- “California” (with Marcus Mumford)
- “The Magdalene Laundries”
- “Ladies of the Canyon” (with Annie Lennox)
- “Summertime”
- “Come in from the Cold”
- “A Case of You”
- “I’m Still Standing”
- “Dog Eat Dog”
- “Amelia”
- “If”
- “Shine”
- “The Circle Game”
A set list built beyond the hits
The shape of the program is central to what made this night distinctive. Familiar songs such as “Big Yellow Taxi,” “Carey,” “A Case of You,” and “The Circle Game” sat alongside material that is less commonly associated with a greatest-hits performance. The Los Angeles Times highlighted the presence of “Sunny Sunday,” “Night Ride Home,” “The Magdalene Laundries,” “Dog Eat Dog,” and “Come in from the Cold,” describing a searching center drawn from Mitchell’s later catalog.
MOJO called the show a three-hour triumph and pointed to deep cuts and songs new to Mitchell’s live repertoire. That is the reviewer’s characterization of the performance’s length and significance, rather than an official duration measurement. Variety likewise emphasized the rarity of particular selections: Chris Willman described “The Sire of Sorrow (Job’s Sad Song)” as a first-ever live performance and said “God Must Be a Boogie Man” had not been performed by Mitchell since 1983. MOJO also identified “If I Had a Heart” as a song she had never played live before. These are contemporary reviewers’ claims, not details in the official chronology.
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Two sets, with a clear emotional arc
“Both Sides, Now” concluded Set One. After the intermission, “Big Yellow Taxi” opened Set Two, shifting the evening back into a lively, familiar register before the program moved through its guest turns and deeper selections. Contemporary coverage singled out “A Case of You” as one of the later emotional focal points. The concert ended with “The Circle Game” as a group singalong; Rolling Stone reported that the first night finished at about 10:30 p.m.
Guests and the Joni Jam ensemble
The chronology documents Marcus Mumford joining Mitchell on “California” and Annie Lennox joining her on “Ladies of the Canyon.” Their appearances were specific guest pairings within a broader ensemble setting, not separate headline sets. Rolling Stone reported that Brandi Carlile addressed the audience during the performance, saying, “We used to just sing her songs to her, which is bloody terrifying.”
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Keep Night One separate from Night Two
This review concerns Saturday, October 19, 2024. Mitchell also performed at the Hollywood Bowl on Sunday, October 20, with a separately documented set list. The Guardian review cited in coverage is about the Sunday concert, including a Sunday-stage remark about how Mitchell sounded the previous night; it should not be treated as a review of the October 19 performance. The dated entries in the official chronology distinguish the two shows.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Verdict
Night One’s appeal was its range: a two-set sequence that made room for beloved songs, less expected catalog choices, and guest performances without reducing the evening to a conventional hits showcase. The set list and its structure are documented in Mitchell’s chronology; descriptions such as “three-hour triumph” and the emphasis on rare performances belong to the contemporary reviewers who attended.
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