Allman Betts Band, March 22, 2026, Hawaii Theatre, Honolulu, Hawaii
A little sunshine goes a long way in Hawaiʻi, especially after a week of wild weather. As concertgoers made their way into the historic Hawaii Theatre, there was a noticeable lightness in the air. After two back-to-back storm systems drenched Oʻahu and left parts of the island underwater, the clear skies felt like a small miracle. You could sense it in the crowd, this wasn’t just another night out, it was a collective exhale. And what better release than the Allman Betts Band, rolling into town?
Coming just a week after the whisper-quiet, soul soothing set from Iron & Wine, the shift in energy was immediate. Where Iron & Wine invited you to lean in and reflect, the Allman Betts Band gave you permission to loosen up a bit, get out of your seat, and maybe even move your feet like you’re at a Southern roadhouse instead of a velvet lined theater in downtown Honolulu.
The band arrived in Honolulu fresh off performances in Japan. The sense of a road-tested cohesion was evident throughout the night, not only between leaders Duane Betts and Devon Allman, but across the full lineup, with Justin Dean Corgan on drums, Johnny Stachela on guitar, Alex “Orbi” Orbison on percussion, John Lum on bass, and John Ginty on keys all contributing to a tightly woven, dynamic sound. The group has moved beyond simply carrying the legacy of their fathers, Gregg Allman and Dickey Betts, into something more fluid and self-assured.
Opening with a loose, groove-heavy warmup before settling into songs like “Autumn Breeze” and “King Crawler,” the band established a tone that balanced polish with spontaneity. Their original material, much of it drawn from Bless Your Heart, included extended instrumental passages that allowed each player to stretch out.
The setlist itself reflected the band’s dual identity. Originals like “Savannah’s Dream,” and “Pale Horse Rider,” were interwoven with a generous selection of The Allman Brothers Band classics. When the opening chords of “Blue Sky” rang out, the audience response was immediate. “Melissa” followed with a softer touch, its melody drifting through the theater.
About three-quarters of the way through the set, came one of the night’s biggest surprises, an appearance from local ukulele wizard Jake Shimabukuro. When he stepped onstage for “Dreams” and “Magnolia Road,” the vibe shifted to “are you kidding me?” in the best way. Watching him trade solos with the band was pure joy, fluid, playful, and just a little bit jaw-dropping. The ukulele didn’t feel like a novelty, it felt like it had always belonged there. https://www.jakeshimabukuro.com
What stood out most throughout the night was how loose everything felt. The band seems to have fully grown into itself, no longer leaning on legacy as a safety net but using it as a launchpad. Songs drifted, stretched, and occasionally took scenic routes, but that sense of adventure made the whole performance feel alive.
The band’s momentum peaked during the closing stretch. “Jessica” stretched into a joyful, expansive jam, with its familiar melody. The encore brought things back to earth in the best possible way: “Pale Horse Rider” offered a reflective moment before Jake Shimabukuru returned for “Midnight Rider”, closing the night with a communal, almost celebratory energy.
Allman Betts is a band still evolving, still stretching, and still finding new ways to make old songs, and new ones,feel alive. On this night, under clear skies and with spirits lifted, the Allman Betts Band brought the groove, and Honolulu was more than ready for it.
Find tour dates and more information here: https://www.allmanbettsband.com
Enjoy some of our previous coverage here: Show Review: Allman Betts Band Showcases Their Collaborations with JD Simo opening in OKC
Setlist
Wash In A7, Autumn Breeze, King Crawler, Savannah’s Dream, Blue Sky, Melissa, Dreams (w/Jake Shimabukuru), Magnolia Road (w/Jake Shimabukuru), Shinin’, Pale Horse Rider, Jessica, Midnight Rider (w/Jake Shimabukuru)