Patti Smith Celebrates 50 Years of ‘Horses’ with Unforgettable Concert

Patti Smith captivated audiences on November 13, 2025, at the Masonic in San Francisco, marking the 50th anniversary of her groundbreaking album, Horses. The concert showcased the enduring power of rock ‘n’ roll, with Smith and her band delivering a passionate performance that highlighted the album’s influence on generations of artists.

The night was a celebration of not just the music but also the cultural impact of Horses, which is frequently regarded as one of the greatest albums of all time. The record’s unique blend of rock and poetry has inspired countless musicians, including Michael Stipe of R.E.M. and Courtney Love of Hole. This concert was a rare opportunity for fans, as it marked the first time in two decades that Smith specifically celebrated Horses during her performances.

Tickets for the event sold out quickly, with resale prices soaring to thousands of dollars, an uncommon trend for a Patti Smith show. The anticipation surrounding the concert was palpable, as fans eagerly awaited a night filled with nostalgia and musical brilliance.

Taking the stage just after 20:15, the 78-year-old Rock and Roll Hall of Famer wasted no time, launching into a reimagined version of Them’s classic “Gloria.” Joined by original Horses musicians Lenny Kaye on guitar and Jay Dee Daugherty on drums, along with keyboardist/bassist Tony Shanahan and her son Jackson Smith on guitar, the band set a high-energy tone for the evening.

Throughout the first half of the concert, Smith expertly navigated the eight tracks of Horses, moving from the spirited “Redondo Beach” to the powerful “Free Money” and the intense “Birdland.” While she initially kept interactions with the audience to a minimum, her storytelling began to shine through as the concert progressed.

“Now it’s time to take the record, turn it over and put it on the turntable,” Smith instructed, inviting fans to join her on a journey through the album’s origins. Her anecdotes, filled with vivid imagery from the 1970s New York City arts scene, added a personal touch to the performance. One particularly whimsical story involved her memories of sharing coffee and chocolate donuts with Tom Verlaine, the frontman of fellow CBGB legends Television, as they dreamed of rock legends taking flight.

The concert’s pacing remained engaging as Smith transitioned from “Break It Up” to “Elegie,” the latter of which, although a slight deviation from the album’s original flow, served to enhance the overall experience. The band concluded the Horses segment with a riveting rendition of “Land,” before taking a brief intermission.

During this pause, the remaining band members paid tribute to Verlaine’s Television with a dynamic three-song set that included “See No Evil,” “Friction,” and the iconic “Marquee Moon.” These tracks, much like Horses, hold a significant place in rock history, further elevating the evening’s atmosphere.

After returning to the stage, Smith delivered an exceptional performance of “Dancing Barefoot.” A brief technical issue arose when a bass amp malfunctioned, prompting Smith to humorously address the crowd, stating, “Sorry, Tony fried the bass amp.” The band quickly resolved the issue, continuing with powerful renditions of “Pissing in the River” and “Peaceable Kingdom,” the latter teasing the beloved anthem “People Have the Power.”

Smith’s vocal performance remained strong throughout the night, culminating in a stunning rendition of “Because the Night” that left the audience in awe. The main set concluded with a three-song encore featuring “Happy Birthday to You,” sung to her touring agent Frank Riley, followed by “Ghost Dance” and the highly anticipated return to “People Have the Power.”

This concert was more than just a celebration of an album; it was a testament to the lasting impact of Smith’s artistry and the indomitable spirit of rock ‘n’ roll. As fans left the Masonic, they carried with them not only the memories of the music but also a renewed appreciation for the power of creativity and community that Smith’s work embodies.