On the eve of his 30th anniversary at the helm of America's greatest backing band, Tom Petty led Mike Campbell and the boys on a two-hour musical journey Wednesday night, leaving no question as to how a man can still sell out the Post-Gazette Pavilion more than a decade removed from his last major hit.

For one, he's got the depth of catalog to pack that two-hour set with songs his public would be thrilled to hear while leaving any number of his best and brightest (from "Even the Losers" to "The Waiting") unplayed. For another, his heart is clearly still invested in the process, even on what may have been his seven-billionth performance of his earliest classic, "American Girl."

And, hey, it doesn't hurt to work the High Times vote by playing all your songs with references to getting stoned and then topping it off with an encore performance of "Rainy Day Women #12 & 35" that didn't seem to waste much effort on the double meaning Dylan had in mind when he sang "Everybody must get stoned."

Petty didn't play a single song from his most recent effort, 2002's "The Last DJ," which was probably a good idea. But this went beyond a greatest hits show. Sure, he played his share of hits, including nine Top 40 singles and other songs that feel like hits despite their chart performance, kicking off the set with the jangle of "Listen to Her Heart" and beginning his encore with "You Wreck Me." But he also dusted off lesser known treasures, including a spirited "What Are You Doin' in My Life," dipped into "Nuggets" for a raucous "Baby Please Don't Go" and played two new songs from the album he's been working on -- the moody, almost psychedelic "Turn This Car Around" and "Melinda," a gently rocking song that sounded like a "Full Moon Fever" outtake.

Most surprisingly, he saluted his Traveling Wilburys past with "Handle With Care," turning over the mike to multi-instrumentalist Scott Thurston when he got to Roy Orbison's vocal part.

The Black Crowes sounded great in an opening set that peaked a little late with back-to-back performances of "Twice as Hard" and "Remedy." Chris Robinson's vocals, in particular, were everything a Crowes fan could have hoped for -- gritty, soulful, phrased like Dylan raised on Otis Redding. And you never would have known the band had spent the past few years getting over a premature breakup -- they kicked out the gospel-flavored groove-rock with passion to spare and soaring leads from long-estranged guitarist Marc Ford.

But the Black Crowes haven't made their peace with the whole greatest-hits show idea. And if they plan to spend their summer on the road with Petty, maybe they should take some notes.