Tom Petty Disputes Fire Marshall in Shutdown of Hollywood Show

Tom Petty and the Heartbreakers, with musician Mike Campbell perform at the Fonda Theatre on June 3, 2013 in Los Angeles, California.

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Twenty-four hours after the fire marshal brought an abrupt end to Tom Petty's fourth concert at the Henry Fonda Theater, the rocker was already considering remedying the situation himself.

"We had to quit a little early last night," Petty said early in Sunday's set between "Listen to Her Heart" and "Honey Bee." "I don't like to assign blame, but it wasn't me. I'm absolutely sure we're going to work this out. If I have to pay it myself, everyone will be reimbursed."

Tom Petty Goes for Artistry Over Obvious at Henry Fonda Theater

Petty and the Heartbreakers were 90 minutes into their two-hour show Saturday when the fire marshal decided there were too many people on the main floor of the 1,300-capacity venue in Hollywood. Naturally, 100 people were not about to leave to allow the concert to continue.

On Sunday morning, the band issued a statement that read, in part, "The number of tickets sold was NOT above the legal capacity of the building. The venue and Ticketmaster documentation confirms this. Tom Petty and The Heartbreakers and our representatives rely on the concert promoter and venue representatives to give us an accurate breakdown of the legal capacity for every part of the building and to provide security and other staff to enforce this."

The Sunday show felt less crowded than the opener on June 3. Petty and the Heartbreakers have used this run to play what he calls "deep tracks" and covers -- only seven songs have made it into each of the five sets -- and Sunday's show was the bluesiest of the bunch. Petty kept the musical pace about mid-tempo for much of the night offering Willie Dixon's "I Just Want to Make Love to You," Bob Dylan's "Knockin' on Heaven's Door" and J.J. Cale's "13 Days."

Guitarist Mike Campbell and Petty turned "It's Good to be King," the Traveling Wilburys' "Tweeter and Monkey Man" and "Good Enough" into intense, extended jams; "Wildflowers," "Rebels" and a sharply played "Walls" provided softer moments.