A sign outside the venue said masks were required, but as we waited for the gates to open, very few people seemed to be complying, though some folks had them in their hands or tied to their arms. A cheer went up when the people in bright yellow and black approached the gates, but it was premature. They were getting in place, ready to let us in, but waiting for some sign to actually begin the process. My recollection was that last time it was at least twenty minutes after the scheduled time before the gates opened. This time there was the added element of having to check everyone’s vaccination card. At 5:30 p.m. (the scheduled time), another cheer went up, but again it was premature. It was more of a hopeful cheer anyway, a cheer that said, “Please?” And some folks began putting on the masks they’d been holding. Then at 5:38 p.m., the gates were opened, and a third cheer went up (though oddly it wasn’t as enthusiastic as that initial cheer). A woman checked vaccination cards before we got too close to the metal detectors, something of a time-saving device, thought it seemed it would be easy to walk right past her. Once we were through the gates, a woman next to me said “That was fun.” She then changed her mind and asked, “When does the real fun start?” “In an hour and a half,” I said. It was 5:47 p.m.
It wasn’t long before pot smoke began rising into the air, its odor strong even through two masks (the outer layer is a Skull And Roses mask that my girlfriend got for me). The edibles I’d taken had me in a fairly mellow, cheerful place, even when a harsh and overly enthusiastic voice came over the speakers, demanding we try… What was it again? I forgot immediately, but it was likely some item at the refreshment stand. No matter, the voice did not return. Instead, we focused on what was important, and there was that usual question of what the opening song would be. A woman behind me said, “I call ‘Dire Wolf.’” The guy next to her asked, “For opener?” But she was not swayed. “Sure,” she said. At 7:15 p.m.., the lights went out. At the first bit of strumming on guitar, the guy next to me called “Playing In The Band.” I wasn’t sure. At times it felt like it could possibly be “Morning Dew” or even “The Wheel,” which would be interesting. Folks were swaying and dancing, like we were already waist-deep in the song. And soon it became clear the guy next to me was right. The jam had a good, easygoing way about it. Nothing too far out yet, for the band was just getting us going, and these guys knew something about pacing. But then John Mayer started delivering interesting stuff on guitar, having reached a certain realm, and then wanting to groove there for a while. The groove then loosened up and suddenly the band segued into “Deal.” This song often used to close the first set, but I like its placement here near the beginning of the show. I also really enjoyed that vocal section these guys do now. That led straight into a cover of “All Along The Watchtower,” a song that used to be placed late in the second set. The guys jammed on it more than they used to. Back in the day, it was usually a brief number, almost like connective material between two other songs. But here it took on a great life of its own, and featured some excellent stuff from Jeff Chimenti on keys during the jam. And, then, bam, they went into “Mr. Charlie,” and everyone was immediately digging the groove.
Not a single pause through the first four songs, which is remarkable during the first set. It wasn’t until after “Mr. Charlie” that the band did pause before going into “Ramble On Rose.” It’s still a bit strange hearing Bob Weir singing this one, but he did a good job with it, getting the audience cheering in all the right spots and singing along with the chorus (because, honestly, who can remember the verses?). Everything was working well, the stage transforming briefly into a giant stained glass jellyfish in a moment when I turned my head. These things happen, you know. But, yeah, Bob is now the leader of the band. This song had a gentle conclusion. It was followed by “They Love Each Other,” which spread some great vibes over the entire audience, and people were turning to each other, connecting, checking in with one another. And John Mayer basically added some scat near the end. It was a sweet rendition, and the crowd certainly appreciated it. That was followed by “High Time,” which Dead And Company debuted at the Hollywood Bowl in 2019. Oteil Burbridge took lead vocal duties, which got the crowd even more excited. His was a beautiful and soulful performance, but I remember being even more moved when Bob Weir sang some of the verses a couple of years ago. The first set then ended with a return to “Playing In The Band,” Bob on acoustic guitar for the first portion, and switching back to electric during the jam. Things became beautiful, and then later a bit disjointed just before they went back into the familiar “Playing” theme. It was a thoroughly enjoyable first set. No new ground was broken, or anything like that, mind you, but it was a fun set. It ended at 8:31p.m.
During the set break, I asked the guy who’d guessed “Playing In The Band” what his thoughts were on a second set opener. “’Dire Wolf’ as opener,” he said firmly. Had that woman’s idea gotten lodged in his brain, or was this his own prediction? I wasn’t sure, but a moment later he added, “Or ‘Estimated Prophet.’” Taking another edible during the set break felt like the right move. The woman at the store earlier in the day had not steered me wrong. To my right, I noticed a solitary microphone stand, a taper section of one. What ever happened to the taper section? At 9:11 p.m., the lights went out and the band took the stage again.
They kicked off the second set with “Sugar Magnolia,” and the crowd was immediately on its feet. Dancing at the Hollywood Bowl, particularly in the upper sections, sometimes feels like dancing on a large rubber ball, trying to maintain some sort of balance and not fall forward into oblivion, but I somehow remained steady. There was the slightest of pauses, and then the band followed “Sugar Magnolia” with “Help On The Way,” with yellows and purples on the stage and audience alike. When they moved into “Slipknot!” the yellows and purples gave way to reds and greens, with white lights dancing across the stage like a car’s headlights moving across a bedroom wall, and that’s when things really started getting interesting, and to open up. However, there were moments when the music became surprisingly dark, leaving me to wonder what direction these guys were taking us, but before things could become too twisted to handle, too scary, they brought us back with that groove. And “Franklin’s Tower” arrived with some relief. Dead And Company took this song into some nice places, and I loved that interaction between John Mayer and Jeff Chimenti. The music did seem to slip from reality at times, like the performance was part memory, a look back at what once was. Did the song used to end this way? Weird. And soon they were playing “Estimated Prophet,” and we wondered if memory is paradise. Sometimes it is like we are living inside these songs, familiar and yet evolving places where we are always welcome, but where sometimes we have to put in our own work. During “Estimated,” it felt like the band was taking us somewhere. But where?
The “Drums” segment came thumping in, and as that door opened, it dissolved into silver, and an eerie light was given birth. There was the driving sense that we were far from alone, even as we moved out to the edges, drawing a course across the river. Was anyone else hearing those voices? I could understand them, but it was more the sense than the words themselves. Were there words at all? It was like they were speaking through the sounds of toys, with the hearts of toys. And “Space” began at the edge, broken from an earlier moment and reformed into whatever vessel could hold us. We found ourselves in darker, earlier times, this “Space” coming from a dream of childhood, one that got angry if you tried to hold on to it. However, it yielded a pretty conversation with a strong feminine bent, though with “The Other One” lurking, creeping below the surface, ready to pounce. There was an attempt to tame it at the same time, before it could break free. But of course that beast broke the surface, announcing itself, dancing around us, hypnotizing us, gathering us within. This “Other One” was like a giant magical snake curling around all of us, sending off emergency signals as we traveled deeper into the sorcery’s lair. We could hear the heartbeat as well as see the creature rushing upon us. But no worries, as Bob was now driving the bus right to us, and all we had to do was step aboard. Ah, it was so long ago when it began. That led into “Standing On The Moon,” which felt gentle. We are old friends, it told us. And I suddenly wondered if we were all more fragile now. Perhaps, but this music brought us together and then took us to someplace familiar, a place nearly known, if we could only force the word from behind our teeth. The band took us on a ride, then deposited us safely in “Sunshine Daydream,” where we could see through the bones. The first set began and ended with “Playing In The Band,” and the second set began and ended with “Sugar Magnolia.” Everything was rounded, and no one was being left behind. The only way to complete a show like that was to play “Ripple” for the encore. Perfect. The show ended at 10:55 p.m.
Set List
Set I
- Playing In The Band >
- Deal >
- All Along The Watchtower >
- Mr. Charlie
- Ramble On Rose
- They Love Each Other
- High Time
- Playing In The Band
Set II
- Sugar Magnolia
- Help On The Way >
- Slipknot! >
- Franklin’s Tower
- Estimated Prophet >
- Drums >
- Space >
- The Other One >
- Standing On The Moon
- Sunshine Daydream
Encore
- Ripple
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