SAN FRANCISCO — The City has been abuzz as it prepares for three consecutive weekends of music at Golden Gate Park, starting with a three-night stand by Dead & Company, celebrating 60 years of the Grateful Dead’s music in front of an estimated 55,000 concertgoers.
Dead & Company Johnny Blue Skies (Saturday), Trey Anastasio Band (Sunday) 4 p.m., Saturday and Sunday Golden Gate Park Tickets: $245 and up.
It’s the details that elevate a great party into an epic gathering, and Dead & Company’s musical and historical attention to the Dead’s storied six-decade legacy ensured that opening night of its sold-out weekend run was worthy of the hype that blanketed San Francisco.
Original members Bob Weir and Mickey Hart, along with John Mayer, keyboardist Jeff Chimenti, bassist Oteil Burbridge and drummer and Jay Lane opened with the familiar late period Dead favorite “Feel Like a Stranger.” Weir was stoic as the strong and powerful song paved the way for the two-and-a-half-hour show.
It’s the same song that the group played when it debuted at Sphere in Las Vegas, and instantly invited comparisons and companion contrasts from those who have experienced those shows.
From the desert heat to the fog-encased confines of Golden Gate Park, the difference in setting and presentation made opening night feel more like one of the seven hometown shows that the Grateful Dead performed in the park, albeit with 21st century trappings. The visual element was closer to those 2023 Dead & Company Oracle Park shows that closed the book on its life as a touring unit, with long rectangular video screens on both sides of stage allowing performers to be visible to those in the very back of the Polo Field.
From here, the band went into a cover of Martha and the Vandellas’ 1964 hit “Dancing in the Street,” which was also part of the Grateful Dead repertoire. Weir’s gravelly voice guided the moving crowd. The song had a good funk vibe with Mayer showing his guitar playing adaptability. As the breakdown of the melody went in-and-out, then completely slowed down the tempo as the band went into “Tennessee Jed.” If this song is about wanting to come home, the crowd was feeling it. Attendees slowly swayed side-to-side. Their band was home.
Mayer is a master guitar player who shows his versatility being able to play various genres with his many picking techniques. He fits into the Dead & Company slot nicely as the lead guitarist.
For “Mississippi Half-Step Uptown Toodeloo,” the video backdrop displayed various Bay Area sites: Polo Fields, the Bay and Golden Gate Bridge. This song highlighted Chimenti’s light tinkling of the keys as Weir’s relaxed vocals matched the slow and easy pace just like the flow of a lazy river. Meanwhile in the background, Mayer picked slow but powerful, blues-inspired notes right into Johnny Cash’s “Big River.”
“Althea” ended the first set with Mayer singing lead. This verse/chorus song allowed him to show off his guitar strengths from jamming on the verses to a blistering solo and emotional playing.
“You know, this space is gettin’ hot!” Mayer sang, to the delight of the crowd.
Two members of the literal Grateful Dead family ushered in a tighter second set. Trixie Garcia, the late Grateful Dead co-founder, vocalist and lead guitarist Jerry Garcia’s daughter, welcomed the band back on stage on what would have been her father’s 83rd birthday. Mayer, in turn, introduced Grahame Lesh. The son of the late Grateful Dead co-founder and bassist Phil Lesh is hosting the Heart of Town festival at San Francisco’s Pier 48 that started Thursday and is also part of the City’s Grateful Dead 60th anniversary celebrations.
Less played bass on a rendition of his father’s song “Box of Rain.” He stayed on to play bass on Grateful Dead staple “Playing in the Band.”
As the overcast skies started to fade to dark, Dead & Company went into “Estimated Prophet.” Weir’s voice sounded smooth, serious and mystifying. The song jammed into the groovy “Eyes of the World,” about interconnectedness. Each member of the band was displayed and showed his musicianship. Burbridge showed off his melodic bass lines while Cheminti played Latin-influenced rhythms to accompany him. The band then went back to the song and changed tempos to a slower, bluesy feel that took it right into the grandiose “Terrapin Station,” with its driving bass and drums.
After the Mickey Hart and Jay Lane showcase of “Drums” and “Space,” the band came back on the stage to perform “Wharf Rat” with opener Billy Strings. The latter delivered emotional guitar playing and deep vocals, adding a jolt to the band drive.
The band went into a rousing rendition of the Crickets’ “Not Fade Away.” Here you saw some playful interaction between Weir and Mayer, but by himself Weir displayed his stage presence and command of the stage.
Images of Jerry Garcia appeared on the video board. The band then ended the show with Bob Dylan’s “Knockin’ on Heaven’s Door.” Weir thanked attendees for coming out as the images of Garcia continued on.
Like Hardly Strictly Bluegrass and Outside Lands before it, Friday night was a sea of humanity: Deadheads gathering is part of the Grateful Dead culture. Gray-haired OGs, families with children and influencers shimmied and twirled. Festivities ended 15 minutes prior to local curfew. Fans were craving a little more.
Billy Strings’ acoustic quintet kicked off the show with a 75-minute set, starting with “Gild the Lilly.” Strings’ much talked about guitar- and banjo-picking ability was in full display as he woke up the anxious crowd. He then picked up the tempo with “Dust in a Baggie.” Other highlights included “Shady Grove,” “Red Daisy,” trippy jam “Away from the Mire” and an acoustic version of “If Your Hair’s Too Long.” Strings concluded with a crowd-pleasing rendition of Robert Hunter’s “Thunder,” showing his dreamy and atmospheric playing that swapped with bluegrass hams.
The rest of his band was tight, consistently playing with precision and synchronization, especially in terms of timing and rhythm, all without the assistance of a drummer. Jarrod Walker’s mandolin playing showed impressive tight rhythm throughout.
Writer Yoshi Cato contributed to this report.