I wasn’t planning
on reviewing last night’s Dead & Company show from the Saratoga Performing
Arts Center on the 36th anniversary of the Grateful Dead’s debut
there. However, this was the finest performance I’ve seen by any Dead related
post-Garcia configuration. The previous three years I made the road trip to Saratoga
for Dead & Co. This year I enjoyed the convenience of watching it
pay-per-view. “Feel Like a Stranger” launched the festivities. This is now a
tradition because I recall that they opened with “Stranger” twice before in
SPAC. “Hell in a Bucket,” a tune that the Grateful Dead played all four times
at SPAC, followed. Mayer fired away a series of nice runs making this an engaging
version. “Alabama Getaway” was thrilling, but there was no ending solo. Mayer’s
tasty licks accompanied Bobby’s inspired singing during “When I Paint My
Masterpiece.” A nice run of songs concluded the set: “It Must Have Been the
Roses,” “Cumberland Blues,” Cassidy,” “U.S. Blues.” The set was well played and
enjoyable, but there were no extraordinary highlights. 
“Here Comes
Sunshine” opened set two, and it infused Saratoga Springs with the spirit of
1973 Grateful Dead. Mayer’s precise guitar tone and flowing leads were sublime,
and Oteil and the band locked into a tight tempo with a swinging groove. John’s
vocals were solid, but nobody sings like Jerry. The majestic “Sunshine” segued
into “Shakedown” and Saratoga went nuts. A determined funky version ensued, but instead
of heading into the big jam, the Boys noodled their way into “Wharf Rat.” Weir’s
vocals were surprisingly effective. There was some compelling jamming at the
end which sounded like it might be headed to a “Cryptical Envelopments” reprise.
The inspired instrumental resolves into Playing in the Band > Uncle John’s
Band. This time-tested classic combo was thoroughly explored and kept the 1973
vibe alive. This pre-Drums segment was enormous—X factor all the way through.
Oteil joined Billy
and Mickey for their showcase. It’s a pleasure to watch Drums up close and personal
on the big screens and to enter the madness of Mickey Hart’s world. Mayer came
back onstage and ripped into “Viola Lee Blues” which reminded me of seeing Dead
& Co perform that in Hartford a few years ago. It was on that night that I
realized Mayer’s greatness, and his passion for Garcia. In Saratoga, Mayer led
the band through an intense blues jam, and then the band dissected and regenerated
the jam at a funkier, and more leisurely pace. These guys couldn’t crush it
with the psychedelic intensity ala 1967, but this was a fetching performance with
its own unique
flavor. Joy filled SPAC again as “Dear Prudence” emerged, and instantly
conjured up the spirits of Jerry and John Lennon who were smiling over the
proceedings. I’m not crazy about Weir’s vocals here, but the music was
delightful. “Casey Jones” ended this blessed set. There was a time when “Casey
Jones” was commonplace in the Dead rotation, but over the course of 152 Dead
shows, I only saw it once.
Nobody dared file
out early on this night. A “Midnight Hour” encore was followed by a “Playing”
reprise. God job, fellas, always remember to close out an open song loop. The
band lined up arm and arm for their thunderous final salute from the
enlightened crowd. There was much rejoicing at the after-parties in Saratoga
Springs. 
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