Dead and Company Make a Statement in Bristow, VA
Dead and Company, the post-Jerry Garcia Grateful Dead outfit featuring original members Bob Weir, Mickey Hart, and Bill Kreutzman, brought their Summer 2022 Tour to Jiffy Lube Live in Bristow, VA on Friday, July 8.
The band came to town amid some uncertain circumstances in uncertain times. On one hand, what was supposed to be their previous performance in Saratoga Springs was abruptly canceled 4 hours prior to show time due to health issues with lead guitarist and co-vocalist John Mayer’s father. The canceled Wednesday performance fueled an air of slight melancholy and concern among the band’s devoted following of Deadheads who are still showing up in force 57 years after the Grateful Dead’s first show.
On the other hand, a group born out of the counterculture movement of the 1960s, with a following that champions values rooted in anti-authoritarianism and individual autonomy, was in close proximity to the geographical nexus of federal power: Washington, D.C. While never overtly political, the Grateful Dead have a rich history of aligning themselves with causes that champion personal and civil liberties. From playing a benefit for the Black Panther Party at the Oakland Auditorium on March 5, 1971 to surviving members performing as “The Dead” at Barack Obama’s 2009 Inaugural Ball, the seemingly apolitical group has played a liberating role from undue government overreach in U.S. politics since its conception.
The band took the stage at 7:07, immediately launching into a Grateful Dead deep cut, “Man Smart (Woman Smarter).” The band was locked in, with drummers Jay Lane (filling in for an injured Bill Kreutzman) and Mickey Hart laying down a New Orleans jazz band-infused groove that got the whole crowd dancing. The audience sang along with the chorus, joyously shouting, “that’s right, the women are smarter!” as the amphitheater’s video screens projected images of pro-choice protesters and pink Grateful Dead logos with the statement “Save Our Rights” on them.
The classic “New Speedway Boogie” followed, as the band harmonized on the chorus with the crowd: “One way or another, this darkness got to give.” Indeed, the show led with an aggressive tone, as the band made a clear statement right from the jump. They slowed things down with a deep, bluesy jam, “It Hurts Me Too.” As Mayer took the lead on vocals, he was met with a massive crowd roar as he sang the first line. In light of Mayer’s recent personal troubles, the song took on a whole new resonance as he ripped through lead after lead and soulfully belted out each verse.
The tune offered a segue into a calmer portion of the set. Weir and bassist Oteil Burbridge traded lead vocals on “Peggy-O” and “China Doll”, respectively, as the crowd took a collective exhale and enjoyed some skillful jams. Burbridge’s soothing, high register is always met with a strong embrace from the crowd. And the lead line of “a pistol shot, at 5 o’clock” felt like it took on a whole new meaning in light of the show’s location and the U.S.’s gun violence epidemic. Mayer took charge again on “Cold Rain and Snow”, bringing the whole crowd back to its feet and making a nod to the summer storm clouds that hung heavy over the stage.
“Throwing Stones,” arguably the most overtly political song penned by the Grateful Dead followed, with the crowd roaring as Weir growled “whole goddamn government today!” After this, the band wrapped the first set with a light and tight rendition of “Don’t Ease Me In.”
Set break, as per usual, provided some much-needed relaxation and chatter among the sprawl of Deadheads. A walk around the venue confirmed news that had been spreading among the crowd: the show was sold out and this crowd was energized after the previous show’s cancellation.
A discussion with Jeff, a Deadhead from Maryland who saw the Grateful Dead nearly 275 times, confirmed what was felt during the first set: the band was performing at the top of their game. Jeff, whose friends had gone to an AA meeting during the intermission with fellow Wharf Rats, expressed his satisfaction with the band’s political messaging. “You know, I was just thinking earlier today I haven’t heard ‘The Women Are Smarter’ in a while,” he said. “And to see those images projected on the screens, with the band singing that song, it just meant so much to me. Because here’s the government, trying to take away so many of our rights and freedoms, and there’s our band, sticking up for us!”
Jeff’s thoughts on the political messaging reflects an ethos that is at the heart of the Deadhead community: liberty and bodily autonomy. While some aren’t pleased with the directness with which Dead and Company have chosen to relay their message, it’s undeniable that most are supporters of the message itself.
The second set started at 8:51, as the band eased into a lengthy, smooth “Sugaree.” By the end, Mayer had brought the sold-out crowd to its feet, setting us up for a groovy, Weir-led “Playin’ In The Band.” “Playin’” served as a launch pad for deep, psychedelic jamming that provided some strong musical tension and strong interplay between Mayer and keyboardist Jeff Chimenti.
This jam segued into a bouncy “Uncle John’s Band,” a fan-favorite and an excellent sing-along. The band played straight through into an excellent rendition of “Terrapin Station.” At this point, the aggression and high energy of the first set had worn off, and the crowd had settled in for concert staples “Drums & Space.”
A snappy “Going Down The Road Feeling Bad” got everyone dancing and singing along following “Space,” which the band masterfully steered into a “Playin’” reprise. The ballad “Stella Blue” followed, with Weir masterfully matching the emotional resonance of the tune, his 74 year-old voice sounding like a fine aged wine. As Weir sang the final chorus, the storm clouds finally started to deliver. What started as a light drizzle turned into a full-fledged downpour as the band launched into “Turn On Your Lovelight.” At this point, all bets were off as joyous fans took off their shoes and shirts, dancing in the rain and mud all the way from the lawn to the pavilion.
After an encore break, the band returned for one more: “Black Muddy River.” The tune, an Americana ballad about surviving hard times and reconnecting with our natural world, was a poignant closer to the politically-infused concert. Indeed, in times of turmoil, aggression, and political strife, the rivers still roll. Surely the same can be said for this band and its devoted community of followers, who after 57 years is as emotionally potent and resonant as ever.
