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2017:2017-06:2017-06-03

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Dead & Company at Shoreline Amphitheatre, June 3, 2017

Set One

[7:18 PM band out]

  1. [7:19 PM] Playing in the Band »
  2. [7:34 PM] Viola Lee Blues
  3. [7:42 PM] Tennessee Jed
  4. [7:52 PM] Here Comes Sunshine (J)
  5. [8:06 PM] Candyman (J)
  6. [8:15 PM] Me and My Uncle »
  7. [8:19 PM] Friend of the Devil (B/J)
  8. [8:26 PM] One More Saturday Night
    [set ends 8:31 PM]

Set Two

[9:13 PM lights down, band out]

  1. [9:14 PM] China Car Sunflower »
  2. [9:21 PM] I Know You Rider >
  3. [9:32 PM] China Doll (O)
  4. [9:41 PM] Eyes of the World »
  5. [9:58 PM] Deal (J) >
  6. [10:08 PM] Drums »
    [drop BK, add, OB, JC, JM, BW]
  7. [10:18 PM] Space » (10:20 PM add BK) » (10:22 PM A Love Supreme jam) >
  8. [10:25 PM] the Wheel » reggae coda »
  9. [10:36 PM] Looks Like Rain >
  10. [10:44 PM] Good Lovin'
    [set ends 10:51 PM all off for a few minutes]
     
    Encore
  11. [10:53 PM] Black Bloody Liver (J)
    [show ends 11:01 PM]

Performers

  • Oteil Burbridge: bass, lead (s2t03) and harmony vox;
  • Jeff Chimenti: piano, Hammond B-3 organ, keyboards, harmony vox;
  • Mickey Hart: drums, percussion;
  • Bill Kreutzmann: drums, percussion;
  • John Mayer: guitar, lead (s1t04-05, s1t07, s2t05, s2t10) and harmony vox;
  • Bob Weir: guitar, lead and harmony vox.

Notes

Playin' in the Band is a fine statement for opening the show, and seemed a terrific augury of things to come, what with a ten-or-twelve minute jam that got pretty far out before resolving into Viola Lee Blues. Looking back, it's possible that a single arrow broken/forced/uninterrupted segue ('>') might be more appropriate for that transition than the double angle guillemet ('»') I typically use for a regular/natural/smooth segue. I've mixed both symbols into the setlist above. Feel free to disagree with my usage upon listening to a recording. I don't mind being told I'm wrong! Here Comes Sunshine was an unexpected treat; they only performed it twice last year, and I missed both of those shows.

Second set started out just fine, but lost energy by the time they got to Rider, killing the usual joy I expect from that piece. China Doll was a treat, but didn't do anything to rectify the general feeling of narcosis. Eyes was slow (as opposed to loose and lazy, like the amazing versions from 1974). Deal was decent. Drums started out great, but after about five minutes, it too petered out into less interesting, less energetic pounding. The jam on A Love Supreme during space was very loose – no vocals or anything, and the riff was tossed back and forth between the players without ever coming to the front as a fully agreed upon statement of purpose. The Wheel was incredibly listless and slow. Stuck in the mud! The reggae jam was interesting, but didn't really develop or go too far. Following up that non-burner with another slow tune probably wasn't the brightest idea. Good Love was kind of sloppy. Mickey seemed out of sorts from the end of drums to the end of the set … his body language seemed extra grumpy … and he flipped his nylon brushes onto the ground as he stepped out of his kit as if to say, “whatever, I'm outta here,” once Good Love ended. Mick was also the last person to return to the stage for the encore, though in all fairness, he was the only one who hadn't taken any sort of break since the set began. I was happy to hear John sing us the elegiac BMR – it's a good tune to end the night, sort of a hug and kiss goodbye.

Extra special thanks to our pals Doug and Alexandra, who let us crash their seats in sec 102 for most of the night!

2017 Summer tour poster

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2017/2017-06/2017-06-03.txt · Last modified: 2020/06/14 23:54 by 127.0.0.1