“Due to circumstances beyond our control, the show will not continue.” That was the announcement made just moments before Noel Gallagher’s High Flying Birds were about to perform on Saturday night, July 8, in Saratoga Springs. Confused fans weren’t sure if it was part of the act or if it was a public safety concern as speculation quickly ran rampant. Gallagher, the former principal songwriter of British blue-collar bad-boy band Oasis, is no stranger to making headlines. Familiar to millions, at one time he was the most outspoken member of the biggest (and most controversial) band in the world.
The stage was set for Noel Gallagher’s High Flying Birds just moments before it was suddenly called off on 7/8/23
All things seemed ‘business as usual’ just prior to showtime Saturday night at SPAC. After opening sets from critically acclaimed rock bands Metric and Garbage went on without a hitch, everything was on schedule for the evening’s headliner. As smoke machines began to ramp up and hip, pre-show music by Little Sonny, Larry Coryell, and Funk Inc. piped over the PA system, by 9:45 pm fans were getting anxious over the delayed start. Suddenly the house lights came on and the announcement was made that “the show will not continue” and to “please move calmly and safely to the nearest exit.”
What’s the Story: A disappointed fan reacts to the news that Noel Gallagher will not be performing on 7/7/23
Security and Live Nation reps confirmed this was not “part of the show” and that everyone needed to leave the concert grounds immediately. Sent out into the night with more questions than answers, disappointed fans complied and exited the venue, seemingly without incident. Further information was hard to come by. There is currently no “official” word on what caused the sudden cancellation, refunds, or, rescheduling.
After the show, Garbage’s Twitter feed posted “Our love and concern to all the fans at our show in Saratoga Springs tonight. We pray you are all safe and sound. This is fucking insane.” An Instagram post from bassist Daniel Shulman shed a little more light on the situation, saying “We had to evacuate quickly due to a bomb threat …. Scary.”
Ziggy Marley is currently hitting 19 dates around the country with the Tedeschi Trucks Band. Reggae listeners know and love Ziggy, this listener included. His music was somewhat lost on the crowd at SPAC that evening. There were only sporadic dancers through the crowd grooving to Ziggy’s roots flavored reggae. Ziggy Marley and the Tedeschi Trucks Band continue their tour through August 13 with Trombone Shorty & Orleans Avenue as their special guest.
Photos by Derek Java
Setlist: Rebellion Rises, Beach in Hawaii, Dragonfly, The Lucky One, Be Free, Personal Revolution, Wild and Free, Circle of Peace, See Dem Fake Leaders, Justice / Get Up, Stand Up, We Are the People, Love Is My Religion, Is This Love
Eastbound Jesus has recently released its new single, “Fly Away.” Recorded in Salem, NY, the piece retains a classic indie feel with masterfully combined instrumentals, particularly through its many guitarists (and one banjoist). The single’s release coincides with the announcement of this year’s Eastbound Throwdown in September.
The band is made up of bassist Dave Wright, electric guitarist Zack Infante, electric guitarist Andrew Lynch, acoustic guitarist, and vocalist Adam Brockway, drummer and vocalist Carl Anderson, as well as banjoist and vocalist Luke Anderson. The song was produced and mixed by Jimi Woodul.
“Fly Away” starts with a bit of banter and the tuning of various instruments before the drums bring the full force of the song. It’s a classic move with a bit of a cliffside opening, a twist on something like the beginning of Lynyrd Skynyrd’s “Sweet Home Alabama.” It adds a bit of indie charm to the introduction and brings the song to earth.
The switch between the verse and the chorus is often signaled by a switch between the focus on banjo and bass in the verse and the rise of electric guitar in the chorus. The drums are, beyond the bombastic beginning, relegated to the background of the piece, providing a good steady beat for the rest of the song to rely on.
The chorus in particular is very easy to sing along to, with its rise in everything that had made the verse great in combination with clear and simple lyrics. Wanting to “Fly Away” is something that everyone can get behind, and it’s clear why Eastbound Jesus decided to record it after playing it live for a year.
Eastbound Throwdown on Sept. 8 and 9, 2023 at the Irwin Family Farm in Salem, NY. Friday, Sept. 8 will feature The A.M.s, The National Reserve, Dirty Blanket, Eastbound Jesus, The Mallett Brothers Band, and Turf n’ Turf. Saturday, Sept. 9 will feature Dan Johnson, Black Mountain Symphony, Brule County Bad Boys, Beg, Steal or Borrow, Kat Wright, Fireside Collective, Eastbound Jesus, as well as Saints & Liars.
For more information and tickets for Eastbound Throwdown, check out their page on eventbrite.com. For more on Eastbound Jesus, take a look at their website. The “Fly Away” single is available on Spotify.
The Tedeschi Trucks band, featuring Susan Tedeschi and Derek Trucks, brought their gutsy, blues-oriented rock-n-roll to Saratoga Performing Arts Center. The crowd was eager to gobble up the throaty singing of Susan Tedeschi and the equally soulful guitar licks of Derek Trucks. It was a good crowd, and the band fully entertained their audience. TTB can be caught on tour this summer and even in Japan this fall!
Photo by Derek Java
Setlist: Woman to Woman (Joe Cocker), It Hurt So Bad (Susan Tedeschi), Fall In, Yes We Will, Take Me as I Am, Circles ‘Round the Sun, Pasaquan, Just Won’t Burn (Susan Tedeschi), Gin House Blues (Bessie Smith), Part of Me, Looking for Answers (Susan Tedeschi), I Wish I Knew (Billy Taylor), Doo Doo Doo Doo Doo (Heartbreaker) (The Rolling Stones), I Want More >, Beck’s Bolero (Jeff Beck)
Encore: Keep On Smilin’ (Wet Willie), Stand Back (The Allman Brothers Band)
Saratoga Springs welcomes dozens of bands each summer, with the biggest names making it to the stage of Saratoga Performing Arts Center. In 1990, one of the biggest names in rock n roll history, David Bowie, performed his one and only show at SPAC, with a Saturday night performance on July 7.
Wow, remember Record Town?
For the “Sound+Vision” Tour, Bowie opted for a smaller band and suggested he was looking for a smaller sound, saying in an interview with Q Magazine, “It’s a much smaller sound. It’s not quite as orchestrated as any of the other tours. The plus of that is that there is a certain kind of drive and tightness that you get with that embryonic line-up, where everybody is totally reliant on the other two or three guys, so everybody gives a lot more.” Read the full interview with Paul Du Noyer here.
Q magazine from April 1990
This tour was not in support of a new album, as the latest release from Bowie was 1987’s Never Let Me Down which launched the “Glass Spider” tour. This was instead billed as a greatest hits tour, with Bowie planning to retire his catalogue of hit songs from live performance, a move that would draw millions of fans worldwide to see him on the “Sound+Vision” tour. With two albums having flopped in the mid-80s (hello 1984’s Tonight), he was looking to give himself a creative and artistic boost, and shedding his old hits became the drive behind “Sound+Vision.”
Bowie was also playing with Tin Machine at this time, and told the band he was contractually obligated to embark on this greatest hits tour, inviting guitarist Reeves Gabrels to join him on the road. The Tin Machine guitarist declined, but suggested Adrian Belew, giving him a phone call and putting Bowie on the phone.
It’s time to put about 30 or 40 songs to bed and it’s my intention that this will be the last time I’ll ever do those songs completely, because if I want to make a break from what I’ve done up until now, I’ve got to make it concise and not have it as a habit to drop back into. It’s so easy to kind of keep going on and saying, well, you can rely on those songs, you can rely on that to have a career or something, and I’m not sure I want that.
David Bowie, interview with Music Express Magazine, March 1990
Bowie went on discussing his clean break from his past catalog, adding, “I’ve never done a show where I’ve just done songs that over the years have proved to be popular with the audience in that way. It’s always been about 50/50. I’ve done enough that they know to keep their attention on the show and the rest of the of it – I can do the stuff that I want to do in between – but I’ve never actually almost allowed them to choose the show for me, which is in fact, what we’re going to do.”
Music Express Magazine, March 1990
Thus, the personnel for Bowie’s 1990 tour were the Thin White Duke himself (guitar, saxophone, vocals) Adrian Belew (guitar, backing vocals and also serving as music director), Erdal Kızılçay (bass guitar, backing vocals), Rick Fox (keyboards, backing vocals) and Michael Hodges (drums.) Canadian dance choreographer Édouard Lock of the Québécois contemporary dance group La La La Human Steps co-conceived the tour with Bowie, and served as artistic director for this tour.
It had been reported there was tension among the band during the tour, as Kızılçay, who recalled that Bowie “wasn’t very happy“ and when they were in South America by the end of the tour, Bowie was not coming to soundchecks.
As noted in Chris O’Leary’s Ashes to Ashes The Songs of David Bowie 1976-2016, keyboardist Rick Fox was not invested in the Sound+Vision tour, going so far as to eat dinner on stage, and at least once turned off his own keyboards and played his own songs while sampled parts of Bowie’s songs were playing.
In total, Bowie spent seven months on the road at five continents, performing 108 times in 27 countries. Discover more about the Sound+Vision tour here.
So with a greatest hits tour and only so much drive in the tank after a pair of commercial failures, David Bowie gave it a go on a global tour, and his performance at SPAC was full of the hits he promised and a notable moment following “Young Americans” where he spoke out in defense of free speech and expression.
Fans recalled the venue was packed, as this sold out show had the SPAC lawn filled, even with KISS performing 30 minutes south in Albany at the Knickerbocker Arena that same night. One fan who was not a fan of Belew’s noted the difference, saying “Belew, while a great instrumentalist, did not have the style and flash or sound of Spiders from Mars guitarist Mick Ronson. Sure enough, after a few songs I knew I’d made the wrong choice! The comparatively subdued band to the Spiders couldn’t give any authentic glitter and sleeze to those songs and they fell flat for me. I stayed but wished I was at the KISS show seeing their over the top excess.”
Bootleg album cover art
A Times Union review of David Bowie at SPAC, written by Michael Eck, referred to the concert as “the most breathlessly awaited show of the summer” and called the show “one of the best things in life – the kind of performance that could breathe life into a tired soul.”
During the performance, Bowie utilized multiple screens and the best video effects of the early 90s to capture his movement, performance and engagement on stage. Watch below and you’ll be able to see Bowie singing duets with a 20-foot projection of himself, dancing with an androgynous look-alike, and thin screens housing projections of Bowie over the stage. Providing fans these visuals in conjunction with his greatest hits showed the tour name “Sound+Vision” was more than a song or box set, and allowed Bowie to find balance in this extensive tour. Bowie was, after all, going through the motions of playing these songs live for the final time, relieved for sure, and as the tour wore on, surely experiencing wistfulness of the occasion.
The show is a greatest hits show from one of the greatest musicians, and having listened to this show numerous times, its a crowd pleaser for any Bowie fan. Of note, and tied to the politics of the era, is Bowie’s aside during “Young Americans,” where Bowie took a moment to offer supportive commentary towards 2 Live Crew – whose album As Nasty As They Wanna Be was declared obscene by a judge and was the focus of ire against lyrics, particularly rap and hip-hop.
While stretching out “Young Americans” with a blues riff that Belew and Bowie smoked, Bowie said, “This is the unnecessary portion of the show,” and began to talk about growing up in London, listneing to American music, especially the blues. He mentioned listening to Ray Charles, Stevie Wonder, and James Brown, and then shifted gears to authors he read: Kerouc and Ginsberg, who wrote about what they felt and were going through. And with a captive audience in a seemingly ‘off script’ moment, Bowie said:
“Do you know that they’re banning Hemingway in libraries these days? You don’t know do you? Does anybody here hear that they’re banning Hemingway? Fahrenheit 451 is now on the restricted borrowing at some libraries. You don’t care do you?”
David Bowie, to the SPAC audience, during “Young Americans”
Sensing the crowd was drifting away, Bowie reeled them back in, saying “That’s why I went out and bought my 2 Live Crew album” which was followed by enthusiastic applause from the audience. Bowie continued on, saying that “You don’t have to like the stuff but my god I support any right for anybody to write a song without going to jail for it, motherfuckers.”
Despite the injection of what some would call ‘politics’ in a rock concert (gasp!), David Bowie brought the SPAC audience full circle, revisiting the roots of one of his greatest hits, tying it to his youth and that of the crowd, then to present day, with a supportive pro-free speech statement.
As Michael Eck noted in his review, the reunion tours that took place in 1989-90 – the Rolling Stones “Steel Wheels” tour, The Who 25th anniversary tour, and Paul McCartney embarking on his first solo tour – it was Bowie who stood alone among them. “Saturday night Bowie took his past in his hands and gloriously threw it all away while we watched. Those other tours were history shaking with age, Saturday’s was history shaking with life. It was simply one of the greatest spectacles I have ever witnessed.”
David Bowie – Saratoga Performing Arts Center (SPAC) – Sound+Vision Tour – July 7, 1990
Setlist: Space Oddity, Rebel Rebel, Changes, Ashes to Ashes, Life on Mars?, Pretty Pink Rose (Adrian Belew cover), Stay, Blue Jean, Let’s Dance, Sound and Vision, Ziggy Stardust, China Girl, Station to Station, Young Americans, Suffragette City, Fame, Heroes Encore: White Light/White Heat, Baby What You Want Me to Do, The Jean Genie, I’m Waiting for the Man, Gloria
Live Nation has announced that the stage at Saratoga Performing Arts Center (SPAC) will now be named the Broadview Stage at SPAC, effective immediately.
Broadview Federal Credit Union and Live Nation have partnered to introduce the Broadview Stage name for all Live Nation concerts hosted at Saratoga Performing Arts Center. This collaboration signifies Broadview Federal Credit Union’s “dedication to connecting with, supporting, and investing in the vibrant Saratoga community through unforgettable live entertainment experiences.”
SPAC is one of America’s most prestigious outdoor amphitheaters, located in a 2,400-acre park preserve surrounded by hiking trails, geysers, and natural mineral springs. Lovers of arts, culture, and nature enjoy resident companies like the New York City Ballet, The Philadelphia Orchestra, The Chamber Music Society of Lincoln Center, the Freihofer’s Saratoga Jazz Festival, and concerts by Live Nation.
For more information about the new Broadview Stage, more info is available here.
Upcoming Events at Broadview Stage at SPAC
Tedeschi Trucks Band on July 1 Tears for Fears on July 2 Big Time Rush on July 3 Counting Crows with Dashboard Confessional on July 5 An Evening With Goose on July 7 Noel Gallagher’s High Flying Birds and Garbage on July 8 KIDZ BOP on July 9 Dave Matthews Band on July 14 & 15 Jason Aldean on July 16 Gov’t Mule on July 28 Matchbox Twenty on July 30 Foreigner on Aug 1 The Chicks on August 6 Goo Goo Dolls on August 8 Zac Brown Band on August 13 Brit Floyd on August 22 Pentatonix on August 23 Eric Church on August 24 Phish on August 25+26 Guns N’ Roses on September 1 Noah Kahan on September 2 ZZ Top & Lynyrd Skynyrd on September 8 NE-YO on September 14 Outlaw Music Festival: Willie Nelson, Bobby Weir & more on September 15 Killer Queen on September 16
Texas-style folk music made a stop at Caffe Lena on Thursday, June 22, with the swing revival sounds of The Quebe Sisters. The Dallas group played to a sold out crowd this evening, emanating progressive western swing with jazz and blues influences peppered throughout, as well as a healthy dose of comedy and the history behind the music.
These sisters first appeared on my radar thanks to Col. Bruce Hampton, a legend among jam band fans, who had a keen eye for identifying and fostering talent throughout his career. Only mentioned in passing in a 2016 interview, the sisters shared with NYS Music that their connection to Col. Bruce was thanks to his fellow Aquarium Rescue Unit member (and current Widespread Panic guitarist), Jimmy Herring. It was he who saw them perform at a local fair in Georgia, met them following the show (all parties were humbled), and Herring later put the band on Col. Bruce’s radar. From Hampton’s lips to my ears, Caffe Lena was the perfect venue this evening.
As the performance began promptly at 7pm, standing on stage left to right were sisters Hulda, Grace and Sophia, who have each been playing fiddle for more than two decades. Joining them were Simon Stipp on guitar and Daniel Parr on bass, and at times, Grace would play snare drum ever so lightly, stirring with a brush in one hand, and a light tap of the stick with the other. An evening of old-timey folk music, with some songs more than a century old, began with “Avalon” by Al Jolson. If T. Bone Burnett were tasked to produce a soundtrack in the style of O Brother, Where Are Thou?, the sounds of the Quebe Sisters would be a centerpiece of the album.
With folk songs of trails, cowboys and traveling, tunes of pioneers were played, a history lesson in the form of stories handed down as song. A dive into 19th century poetry yielded “My Love, My Life, My Friend, influenced by the Emily Dickinson poem “That it will never come again.” A duet of “Lullaby of Birdland” was followed by The Mills Brothers’ arrangement of a 1942 song, “Cow Cow Boogie” and the medley “Speed the Plow” which closed a set that had the style of music you’d expect to hear in a Quentin Tarantino film.
The all fiddle family returned for a second set with “Lonesome Road” and the wonderful “Shame on You,” which hit all the right spots, reminiscent of Patsy Montana’s “I Want To Be a Cowboy’s Sweetheart.”
Set to the tune “Home on the Range,” the prescient and eerily humorous “Drone on the Range” sang of the perils of technology and the neighbors who misuse it. The Bob Wales instrumental “Roly Poly” would follow, along with Ray Charles’ “Georgia on my Mind” and the instrumental “Load in at 7 (leave at 8) likewise was a tongue in cheek take on life on the road.
“Lullaby of Leaves” saw the three sisters fiddling together, before diving into the extensive catalog of fellow Texan Willie Nelson on “Summer of Roses, follows by a unique as ever “Merch Jingle” to encourage fans to meet and greet them after the show and pick up merchandise before heading out. “It’s a Sin to Tell a Lie” would close the set, and the original familial song “Texas” served as the lone encore.
The Quebe Sisters have one of the most unique harmonies and a sound that bridges generations of country and western music, influenced by time and the fiddle prowess of a trio of 20 years strong, just getting started.
The Quebe Sisters – Caffe Lena, Saratoga Springs – June 22, 2023
Set 1: Avalon, Please Don’t Talk > Going Away Party, Teardrops, Pierce the Blue > Twin Guitar, Timber Trail > Trouble in Mind, My Love, My Life, My Friend, Lullaby of Birdland, Cow Cow Boogie, Twilight > Speed the Plow
Set 2: Lonesome Road > Shame on You, Distraction, Drone on the Range, Roly Poly, Georgia on my Mind, Load in at 7 (Leave at 8), Day People, Lullaby of the Leaves, Swingin’ the Bow, intros > Summer of Roses, Merch Jingle > It’s a Sin to Tell a Lie
Singer-songwriter-bassist Karina Rykman announced her first headlining tour this fall, ahead of the release of her debut album. “Joyride Tour 2023” begins Sept. 20 at Baby’s All Right in Brooklyn, then travels the US through mid-December.
“Joyride Tour 2023” celebrates the upcoming arrival of Rykman’s hugely anticipated debut album, JOYRIDE, arriving via AWAL on Friday, Aug. 18. While the tour kicks off in Brooklyn, Rykman will also stop in Saratoga Springs at Putnam Place on Nov. 30.
The album was first heralded with the premiere of the first single and title track, “Joyride.” Equal parts thick bass, ethereal synths, disco-funk guitar, and silky, inviting vocals, the track – which features signature lead guitar from JOYRIDE co-producer Trey Anastasio – expertly captures Rykman’s jubilant brand of sonic exploration, bridging an array of genres to arrive at her own compelling and original take on psychedelic indie rock.
Born and raised in New York City, Karina Rykman’s musical path began in her early teens playing in bands whenever she could while attending a veritable ton of live music as a fan. Her prowess on the bass guitar soon landed her several high-profile television gigs spanning America’s Got Talent to backing up pop star Julia Michaels on TODAY. By the end of her senior year at NYU, Rykman’s talent and infectious spirit saw her invited to join pianist Marco Benevento’s band, with whom she performed countless shows including dates with Vulfpeck, Dispatch, The Claypool Lennon Delirium, Guster, and many more.
Rykman soon formed her namesake band, accompanied by Adam November (guitar, loopers, effects) and Chris Corsico (drums). She quickly earned a reputation as a mesmerizing, unmissable live act, lighting up an array of international stages with headline sets, show-stealing festival performances (including Bonnaroo, Peach Music Festival, and Sweetwater 420 Fest), shows alongside Khruangbin, Guster, and The Disco Biscuits (among others), and recent appearances sitting in with the 8G Band on NBC’s Late Night with Seth Meyers.
Along with headlining her tour, Rykman will also perform at festivals this summer, including the Borderland Music Festival in East Aurora. More information about tickets can be found here.
Tour Dates
AUGUST
11 – Westport, CT – Levitt Pavilion (Free Show)
17-19 – Thornville, OH – Secret Dreams Music & Arts Festival *
19 – Cockeysville, MD – Hot August Music Festival *
SEPTEMBER
1-3 – Lake George, NY – Adirondack Independence Music Festival *
9 – Indianapolis, IN – All In Music & Arts Festival *
10 – Mundelein, IL – The Miracle In Mundelein *
15 – Fredericton, NB – Harvest Jazz & Blues Festival *
15-17 – Greenfield, MA – Wormtown Music Festival
17 – East Aurora, NY – Borderland Music Festival *
Saratoga Performing Arts Center played host to Sean Kingston, En Vogue, TLC and Shaggy on Friday June 16. SPAC stands head and shoulders above any outdoor venue in the Capital Region, and this evening, the venue lived up to its reputation as even the rain couldn’t stop a good time.
The way that thousands of people filed into SPAC in the name of R&B brought joy to my heart. It is wild how much we take basic necessities for granted until we lose access to them. Alas, a mix of live hip-hop, R&B, and dancehall always proves essential for the well-being of citizens.
R&B + Dancehall Concert in New York
Sean Kingston maximized his thirty-minute set with plenty of vibes. Dutty wine dancing, nostalgia, and vocal energy set the tone for the whole evening. Certainly, when “Beautiful Girls” blasted through the speakers, every person of age instantly reminisced about the era of ringback tones.
Next, En Vogue continued the theme of setting the tone with radiant energy. Not one drop of rain could stop their shine as they played renditions magnificently. Some people questioned the order of the setlist but nobody could debate the way En Vogue prepared the audience for the next act, TLC.
TLC-Waterfalls [06/19/23]
Now, TLC stole the spotlight if you ask me. It seemed as if the rain would subside during breaks and lesser-known songs. But when songs like “Red Light Special” and “Diggin On You” made their way through the airwaves the whole crowd started to feel the rhythm. Ironically, when the best songs came on the rain began to steadily flow.
Rain Washes Worries Away
This precipitation did not put a damper on things, whatsoever due to its light and misty nature. The beautiful woman by my side chose not to untie her rain jacket from around her waist as she embraced the evening elements. Altogether, the moment felt like it belonged in an R&B video.
The break between TLC and Shaggy proved to be well-deserved for the audience. After exiting the TLC trance, concertgoers gathered around for one last hurrah. Performers who emit strong stage presence tend to make you feel close to the stage no matter where you stand.
Toward the beginning of his set, Shaggy grew discontent with the energy level of the crowd. Calling an audible, he threw on “Red Red Wine” to lift the crowd to the level he desired. From there, not one person could resist swaying their hips to Mr. Wasn’t Me. While that song is the classic, “Boombastic” and “Guardian Angel” were the ones that really brought the house down.
Overall, this show at SPAC proved to be extremely worthwhile. Everyone needs an outlet and an opportunity to let loose. This dual-purpose event provided the chance to immerse within an incredible atmosphere and truly let any anxieties or worries dissipate for the entire evening.
The long strange trip is allegedly coming to an end, but not before one more Saturday night in Saratoga Springs. Kicking off Father’s Day weekend on a high note, the spirit of Jerry Garcia was alive and well as Dead & Company rolled into town for a pair of sold out shows at Saratoga Performing Arts Center (SPAC) on June 17th and 18th.
Billed as “The Final Tour,” concert goers from all over turned out in huge numbers, creating both a circus-like atmosphere, a bit of an over-crowded cluster, and oh yeah, one heck of a good time! While the weekend also marked the 40th anniversary of the Grateful Dead’s first-time playing in Saratoga, many fans were also quick to point out the last time Dead & Company were in town, the show never actually happened, as it was abruptly called off due to a family emergency within the band. It was never rescheduled, although this year, a second Dead & Company show was added for the first, and last time ever.
Discover Grateful Dead shows from over the years across New York State with our interactive map below
In typical Dead fashion, just getting inside the venue was an adventure in itself. Between massive traffic jams, Shakedown Street shenanigans and huge lines at the turnstiles, before the show even started the lawn overflow had spilled well into the food court area. The place was absolutely packed and the buzz in the air was tangible, friendly, and electric. Strangers were literally stopping strangers just to shake their hand. As Dead & Company took the stage to a rousing ovation, things would kick off with a well-received cover of Sam Cooke’s classic “Let the Good Times Roll,” a sure sign that both the band and the fans were on the same page.
Anchored by original Grateful Dead members Bob Weir (guitar/vocals) and Mickey Hart (drums), this incarnation of the group features cross-over pop superstar John Mayer on lead guitar and vocals, Oteil Burbridge (bass/vocals), Jeff Chimenti (keyboards/vocals), and Jay Lane (drums). Noodling their way into the familiar sounds of “Scarlet Begonias,” the 14 minute dance party would pick up even more steam as the band segued into the time tested sing-along of “Deal.” Weir would croon “Black-Throated Wind” for us next, before handing over vocal duties to Mayer for the always appreciated “Dire Wolf.”
The centerpiece of the set, and perhaps the whole night, came next in the form of “Bird Song.” As people slowly realized what it was, you could almost feel the collective sense of joy. The delicate and lush harmonies transporting you to a place of peace and tranquility, despite having the controlled chaos of some thirty thousand people all around you, all clamoring for a better view of the stage. John Mayer’s melodic guitar work played particularly well off Chimenti’s tasteful keyboards here, yielding the longest piece of improvisation of the night, clocking in at just under 19 minutes. A silky smooth transition into “Going Down the Road Feeling Bad” had the entire place feeling groovy and singing along once again with huge smiles on their faces as the opening set came to close.
After a brief break in the action, an up-tempo “70’s era” version of “They Love Each Other” kicked things back into gear to start the second half of the show. The popularity of Mayer was very noticeable here. Anytime he would sing a verse, a wave of female cheers would cascade through the audience, though Mayer, wearing noise canceling headphones, would never hear them. Instead focusing on interplay with Weir and settling into a fiery groove that would eventually lead the train to “Terrapin Station,” the captivated crowed swayed to the music in pure delight as the lengthy, complex composition was executed beautifully. Oteil Burbridge, who will headline the Rye Bread Music Festival not far from Saratoga next month, was particularly charismatic as “Terrapin” reached it’s final peak.
Like I told you, what I said / Steal your face right off your head
– “He’s Gone”
After that, there was nothin’ left to do, but smile, smile, smile as the song that gave birth to one of the most recognizable logos of all time, “He’s Gone,” gave the audience both a chance to sing and to reflect. The slow and bluesy groove would gradually build on itself, adding subtle layers of momentum until coming around again and finally revealing itself as “The Other One.”
About 13 minutes into it, things would get a little weird as Mickey Hart and Jay Lane would tag team on “Drums/Space,” which took on a decidedly darker, droning-type vibe that had at least one person near me slightly concerned for their apparent heart condition. Eventually the rest of Dead & Company would return to the stage and seamlessly pick up right where they left off, continuing with the second half of “The Other One.”
Next, Bobby would lead the band though the emotional high point of the evening with a heartfelt rendition of “Days Between,” a tribute to the enduring legacy of Jerry Garcia and a sentiment that resonated deeply with everyone in the audience. Picking up the pace now, the band would get everyone back on their feet and dancing once again for a set closing “Turn On Your Love Light.” With the audience still hollering for more, everyone knew exactly what was coming for the encore. And while fans were treated to a smokin’ yet obligatory “One More Saturday Night,” you couldn’t help but feel skeptical at the shows bittersweet ending.
With the band currently sounding as tight as ever and clearly still with significant drawing power, are we really to believe this is the end of the road for Dead & Company, or is this perhaps just the start of an exciting new chapter? With scores of imitators and Dead cover bands already ensuing the music never stops, one thing is for certain: whether this band tours again or not, The Grateful Dead will never die. After a few days of rest, “The Final Tour” will resume at Citi Field in Queens, NY before heading to Fenway Park in Boston this weekend.
Dead & Company | Saratoga Performing Arts Center | Saratoga Springs, NY | 6/17/23 Set 1: Good Times , Scarlet Begonias > Deal, Black-Throated Wind, Dire Wolf, Bird Song > Going Down the Road Feeling Bad Set 2: They Love Each Other > Terrapin Station, He’s Gone > The Other One (verse 1) > Drums > Space > ‘The Other One (verse 2) > Days Between, Turn On Your Love Light Encore: One More Saturday Night
Dead & Company | Saratoga Performing Arts Center | Saratoga Springs, NY | 6/18/23 Set 1: Hell in a Bucket, Sugaree, Mississippi Half-Step > Mr. Charlie, Friend of the Devil > Lost Sailor > Saint of Circumstance > Big Railroad Blues Set 2: Samson and Delilah, Playing in the Band > Help on the Way > Slipknot! > Franklin’s Tower > Drums > Space > Death Don’t Have No Mercy, Throwing Stones, Sugar Magnolia Encore: Werewolves of London > Playing Reprise
