This Week In Grateful Dead History #21 (Week of 5/26)
- Mason's Children
- May 25
- 27 min read
Updated: May 28
For the week of 5/26 – 6/1, we wrap up the infamous Europe ’72 and Spring ’77 tours and delve into a wide range of dates in Grateful Dead history, marked by memorable performances and significant moments. This week includes the first performance of "Promised Land" on May 29, 1971, a song that would become a staple in their live repertoire. This week’s shows also features some final versions of Pigpen songs, as he becomes less prominent and eventually has to stop touring with the band in a few weeks after the 6/17/1972 show at the Hollywood Bowl for health reasons. I’ve written listening guides for 16 shows this week:
5/26/1973 Kezar Stadium, San Francisco, CA
5/26/1977 Baltimore Civic Center, Baltimore, MD
5/27/1989 Oakland Coliseum Arena, Oakland, CA
5/27/1993 Cal Expo, Sacramento, CA
5/28/1977 Hartford Civic Center, Hartford, CT
5/28/1982 Moscone Convention Center, San Francisco, CA
5/29/1971 Winterland Arena, San Francisco, CA
5/29/1980 Des Moines Civic Center, Des Moines, IA
5/29/1992 Sam Boyd Silver Bowl, Las Vegas, NV
5/30/1971 Winterland Arena, San Francisco, CA
5/30/1980 Milwaukee Auditorium, Milwaukee, WI
5/30/1992 Sam Boyd Silver Bowl, Las Vegas, NV
5/31/1969 McArthur Court, University of Oregon, Eugene, OR
5/31/1980 Metropolitan Sports Center, Bloomington, MN
5/31/1992 Sam Boyd Silver Bowl, Las Vegas, NV
6/1/1991 Los Angeles Coliseum, Los Angeles, CA
As I write up each week's listening guides, I mark up my copy of the book like this:
The underlined songs are the ones I'm calling out as highlights in the listening guide, and the songs highlighted in yellow are the ones that Howard Weiner has identified as Jam Anthem renditions. I also write notes in the space provided if I'm feeling inspired or if there are any updates such as newly released material. Ultimately you can use it however you want, but this was my original intent with the book.
So grab your copy of my book On This Day In Grateful Dead History: A Daily Listening Journal if you have it to follow along. Ok, let's jump into it. Here's the highlights for Issue 8, for the week of February 24th, 2025:
Interesting historical facts for this week in Grateful Dead history:
First performance of Promised Land (5/29/1971), Walkin’ Blues (5/28/1982)
Final performances of Mr. Charlie, Next Time You See Me, Two Souls In Communion, Chinatown Shuffle (5/26/1972)
Only performance of A Mind to Give Up Livin' (5/28/1982)
By the way, if you're new here, this is my weekly listening guide that brings you the most interesting and significant facts from Grateful Dead History, along with reviews of the music for the week ahead. The idea is to give all you Heads a "Heads up" on the interesting and cool stuff the Grateful Dead were up to on this week in history. So hit the Subscribe button below to go to the top of my blog page where you can enter your email to get this delivered to your email every week!
May 26th
5/26/1972 The Strand Lyceum, London, England – As the final show of the legendary Europe '72 tour, it capped off a run of consistently jaw-dropping performances, and in my opinion, this was the pinnacle. The entire show was officially released on Europe '72 The Complete Recordings, with the incredible Truckin' from the second set even making the original Europe '72 album.
The first set ran a full two hours, setting the table for the madness to come. A couple of standouts for me included the Playing in the Band, stretching past 17 minutes and unquestionably a Jam Anthem version. Billy broke away from the standard time signature, steering the jam into free-form territory—something the band had been leaning into but hadn’t quite unleashed at this scale before. The closer, Not Fade Away > Goin' Down the Road Feelin' Bad > Not Fade Away, was long, intense, and bursting with momentum. This show also marked the last circulating recording featuring Pigpen, who delivered what would be the band’s final versions of Mr. Charlie, Next Time You See Me, Two Souls, and Chinatown Shuffle—his presence here was bittersweet.
The second set opened with the towering Truckin', a performance that, for me, stands as the gold standard for the song. Phil’s thumping bass and Keith’s driving chords anchored the groove, while the tight vocal harmonies gave it an extra polish. The jam that followed built on Truckin’’s rhythm, Phil shuffling through high strings, Bobby laying down a pulsing rhythm—but Keith stole the moment, weaving sparkling chromatic runs alongside Jerry in mesmerizing interplay. Then, instead of returning to the final verse, Jerry veered off, and this is where the magic truly started. The band entered a heightened telepathic state, locking onto every idea instantly, shifting direction on a dime, exploring every possible musical avenue—pure Jam Anthem improvisation at its finest. After about seventeen minutes, Phil introduced The Other One, leading to a brief exploration, a drum solo, and bass-and-drums interplay before Bobby finally reeled things back to The Other One proper, delivering the first verse. But they weren’t done yet. The space between the verses became a playground for their most freeform explorations—dark, discordant, searching. As things dissolved into quiet, only Bobby and Keith remained, delicately painting chromatic textures that hinted at the next phase—Morning Dew. The build-up was breathtaking, tension escalating until Jerry’s frantic fretboard runs and scorching triplets collided with feedback-laced chaos from Bobby, Phil, and Keith. Billy’s polyrhythmic drumming pushed it all forward until, just as it reached its most intense moment, the band pulled back, exhaling into Morning Dew. This, for me, is the benchmark version—a delicate framework where each musician stepped forward and receded, no one overpowering the other, all working in perfect synchronicity. The climactic surge at the end was shorter than usual but no less impactful, ending with Billy drumming them right back into The Other One, where Bobby delivered the second verse after a fierce bit of high-energy jamming. One of my favorite subtle moments was Keith’s stunning chordal run right before the vocals. Afterward, Sing Me Back Home offered a graceful breather, with Jerry delivering a particularly soulful solo, closing out a seventy-five-minute segment of sheer brilliance. Somehow, they still had gas left in the tank, delivering Me and My Uncle, Ramble On Rose, Sugar Magnolia, and Casey Jones to close out the second set. The encore, a blistering One More Saturday Night, sent the crowd into a frenzy, clapping and chanting for more. Fireworks exploded in the distance as the final notes rang out—an unforgettable farewell to an absolutely legendary tour.
5/26/1973 Kezar Stadium, San Francisco, CA – The entire show was an absolute monster—three massive sets of peak Grateful Dead, start to finish. I was thrilled they officially released the entire performance on Here Comes Sunshine 1973, because this one deserved the full treatment.
The first set kicked off in classic form, with Bobby diving right into Promised Land after Bill Graham’s introduction. The energy felt smooth but strong, with Sugaree staying sweet and simple, Jack Straw hitting with precision, and Row Jimmy standing out as an early gem—already matured into that signature groove, carried by Jerry’s measured phrasing and Phil’s gentle bass. The set wrapped up with a great Looks Like Rain, an extra-bouncy They Love Each Other, and a fiery Playing in the Band, which built from tight, controlled musicianship into high-speed, aggressive jamming—Billy driving the momentum with a jazz-inflected pulse. A perfect way to close the first stretch.
The second set wasted no time keeping up the intensity. Here Comes Sunshine delivered a stunning jam, and Loser featured excellent guitar interplay between Jerry and Bobby. But the real crown jewel was the furious China Cat Sunflower > I Know You Rider—an absolutely thrilling version, played sharp, clear, and at a breakneck pace, with a jam that stretched effortlessly for over ten minutes. Unfortunately, equipment issues forced an early close, but they still squeezed in a few quick tunes, including an unexpectedly placed Bertha.
When they returned for a third set, everything clicked into legendary territory. Half-Step > El Paso got things moving before the band launched into some of their finest extended playing. He's Gone rolled out with grace, its vocal harmonies locked in, leading into a Truckin' jam that stretched longer and faster than usual. Then came Phil’s brief but beautifully melodic solo—followed by the bomb drop into The Other One. This version steadily built to a massive climax, unraveling into minutes of deep space before condensing beautifully into Eyes of the World, a glowing, flowing jam for thirteen glorious minutes. The transition into China Doll was effortless, bringing a haunting resolution. They closed the set with a rowdy Sugar Magnolia, then sent everyone home with a powerful Casey Jones—an unforgettable exclamation mark on an all-time great show.
5/26/1977 Baltimore Civic Center, Baltimore, MD – This May ’77 Baltimore show was a masterclass in tight, confident playing, reflecting just how locked-in the band was at this point in the tour. The whole performance was officially released on Dave’s Picks Volume 41, and for good reason—it’s an excellent snapshot of the band’s precision and energy.
The first set was consistently sharp, with Sugaree standing out as a highlight. It may not be the most dazzling version from this tour, but it was undeniably tight, with Keith’s chords crackling like rock candy and Jerry’s leads shimmering like sugar water. The control in the phrasing, especially during the brakes into the verses, was striking—it practically made my head shake. Looks Like Rain carried plenty of emotion, Jack-a-Roe was still forming but intriguing, and the rare Bertha set closer added some extra punch. Opening with Music Never Stopped was a strong move, setting the tone right from the start.
The second set kept the momentum rolling with a snarling Samson before shifting into a beautifully delivered High Time—a welcome surprise that felt lighter than usual, thanks to fluid cymbal work keeping it from sinking into slow mire. Donna’s harmonies here were particularly strong, easily one of the best uses of her high vocals. The extended Terrapin > Estimated > Eyes > Drums > Not Fade Away > Goin’ Down the Road Feelin’ Bad > Around & Around suite was solid throughout, even if it leaned more into tight execution than musical experimentation. Not Fade Away was a real standout, starting with a deep, tribal stomp before igniting into something much wilder—Jerry’s leads felt like flint striking steel, sparking a scorching run from 7 to 9 minutes before the band settled back into the familiar progression around the 15-minute mark. Goin’ Down the Road Feelin’ Bad felt laid-back, almost reclining into Around & Around, which didn’t quite peak with the usual energy of this closing sequence. The encore was a definitive Uncle John’s Band, played with warmth and precision—one of those versions that felt just right. While this show didn’t reinvent anything, it delivered an exceptionally strong and polished performance, showcasing the May ’77 magic in full force.
May 27th
5/27/1989 Oakland Coliseum Arena, Oakland, CA – This was a benefit concert for AIDS, and the Dead were more than happy to contribute as usual. The band donated millions of dollars to charities and fund-raising events over the years. If it was a cause they believed in, they would not hesitate to play. It's just the way they were. This performance includes a guest appearance by Clarence Clemens on saxophone which adds a nice touch. This was a spirited and well-intentioned performance, though it felt slightly uneven to me overall.
The first set opened with a solid Touch of Grey, carrying an optimistic vibe that set the tone nicely. Greatest Story Ever Told brought some real energy, with Bobby rolling out those end-line flourishes for extra emphasis. Althea was sung well but didn’t stretch much, and Walkin’ Blues landed as a fairly standard version. The real turning point was Iko Iko, the first song with Clarence Clemons joining in—it was lively, playful, and carried an effortless bounce. Unfortunately, Memphis Blues didn’t fare as well, feeling sluggish under Clarence’s sax, making it tough for the band to find a natural flow. Bird Song and Promised Land worked much better for his playing, though Hell in a Bucket struggled in much the same way as Memphis Blues.
The second set had some great moments, starting with a well-jammed Fire on the Mountain, where Jerry, Phil, and Clarence found some solid interplay. Blow Away is a favorite of mine—Brent at his finest—but I thought Clarence slowed its natural momentum. Truckin’ began hesitantly but built up some real drive before giving way to Drums and Space. Out of the ether, Brent delivered a gorgeous I Will Take You Home, its gentle atmosphere leading into Phil and Bobby teasing The Other One before the rest of the band jumped in. The jam was sprawling and spacey, leading beautifully into a redeeming Wharf Rat, which stood out as the real gem of the set. When Clarence returned for Turn On Your Lovelight, they finally struck the right balance, blending rock and swing for a strong finish. For the encore, Clarence delivered his best performance of the night on a softer tune. Brokedown Palace was played beautifully, his sax adding a tender sweetness that gave the song a little extra emotional weight.
5/27/1993 Cal Expo, Sacramento, CA – The only other show they played on this day in history. This is an outstanding show! I know there is a group of people who categorically refuse to listen to 93-95 shows, and I get that there is so much else to listen to, but get outside of your comfort zone and give this one a chance! This May ’93 show was pure magic—a high-energy, full-throttle performance that proved beyond a doubt the Dead still had it. I’m so glad they officially released it on Road Trips Volume 2 Number 4, paired with the stellar set from the night before, because this one was absolutely deserving of the spotlight.
The first set kicked off in full celebration mode with an extra funky Shakedown Street, setting the tone with a deep groove and a long, loose jam that stretched beautifully. From there, things only got better as the set transformed into a run of "rare" (but really just classic) songs that weren’t in rotation much anymore. The band was locked in, playing with clear joy, and every moment was pure gold. The Same Thing was gritty, Dire Wolf had an extra bounce, and Jerry was visibly beaming by the time it wrapped up—he was feeling great, and it showed. Beat It on Down the Line was sharp, and High Time was breathtakingly emotional—one of those performances that reminded me how lucky I was to catch it live. Bobby’s Masterpiece held its own as one of the best versions out there, and Cumberland Blues—another rarity—started tentatively but hit a phenomenal stride by the finish, earning huge cheers from the crowd. This set was already shaping up to be one of the best of the year.
But then the second set took things to another level entirely. The unusual Picasso Moon > Fire on the Mountain pairing was an instant attention grabber—Phil’s bass thundered through the opener, kicking everything into motion. Picasso Moon was shockingly hot, easily one of my favorite versions despite not usually being a go-to song. The jam coming out of it was wild, flowing straight into a Fire on the Mountain that stood among the best—it felt like everything was melting in surreal waves. Wave to the Wind grounded things for a moment, but then came the true moment of liftoff. When Cassidy blasted through the PA—a second-set rarity appearing for the third of only four times ever. It was played with an ease and expansiveness that made it feel completely natural in this spot, the jams stretching longer, the vocals soaring. Just when I thought they were landing the final verse, Jerry steered the band into Uncle John’s Band, and the place erupted. Words couldn’t capture the emotion that swept through the crowd at that moment. The jam was glowing, reaching deep before resolving back into the final verse. Then Jerry started teasing Cassidy again, twice, building so much tension that the energy in the crowd was almost overwhelming. Finally, Bobby gave in, and the last verse rang out—the release of that moment was massive. Drums and Space had a completely different feel from the night before—this one had eerie MIDI textures floating through, leading to a deeply inspired The Other One that emerged like a force of nature. Wharf Rat was its perfect counterpart, beautifully played and completely redeeming, while Sugar Magnolia surged with absolute fire to wrap the set. This version was amped—one of my all-time favorites. The encore was unexpected—everyone expected Brokedown Palace, but instead, they sent the night off with a blistering Gloria. It was an exclamation point, not a soft farewell—high-powered, electrifying, and totally unforgettable.
May 28th
5/28/1977 Hartford Civic Center, Hartford, CT –This show was pure magic—an absolutely outstanding performance, captured beautifully on To Terrapin: Hartford '77.
The first set exploded out of the gate with a charged Bertha > Good Lovin' > Sugaree, immediately setting the tone for something special. And Sugaree—what a performance. Keith took a longer-than-usual lead, carving out a beautiful space before Jerry swooped in, elevating the first jam to an exhilarating high before bringing it back down. The second jam was all smooth, bluesy elegance, drifting into something utterly mesmerizing. At over twenty minutes, this Sugaree was an undeniable Jam Anthem version, soaking in every bit of feeling. The rest of the set was flawless, delivering moment after moment of tight execution, with Promised Land closing things out with as much energy as the opener.
The second set made it clear from the start—the band was locked in and wasn’t about to let up. Samson and Delilah roared to life, followed by Jerry methodically climbing through Tennessee Jed, stacking layers until it hit its emphatic closing strums. Estimated Prophet followed, stretching into dark, mysterious territory—one of my absolute favorite versions. Playing in the Band pushed out into deep space, an eerie, wandering jam that eventually found its way to a grand, polished Terrapin Station, played with full confidence. From there, Not Fade Away simply materialized—a classic 1977 rendition with a slow tempo but endless fire. The first jam was a joyful release, the second leaned deep into bluesy territory, stretching on and on before gradually settling into Wharf Rat. And that transition—one of the smoothest, most gradual segues of the late ’70s. Phil’s bass had a marching urgency behind Jerry’s vocals, shifting the feel away from soaring climaxes toward something more grounded before Jerry led the band back into a jam. The crowd already knew the Playing in the Band reprise was coming, clapping in anticipation, and when Jerry confirmed it, Donna’s signature wail made it official. They landed the final Playing seamlessly, then closed it all out with a fired-up One More Saturday Night, a perfect exclamation point to a legendary set. What a phenomenal show.
5/28/1982 Moscone Convention Center, San Francisco, CA – This Vietnam Veterans benefit at the Moscone Convention Center was shorter than a typical Grateful Dead performance, but packed with some memorable moments. While there aren’t any official releases from this show that I know of, it’s definitely worth tracking down.
The first set had a mix of expected first-set material early on, but leaned into second-set-style jams toward the back half. Brent laid down some particularly tasty keys throughout. The real standout for me was the Drums segment out of Truckin', featuring Flora Purim—her presence added a unique texture that made the transition feel special. Otherwise, it was a solid but fairly standard stretch.
The second set was where things got really interesting. With Boz Scaggs and John Cipollina sitting in, the energy shifted into something unique. The first big moment came with Walkin’ Blues—the first performance since 1966. It was raw, bluesy, and clearly a precursor to Bobby’s later renditions. Jerry and Cipollina both delivered sharp, soulful lead work. Then came the only-ever version of A Mind to Give Up Livin’, with Jerry and Cipollina once again leading the charge—this one felt soaked in emotion, a rare gem in every way. The show wrapped up on pure rock-and-roll adrenaline, with Lovelight and Johnny B. Goode bringing an absolute burst of energy from the entire band. By the time they hit full stride, it felt like one of those unexpected, electric nights where the guests meshed perfectly with the core band. For a one-off benefit performance, this show had some truly standout moments.
May 29th
5/29/1971 Winterland Arena, San Francisco, CA – This May 29, 1971 show at Winterland was an absolute standout, proving that even with just two performances that month, the Dead could still deliver something extraordinary. While most of the show circulates through a mix of audience recordings and crisp soundboards, the energy and execution shine through regardless. This one had everything—tight execution, deep jams, psychedelic chaos, and soulful ballads. Absolutely worth revisiting.
Right from the start, Casey Jones lit the fuse, always a crowd-pleaser, before Bobby’s earnest Me and Bobby McGee brought in that warm storytelling charm. It Hurts Me Too let Pigpen and Jerry trade off blues-drenched solos with real grit, setting the mood for what followed—a landmark first-ever performance of The Promised Land. They would go on to play it countless times over the years, but even here, it felt fully dialed in. Loser and Playing in the Band kept things steady, played clean but without too many surprises. Then came Hard to Handle, and wow—what a gem. The jam in the middle was pure tension and release, building from subtle restraint into a fevered explosion before dropping right into the final verse. That kind of dynamic pacing was something only the Dead could execute so flawlessly.
But the real centerpiece of the night was the extended Truckin' > The Other One jam. Truckin' burst forward with Phil driving a tight shuffle and laying the groundwork for Jerry to soar. The post-song jam had that effortless momentum before briefly slowing down, almost to a full stop, only for Billy to snap the energy back into motion with a drum solo. Then Phil made it official, dropping in with his unmistakable Other One intro, and suddenly, we were off to the races. The Other One plunged into deep space, twisting and unraveling the main theme before Bobby reeled everyone in for the first verse. The psychedelic madness that followed was sheer brilliance—Jerry’s hypnotic triplets, Phil’s earthquaking bass vibrations, and Bobby and Billy trying to anchor the chaos into something rhythmic. Eventually, Phil convinced everyone to surrender to dissonance, flooding Winterland with thick, rumbling waves before Billy steered it all back on track, leading the band to the closing verse. After that kind of madness, a breather was necessary. The transition into Wharf Rat was seamless—Jerry took the lead with delicate phrasing, and the entire delivery was slow, soulful, and deeply moving. Even as they settled down, the band couldn’t resist slipping in some final discordant madness before easing into Sing Me Back Home, another quiet moment, its sweetness enhanced by Jerry’s soaring, nimble solo work. The energy returned with blazing force through Cumberland Blues and Sugar Magnolia, both high-energy, high-impact performances, before Jerry dialed it back down again with a gritty, mellow Deal, perfectly counterbalancing the intensity of the last stretch. The final sequence, Not Fade Away > Goin' Down the Road Feelin' Bad > Not Fade Away, served as a perfect capstone—short, compact, and brimming with electricity. Billy held it down, Jerry rolled through bright, fluid leads, Bobby kept the drive steady, and Phil throbbed through the foundation—it was the ideal way to close out another Winterland classic.
5/29/1980 Des Moines Civic Center, Des Moines, IA – This May 29, 1980 Des Moines show was an absolute standout—tight, high-energy, and packed with great moments from start to finish.
The first set wasted no time kicking things off with a fiery Alabama Getaway > Promised Land, an opening punch that set the tone beautifully. Then came a truly sparkling They Love Each Other, musically rich and lyrically warm, settling things down into an easy groove. Bobby’s country selections kept the momentum rolling before a beautifully played Candyman landed like pure gold. Minglewood Blues was an absolute rager—this one had the whole place moving. The set closed on a powerful note with Let It Grow > Deal, an electrifying combo that blew things wide open, making sure the energy carried straight into set two.
The second set burst to life with a funky, full-throttle Feel Like a Stranger, setting up an incredibly fluid sequence. Estimated Prophet transitioned seamlessly into a brilliant Eyes of the World, which felt particularly well-developed, with some gorgeous soloing taking it to new heights. Then came the teasing hints of The Other One, just flirting at the edges before slipping into Drums and a swirling Space segment. Billy and Mickey worked their rhythmic magic during Drums, turning the atmosphere tribal and hypnotic. Out of Space, Lost Sailor > Saint of Circumstance emerged beautifully—Bobby’s lyrics cut through, carrying the whole set forward with incredible momentum. Then came a breathtaking Comes a Time, dripping with delicate emotion and spiritual depth, giving the night one of its truly defining moments. The final push was pure rock-and-roll fire—a double shot of Chuck Berry with Around & Around > Johnny B. Goode that brought things home with a relentless drive. The encore sealed the night perfectly—US Blues, a bopping, celebratory send-off that felt like the ideal exclamation point. An incredible show from top to bottom.
5/29/1992 Sam Boyd Silver Bowl, Las Vegas, NV – Since Dead and Company are doing the Sphere residence, I thought I'd add this run of shows from Sam Boyd Silver Bowl as a kind of historical contextual "compare and contrast" to what's going on today. For starters I'll say that the Sphere looks like an absolutely amazing venue and I'd love to see a show there some day (especially a Phish show). That said, this run of shows I feel represent some outstanding psychedelic desert Grateful Dead. At 42,000 General admission seats Sam Boyd Silver bowl was on the "smaller" side compared to some of the big stadiums they were playing at the time. In contrast, the Sphere is half that at roughly 20,000 capacity. The stadium is located to the east of the Las Vegas Strip and is about a 30 minute drive. It is adjacent to the wilderness area of the Valley of Fire State park and Lake Mead, Hoover Dam, etc.. I've heard stories about some truly interesting Shakedown Streets, probably fueled by people wanting to show up early enough to get prime spots in the venue. Well, add in all the typical Las Vegas debauchery and you have a recipe for some interesting vending and some fantastic people watching experiences!
The first set opened strong with a bold Half Step, immediately setting the tone. Walkin’ Blues stood out to me with Phil pulling an interesting opening bass line that gave it some extra edge. They Love Each Other carried that unmistakable warmth, while Memphis Blues added a compelling mix of grit and soul—both were definite highlights.
The second set was packed with powerful moments. The China Cat > I Know You Rider was flat-out ripping, one of those versions that just kept soaring. Then came the stunning sequence of Crazy Fingers > Playing, and it was long—extra stretched out, letting the music breathe in all the right ways. The Playing jam itself ran at least eight and a half minutes, drifting deep into improvisational space. Phil took things further by setting up a tape loop, weaving it into a mesmerizing interplay with the drummers before the full transition into Drums. This set had real depth, texture, and some unforgettable peaks.
May 30th
5/30/1971 Winterland Arena, San Francisco, CA – A classic 1971 sounding show, with some really nice moments.
The first set kicked off with an up-tempo Bertha, and right away, it felt like they were tinkering with the arrangement—Bobby seemed ready to belt out a chorus where none existed, but they recovered quickly and locked back in. Me and Bobby McGee followed, and I loved hearing Jerry pull off those unusual double-stop bent notes during his solo—it gave the song a little extra flavor. Then came a rare electric The Rub, bouncing with energy, full of life, and feeling like a refreshing change of pace. Loser slowed things down, with Phil’s bass dominating. Playing in the Band, still in its pre-Keith form, felt a bit restrained compared to later versions—it lacked the mid-song jam that would eventually make it a jam launching pad, but this rendition was still tightly played. Bobby introduced a rocking Next Time You See Me with a classic Pigpen nod, and the harmonica work really stood out. Then came a surprise—Morning Dew landed in the middle of the set, and Jerry’s vocals were piercingly strong, making it a natural fit despite the unusual placement. Promised Land, played here for only the second time, was an interesting curiosity—I could hear Jerry still working his way into its groove, tossing in some classic Chuck Berry-style riffs along the way. The set closed with a Good Lovin' that took a completely unexpected turn—Pigpen’s rap had its usual swagger, but instead of snapping back into the vocals, the band slowed everything down, letting the music melt into a free-form space jam right there in the middle of the song. It was an unconventional twist that I thought made this Good Lovin' stand out in a big way. My personal highlights from this first set are The Rub, Morning Dew, and that wild Good Lovin'.
The second set had some particularly strong moments, starting with China Cat Sunflower > I Know You Rider, which was solid, though Bobby led the transition jam while Jerry stayed mostly in the background—an unusual shift. The crowd lit up for Sugar Magnolia, welcoming it with real enthusiasm before the band launched into a fast-paced Cumberland Blues. I thought Phil and Jerry were locked in during the instrumental sections, constantly bouncing off each other—one running high while the other dug into the lower notes. Me and My Uncle and Deal were straight-ahead, clean performances, but the energy shot up again when Truckin' hit—the audience absolutely erupted, clapping and hollering all the way through. That momentum carried straight into Turn On Your Lovelight, where Pigpen worked the crowd into a frenzy, delivering his signature rap about pairing up for the night—a moment that never failed to get a reaction. The night wrapped up with strong versions of Uncle John’s Band, Casey Jones, and Johnny B. Goode, bringing a fast, hard finish to a well-played second set.
5/30/1980 Milwaukee Auditorium, Milwaukee, WI – Reflecting on the May 30, 1980 Milwaukee show, it was an absolutely outstanding performance—no low points, just pure energy and tight execution from start to finish. Much like the night before, the band was locked in, delivering a show that deserved to be remembered.
The first set had some serious standout moments. The ending of Jack Straw was gripping, building perfectly into a Franklin’s Tower that absolutely shined—Jerry’s jamming was fluid and radiant, stretching in all the right places. Music Never Stopped closed the set with undeniable fire, a true highlight that sent the energy soaring and brought the house down.
The second set launched into an electrifying sequence of Scarlet Begonias > Fire > Playing in the Band. Scarlet Begonias felt playful and expansive, sliding into a Fire that was crisp, intricate, and packed with internal jams that gave it real depth. Playing in the Band may have been on the shorter side, but what followed was something special—the jam drifted into the kind of magic and mystery that sweeps you off your feet, effortless and immersive. Drums was explosive, with Mickey and Billy absolutely demolishing their kits in a rhythmic onslaught. Later, Good Lovin' was a powerhouse—Bobby was all-in, throwing in some fun lyrical improvisation that kept things lively. The night wrapped up with a raucous encore—Alabama Getaway, delivering a final burst of wild energy to cap off an incredible show.
5/30/1992 Sam Boyd Silver Bowl, Las Vegas, NV – 2nd of a 3-show run at Sam Boyd Silver Bowl. This show was a real standout, packed with unique moments that made it special.
The first set opened strong with a vibrant Jack Straw, kicking things off with real energy. Sugaree followed, dripping with Jerry’s expressive guitar work and soulful vocals—it had that perfect balance of space and emotion. Wang Dang Doodle leaned into its bluesy grit, while High Time slowed things down beautifully, bringing out that aching, heartfelt delivery. Then came Maggie’s Farm, shifting the vibe again before rolling into a spirited Cumberland Blues—a real showcase of their deep Americana roots, played with lively precision. Cassidy stretched out into intricate jamming, its rhythmic layers building beautifully. Closing with a punchy Don't Ease Me In left the crowd energized, perfectly setting the stage for the next set.
The second set took things up another level. Eyes of the World as a set-two opener was not super common and certainly an unexpected surprise. When they hit that opening chord of the song it feels like a fresh, wide-open breeze. Then came the Truckin' > Smokestack Lightnin' > Terrapin Station sequence—a one-time-only combination that made this performance unforgettable. The transition felt seamless, rolling through moods and textures like a fully realized journey. Then came Drums, and this was something special—just as the storm rolled in, lightning flickered across the mountains, and Mickey seemed to sync his Beam work with the flashes in the sky. It was one of those moments where the energy between the band and nature felt completely connected. Emerging from Drums, they delivered Spanish Jam, its appearance marking the first time they’d played it in five years—an unexpected treat that made the whole set even more unique. This show had those unmistakable magical moments—the kind that made Vegas feel like the perfect backdrop for the Dead’s ever-expanding cosmic storytelling.
May 31st
5/31/1969 McArthur Court, University of Oregon, Eugene, OR – An excellent primal Dead performance from a time period when the band was honing their sound and adding some country tunes into the psychedelic stew.
The first set launched with an absolutely frantic Hard to Handle, raw and high-energy, even if it felt slightly unhinged. Cold Rain and Snow was downright wild, tearing through at breakneck speed—nothing like the more measured versions they'd play in later years. Then came some classic mid-show chaos—ten minutes of absurd, mile-a-minute jabber from Ken Babbs, followed by Bobby’s yellow dog joke. The energy shifted with the Green, Green Grass of Home, Bobby’s first crack at it, featuring Jerry on pedal steel—a smooth country touch. Me and My Uncle brought a bit more breathing room before the chaos erupted again with a tumultuous The Other One suite. This is where everything clicked—the band started truly listening to each other, and the flow became fluid and effortless. The segue into Sitting on Top of the World was a rocket ride, morphing seamlessly from The Other One into full-on adrenaline. Then Pigpen took control, slowing it all down for a deeply emotional It Hurts Me Too before flipping the energy completely on its head with a 15-minute Lovelight. Maybe not the longest or most intense version I’ve heard, but one of the most outrageous ways to close a first set—it felt like they were just getting started.
The second set opened with a 15-minute He Was a Friend of Mine, which had some good moments, but also some places where Jerry seemed to be straining his vocals. But then—Dark Star. This was the moment. A sprawling version, stretching 24 minutes into deep space exploration—dazzling feedback, interlocking rhythms, seamless tension and release. The Live/Dead album version structure was there, but at this point, the band had embraced it fully as a launchpad for limitless improvisation. The transition into Doin’ That Rag felt natural and served as a nice way to pivot out of such deep jamming. Cosmic Charlie was a great version, but just when things were getting good, the tape ran out.
The encore, It’s All Over Now, Baby Blue, drifted in rather than starting with intent. Ken Babbs added a low-key spoken-word fragment, which felt more like an odd transition than a dramatic statement. A brief but heartfelt We Bid You Goodnight wrapped things up beautifully, closing the night in classic, bittersweet fashion.
5/31/1980 Metropolitan Sports Center, Bloomington, MN – This show was strong, dynamic, and packed with big, driving moments. A lively show that embodied that signature 1980 sound—tight, energetic, and bursting with moments that made it far from routine. Every song had weight, and the whole night felt strong from start to finish.
The first set kicked off with a powerhouse Alabama Getaway > Promised Land, instantly setting a high-energy tone. Even the more familiar staples felt fresh and fiery—the rhythm section was driving hard, with Billy and Mickey fully in control. Peggy-O was particularly sweet, showcasing Jerry’s delicate touch, but then Loser flipped the mood completely—he let loose, giving the song an extra edge. And then came that transition—Loser > Minglewood—absolutely explosive, Billy and Mickey pounding the drums like they were steering the entire ship. The whole sequence felt commanding. Other set highlights included Looks Like Rain > Deal, with Deal delivering one of its last truly great, full-throttle performances. That final chorus—"Don't you let that deal go down!"—was screamed with absolute force, repeating like a warning, a celebration, a demand. It was blistering, and honestly, a version like this needed Donna in her full-throated glory.
The second set opened strong with Stranger, rolling effortlessly into Ship of Fools, but the real treat came after the expected Lost Sailor > Saint of Circumstance. Wharf Rat was excellent, drenched in emotion, setting up a killer Other One—and remarkably, all of this happened before Drums. And no, they went there, too. After the intensity of the first set, though, Drums felt a little subdued—not bad, but nothing extraordinary. Space was far more interesting, twisting and turning unpredictably before launching forcefully into Miracle, hot and fully locked in. Bertha carried that same momentum, and then searching for a direction before finally committing to Sugar Magnolia, which, honestly, is never a bad choice. The Miracle > Bertha > Sugar Magnolia sequence was pure fire, a definite highlight.
With it being a Saturday, it seems obvious that the encore would be One More Saturday Night. The whole place probably expected it. But instead, they tore into a rousing U.S. Blues, sending the place into a frenzy. The band decided to return for one more song, catching the crew—and a few tapers—by surprise. Brokedown Palace was perfectly placed, finally easing the crowd into a satisfied hush.
Music link: https://relisten.net/grateful-dead/1980/05/31?source=2176423 or https://relisten.net/grateful-dead/1980/05/31?source=338281
5/31/1992 Sam Boyd Silver Bowl, Las Vegas, NV – 3rd of a 3-show run at the Sam Boyd Silver Bowl, and this one was an absolute barnburner from start to finish—one of the best three-show runs of the '90s and, in my opinion, the strongest of '92.
The first set was packed with brilliance right out of the gate. That Help > Slipknot! > Franklin’s opener stretched past 20 minutes—one of those full-throttle, jammed out sequences that just kept going. Later in the set, they unleashed a Bird Song that ran about 14 minutes, expanding and soaring with that perfect mix of space and melody.
The second set opened with another heavy-hitting sequence—Scarlet > Fire, rolling with fiery momentum. But the real magic arrived post-Drums. Steve Miller, whose band had opened the shows, came out and locked right into the groove. He sat in for Spoonful > The Other One > Morning Dew, a closing sequence that seriously elevated this show to another level. Steve nailed it, sounding very rehearsed with his distinct tone adding extra color without overcrowding the mix. His playing on Morning Dew elevated the song to another level—deep, emotional, absolutely soaring. Billy and Mickey tore through Drums, Phil and Bobby shaped Space, and when Steve stepped in, it was like the whole set took on another dimension. Then came the double encore, with Steve still onstage. Baba O’Riley > Tomorrow Never Knows was the perfect final exclamation mark—unexpected, blistering, and completely unforgettable. This show was scorching, through and through.
June 1st
6/1/1991 Los Angeles Coliseum, Los Angeles, CA – The only available show on this day. This is an example of the rare time when the first set outshines the second set in terms of energy level and determination by the band. Bruce Hornsby is on the stage for the whole show and adds his signature piano playing flare. It's one of the reasons this one ranks above average in my opinion.
The first set kicked off with a charged Shakedown Street, instantly bringing that signature high-energy groove. Walkin’ Blues slowed the pace a bit, but Bertha immediately snapped things back to life. The energy stayed consistent through Greatest Story, Candyman, and Queen Jane, all delivering punchy, well-played versions. Candyman felt particularly perfect, glowing with rich, expressive phrasing. Closing out the set, Deal absolutely spun with momentum, taking things to a full-throttle climax. Bruce Hornsby’s presence was a major plus—his piano playing gave the whole set an extra dimension, adding his signature flair at just the right moments.
The second set opened with Picasso Moon, and while I know it’s a divisive song, I actually love how it sets things up for the remainder of the set. Foolish > Playing > Uncle John’s leaned more on restraint, though the Playing > Uncle John’s transition was a strong moment for me. Drums > Space didn’t break any new ground, but things locked in again with Miracle > Black Peter > Throwing Stones > Not Fade Away, pushing forward with steady momentum. I thought the Throwing Stones > NFA section stood out as one of the more compelling stretches of the second set. One More Saturday Night sent the crowd off with a good dose of rock-and-roll energy—exactly the kind of finish you’d want. Definitely a solid show with great moments, even if the second set didn’t quite live up to the intensity of the first set.
BTW, If you're not yet familiar with Jam Anthem versions of songs you can read all about it in Deadology II by Howard Weiner. Check it out here along with all his other great books.
And that's all for now! Of course, if you want to follow along in your very own copy of my book On This Day In Grateful Dead History: A Daily Listening Journal I still have some copies available here. Once they're sold out, I won't be getting any more made. The costs of printing and shipping has almost doubled in the last few years since I had them printed, and I've decided it's just not worth it. So get one now while you can! https://www.gratefuldeadbook.com/tigdh
Peace out my good people. Until next week!
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