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This Week In Grateful Dead History #38 (Week of 9/22)

A picture of a skull and roses with the words "This Week in Grateful Dead History"

For the week of 9/22 – 9/28, the historic Fall 1980 “For the Faithful” tour began, reintroducing an acoustic-electric format that would supply material for the Reckoning and Dead Set albums. These shows featured the return of many classic songs that had been absent for hundreds of performances. Throughout the years, this week also saw many notable guest appearances, including Spencer Davis, saxophonist David Murray, harmonica player James Cotton, guitarist Mick Taylor, Suzanne Vega, and Hall & Oates. Some performances were for special events, such as a 1988 Rainforest Benefit concert and a 1994 "Phil Lesh and Friends" show to save the Berkeley High music program. A 1975 Golden Gate Park show billed as "Jerry Garcia and Friends" took place during the band's hiatus and featured the first time many fans heard new material like "Help on the Way" and "Slipknot!". I’ve written 26 listening guides this week to cover all of this and more:

 

09/22/1987, The Spectrum, Philadelphia, PA

09/22/1988, Madison Square Garden, New York, NY

09/22/1993, Madison Square Garden, New York, NY

09/23/1972, Palace Theatre, Waterbury, CT

09/23/1987, The Spectrum, Philadelphia, PA

09/24/1972, Palace Theatre, Waterbury, CT

09/24/1976, William and Mary College, Williamsburg, VA

09/24/1982, Carrier Dome, Syracuse, NY

09/24/1988, Madison Square Garden, New York, NY

09/24/1991, Boston Garden, Boston, MA

09/24/1994, Berkeley Community Theatre, Berkeley, CA

09/25/1976, Capital Centre, Landover, MD

09/25/1980, Warfield Theatre, San Francisco, CA

09/25/1981, Stabler Arena, Lehigh University, Bethlehem, PA

09/25/1991, Boston Garden, Boston, MA

09/26/1972, Stanley Theatre, Jersey City, NJ

09/26/1973, Community War Memorial Auditorium, Buffalo, NY

09/26/1980, Warfield Theatre, San Francisco, CA

09/26/1981, Community War Memorial Auditorium, Buffalo, NY

09/26/1991, Boston Garden, Boston, MA

09/27/1972, Stanley Theatre, Jersey City, NJ

09/27/1976, Community War Memorial Auditorium, Rochester, NY

09/27/1980, Warfield Theatre, San Francisco, CA

09/28/1972, Stanley Theatre, Jersey City, NJ

09/28/1975, Lindley Meadows, Golden Gate Park, San Francisco

09/28/1976, Onondaga County War Memorial, Syracuse, NY


If you like these weekly listening guides, and you want to support me, please consider buying a copy of my book On This Day In Grateful Dead History: A Daily Listening Journal. They're $50 and I offer free shipping if you subscribe to my mailing list, where you'll get these writeups delivered. No spam, I promise!


As I write up each week's listening guides, I mark up my copy of the book like this:


A picture of the book On This Day in Grateful Dead History with underlined song highlights and highlighted Jam Anthem songs

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 the book if you have it to follow along. Ok, let's jump into it. Here's the highlights for Issue 38, for the week of September 22nd, 2025:


Interesting historical facts for this week in Grateful Dead history:

  • The start of the historic Fall 1980 “For the Faithful” tour that included 15 Warfield Theatre shows and 8 Radio City Music Hall shows, with 2 shows in between at that Saenger Performing Arts Center in New Orleans. Much to the delight of the audience, the band introduced an acoustic-electric set format for these shows and brought back some classic songs that had been absent from the set list for hundreds of shows. The acoustic material from this tour would be used for the Reckoning album, while the electric sets supplied material for the Dead Set album.

  • Final Tons Of Steel (9/23/1987), La Bamba (9/23/1987), Deep Elem Blues (9/24/1983), Cosmic Charlie (9/25/1976), You Win Again (9/26/1972), And We Bid You Good Night (9/26/1991)

  • First Tomorrow Is Forever (9/24/1972), Ain't No Lie (9/25/1980), "That Would Be Something"


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!




September 22nd

 

9/22/1987 The Spectrum, Philadelphia, PA - 1st of a 3-show run. This show really delivers—especially the first set, which feels tight, soulful, and full of character. The energy is high from the start, and the band sounds like they’re having a blast. It’s a show that balances groove, emotion, and surprise—and it’s definitely worth checking out.

 

Hey Pocky Way kicks off the first set with a funky groove that immediately sets the tone. Althea follows with that laid-back swagger I love, and Garcia’s solos are full of nuance. Little Red Rooster brings some gritty blues, and Ramble On Rose is warm and playful, with the crowd clearly locked in. The transition from Cassidy > Deal is seamless—Cassidy stretches out with some beautiful rhythmic interplay, and Deal lands with punch and fire to close the set.

 

The second set has its own flavor, starting with a surprise guest appearance—Gimme Some Lovin’ featuring Spencer Davis. It’s a fun, high-energy moment that gets the crowd moving. Then comes China Cat Sunflower > I Know You Rider, and the band nails the transition—bright, joyful, and full of momentum. Out of Space, they drop into the Two Soldiers Jam, and it’s one of the more unique moments of the night. It’s tender and haunting, with a quiet emotional pull that sets up the final stretch beautifully. Truckin’ rolls in with swagger, and the jam opens up into expansive territory before settling into a deeply felt Stella Blue. Garcia’s vocals are raw and honest, and the solo feels like it’s reaching for something just out of view.

 

9/22/1988 Madison Square Garden, New York, NY - 7th of a 9-show run. This show has a lively pulse from start to finish, with a setlist that keeps things fresh and a few standout moments that really stuck with me. It’s a show that balances tight playing with loose, joyful improvisation.

 

The first set kicks off with a funky, confident Shakedown Street that sets the tone perfectly. Then comes a playful twist—a 22-beat intro to Beat It On Down the Line, which snaps right into Greatest Story Ever Told with seamless energy. To Lay Me Down is tender and beautifully played, giving the set a moment of quiet reflection. Cassidy is slick and exploratory, stretching out into a jam that feels spontaneous and alive. The segue into Deal to close the set is pure fire—tight, fast, and full of punch.

 

The second set opens with a classic pairing: China Cat Sunflower > I Know You Rider. The transition is smooth, and the jam in Rider is full of bounce and joy. Estimated Prophet > Eyes of the World follows, and the shift from tension to release is handled beautifully—Eyes in particular has that flowing, lyrical feel I always love. The closing stretch—Dear Mr. Fantasy > Hey Jude Reprise > Lovelight—is pure celebration. Fantasy is soulful and raw, Hey Jude adds a touch of communal uplift, and Lovelight brings it all home with swagger and joy.

 

9/22/1993 Madison Square Garden, New York, NY - This show has always held a special place for me—even though I wasn’t there in person, it felt like part of my journey. My first show was just a couple weeks earlier, 9/10/93 in Richfield, and then I caught 9/12 at the Spectrum. I remember getting home, still buzzing from those nights, when a friend called me absolutely fired up about the DAT tapes from 9/22. He was going on about how the band had a jazz saxophonist sitting in, and how wild and incredible it was. That call stuck with me. It reminded me why I fell in love with going to Dead shows in the first place—hoping to catch something unexpected, something totally off the map. I was bummed I couldn’t make the trip to New York for this run, but thankfully we’ve got the recordings. This show is just astounding. David Murray joins on sax, and James Cotton jumps in on harmonica during Lovelight, and the result is something truly unique.

 

The first set kicks off with Help on the Way > Slipknot! > Franklin’s Tower, and it’s a strong, flowing opener—tight transitions, great energy, and Garcia sounds dialed in. Later in the set, Bird Song with David Murray is a standout. The sax adds a layer of texture that pushes the jam into new territory—dreamy, exploratory, and full of tension.

 

The second set is where things really take off. Estimated Prophet > Dark Star > Drums > Space > Wharf Rat > Throwing Stones > Lovelight is one of the most adventurous sequences of the era. The audience was fortunate to get a Dark Star of course, but isn’t as sprawling as I’d like. It’s a Dark Star nonetheless, and it’s certainly cosmic, and the interplay between Garcia and Murray is mesmerizing. Wharf Rat is emotionally rich, and Throwing Stones builds with urgency before spilling into a wild, joyful Lovelight, with Cotton’s harmonica adding grit and fire. This show is everything I hoped the Dead could be—bold, unpredictable, and full of soul. Even from afar, it felt like a glimpse into something rare.



September 23rd

 

9/23/1972 Palace Theatre, Waterbury, CT - This show stands out for me as one of those nights where everything just clicks—the band is locked in, the energy is high, and Bob and Jerry are absolutely on fire. Their guitar work throughout is sharp, expressive, and full of character.

 

The first set kicks off with a rare Big River opener—only the second time they ever used it to open a set—and it’s a bold choice that pays off. It’s fast, tight, and sets the tone beautifully. Sugaree follows with that slow-build intensity I love, and Garcia’s solos are full of nuance and soul. China Cat Sunflower > I Know You Rider is joyful and seamless, with Phil driving the transition and the whole band riding the wave. Then comes Playing in the Band, and it’s epic. The jam stretches out into deep, exploratory territory, full of rhythmic twists and melodic interplay. It’s one of those versions where time seems to dissolve.

 

The second set keeps the momentum going with a rockin’ Promised Land > Bertha > Greatest Story Ever Told opener. The energy is palpable, and the transitions are tight and fiery. Then they dive into the jam segment with Cryptical > Drums > The Other One > Wharf Rat—and it’s pure magic. The Other One is explosive, chaotic in the best way, and the drop into Wharf Rat is graceful and emotionally rich. This show feels like the band was chasing something big—and they caught it. Check it out if you want to hear the Dead at full throttle.

 

9/23/1987 The Spectrum, Philadelphia, PA - This show felt like the band came out with something to prove—Jerry’s guitar had that extra sparkle, and his vocals carried a kind of clarity and warmth that really stood out. The whole band was energized, and it showed in every corner of the performance.

 

The first set kicked off with Feel Like a Stranger > Franklin’s Tower, and it was a perfect opener—funky, fluid, and full of bounce. Walkin’ Blues followed with some gritty slide work from Bobby, and Big Railroad Blues brought that barroom swagger I always love. But the real highlight was the set closer: an absolutely epic The Music Never Stopped. This is one of Howard Weiner’s Jam Anthem versions—explosive, layered, and full of dynamic shifts. The jam just kept building, and the payoff was huge.

 

The second set opened with a rock-solid trio: Bertha > Cumberland Blues > Playing in the Band. Bertha was joyful and loose, Cumberland had that driving, locomotive rhythm, and Playing launched into deep territory before melting into Uncle John’s Band. The return to the Playing Jam was seamless and adventurous—one of those moments where the band felt like a single organism, moving together through the changes. Later in the set, they pulled out Good Lovin' > La Bamba > Good Lovin', and it was pure fun. Bobby’s delivery was playful, and the La Bamba segment added a burst of unexpected joy. Knowing it was the final performance of both Tons of Steel and La Bamba gives the whole thing a bittersweet edge, but they went out swinging. This show had heart, fire, and a sense of occasion. It’s one I revisit when I want to feel the band pushing boundaries while still keeping it loose and joyful.



September 24th

 

9/24/1972 Palace Theatre, Waterbury, CT - Officially released on 30 Trips Around The Sun. This show really hits the mark for me—tight playing, a few rare treats, and a setlist that flows beautifully. This one’s got everything I look for—rarity, flow, and moments that feel truly alive.

 

The first set opens with Big Railroad Blues, and it’s one of only six times they ever used it to kick off a show. That alone makes it special, but the performance has real punch—raw and joyful. Loser follows with a slow, deliberate burn, and Garcia’s solo is full of soul. Cumberland Blues brings that driving rhythm and vocal interplay I always love, and Sugaree stretches out with patient, expressive phrasing. Then comes Playing in the Band, and it’s a standout—loose, exploratory, and full of rhythmic twists.

 

The second set starts strong with Greatest Story Ever Told > Bertha > Promised Land, and the energy is high from the jump. The transitions are tight, and the band sounds like they’re having fun. Then comes a real surprise: the first-ever performance of Tomorrow Is Forever. It’s tender and heartfelt, and Garcia’s delivery feels personal, like he’s singing straight to the back row. The jam sequence—Dark Star > Drums > Dark Star Jam > China Cat Sunflower > I Know You Rider—is the heart of the show. Dark Star is expansive and full of deep space and melodic exploration. The drop into Drums is smooth, and when they emerge into China Cat, it feels like a sunrise. Rider is joyful and communal, with the whole band locked into the groove.

 

9/24/1976 William and Mary College, Williamsburg, VA - Officially released on Dave's Picks Volume 4. It’s a show that doesn’t reinvent the wheel, but it’s got some serious twists and emotional depth to keep me coming back.

 

The first set is solid across the board—tight playing, good energy—but it mostly sticks to familiar territory for the era. That said, a few moments really stood out for me. Deal has a nice bounce and Garcia’s soloing is sharp, Sugaree stretches out with that slow-build intensity I always love, and Row Jimmy is tender and well-paced. The real curveball is the Playing in the Band > Supplication > Playing in the Band sandwich. It’s a fun, exploratory diversion from the normal Playing recipe, and the transitions are surprisingly fluid. The jam feels exploratory without losing its structure, and it gives the set a little extra spark.

 

The second set is where things open up. Help on the Way > Slipknot! > Drums > Slipknot! > Franklin’s Tower is a wild ride—the return to Slipknot! after Drums is unexpected and thrilling, and it sets up a joyful, flowing Franklin’s that feels like a release. Then they dive into The Music Never Stopped, and it’s a burner—tight, funky, and full of momentum. Stella Blue closes the set with grace, and Garcia’s vocals are raw and honest, the kind that make you stop and listen.

 

9/24/1982 Carrier Dome, Syracuse, NY - This show really hit me in all the right ways—tight playing, inspired choices, and a flow that felt natural from start to finish. The band sounded locked in, and there were moments where the music just shimmered.

 

The first set had a gentle but confident build. Bird Song > Looks Like Rain was a beautiful pairing—Bird Song stretched out with that dreamy, searching quality I always love, and Looks Like Rain followed with emotional weight and some gorgeous phrasing from Weir. Later in the set, China Cat Sunflower > I Know You Rider brought the energy up with a joyful, rolling groove. The transition was smooth, and the jam had that classic bounce that never gets old.

 

The second set opened with Playing in the Band > Crazy Fingers > Playing Jam, and it was one of the more experimental sequences I’ve heard from this era. Playing was exploratory without losing its shape, and Crazy Fingers added a delicate, jazzy touch before melting back into the Playing Jam, which felt like a slow-motion kaleidoscope—layered, textured, and full of subtle turns. Out of Space, they launched into Iko Iko, and it was pure fun—loose, funky, and full of crowd energy. Then came Truckin’, which had a swagger to it, and the jam spilled into a bright, celebratory Goin’ Down the Road Feeling Bad. They closed with Black Peter, and it landed with quiet grace—Garcia’s vocals were raw and honest, and the band gave him space to let it breathe.

 

9/24/1988 Madison Square Garden, New York, NY - This show was part of the Rainforest Benefit concert, and it had a totally different vibe than a typical Dead night. The lineup was wild—Hall & Oates, Suzanne Vega, Mick Taylor, Bruce Hornsby, and even Kermit and Animal from The Muppets made an appearance via video. The Dead have always been game for a good cause, and this one supported Greenpeace, the Rainforest Action Network, and other groups working to protect the Amazon. Tickets weren’t cheap, but the spirit behind the event made it feel worthwhile. Musically, I’ll be honest—this isn’t a show I revisit for the Dead’s performance. Jerry’s voice was pretty shot, and after nine straight nights at MSG, it’s no surprise. The setlist is all over the place, thanks to the guest musicians, and while the execution isn’t always tight, there are still some cool moments.

 

The first set has a few highlights. Feel Like a Stranger opens things up with a solid groove, and West LA Fadeaway with Mick Taylor adds a bluesy edge that really works. Little Red Rooster, also with Taylor, leans into that gritty, barroom vibe—his guitar tone fits the song perfectly.

 

The second set is more about the guests than the Dead. Neighborhood Girls with Suzanne Vega is a fun curveball, and What’s Going On with Hall & Oates is surprisingly heartfelt. It’s not a typical Dead show by any stretch, but as a one-off event with a purpose, it has its own kind of charm. I don’t go to this one for the jams or the tight transitions—I go to it for the spirit of collaboration and the reminder that the Dead were always willing to step outside their comfort zone for something bigger.

 

9/24/1991 Boston Garden, Boston, MA – 4th of a 6-show run. This show has a quiet charm to it—tight playing, a few rare choices, and a flow that feels natural from start to finish. It’s the fourth night of a six-show run, and while it doesn’t always get the spotlight, I think it deserves more attention.

 

The first set opens with Feel Like a Stranger, and it’s got that slinky, late-era groove that sets the tone nicely. Althea follows with a laid-back swagger, and Garcia’s solos are full of subtle turns. Big Railroad Blues brings a burst of energy, and the band sounds loose and confident. The real surprise is New Speedway Boogie closing the set—only the third of four times they ever used it in that slot. It’s gritty, deliberate, and the jam has a slow-burning intensity that really works.

 

The second set kicks off with a classic China Cat Sunflower > I Know You Rider, and the transition is smooth and joyful. Ship of Fools comes next, and it’s delivered with tenderness—Garcia’s vocals are raw and honest, and the band gives the song room to breathe. Then comes the deep stretch: Dark Star > Drums > Space > Foolish Heart. Dark Star only includes the first verse but is layered, exploratory, and full of tension and release nonetheless. The segue into Drums feels organic, and Space is more melodic than chaotic, setting up a graceful landing into a warm and introspective take on Foolish Heart, which would be the only time they ever performed this song out of Space.

 

9/24/1994 Berkeley Community Theatre, Berkeley, CA - Even though this wasn’t technically a Grateful Dead show—it was billed as “Phil Lesh and Friends”—I still feel like it belongs in the conversation. The music is just too good to leave out. The backstory adds a layer of meaning: Berkeley High’s music program was on the verge of being shut down due to funding issues, and since both Phil Lesh and Country Joe McDonald were alumni (along with a long list of jazz greats), they pulled together this benefit to help save it. That kind of heart and community spirit is part of what I love about this scene.

 

What we got was a one-hour, all-acoustic set that’s full of warmth and energy. Most of the band was there, minus Mickey and Billy, and the vibe was intimate and joyful. The whole performance is strong, but a few songs really stood out for me: Lazy River Road felt especially tender, Dupree’s Diamond Blues was a big (but “unofficial”) breakout (almost 4 years and 330 shows). It had that playful bounce, and It Must Have Been the Roses was delivered with quiet grace. Cassidy stretched out with some beautiful interplay, Bird Song was dreamy and expansive, and Attics of My Life landed with emotional weight.

 

Listening to this made me wish they’d revisited the acoustic/electric format from Reckoning and Dead Set—there’s something so special about hearing these songs stripped down, with the focus on melody and lyric. It’s not a typical show, but it’s one I return to when I want to feel the heart of the music.



September 25th

 

9/25/1976 Capital Centre, Landover, MD - Officially released on Dick's Picks Volume 20. This show is bursting with energy and heart—one of those nights where the band feels fully in sync and ready to let it rip. It’s a show that balances precision with spontaneity, and the emotional range is wide—from joyful peaks to reflective valleys. I keep coming back to this one when I want to feel the full spectrum of what the Dead could do in a single night.

 

The first set is packed with strong performances. Bertha opens things up with a joyful punch, and New Minglewood Blues follows with grit and swagger. Ramble On Rose is warm and playful, and Peggy-O is delivered with quiet grace—Garcia’s phrasing is tender and deliberate. Let It Grow closes the set with a powerful jam that builds and builds, full of dynamic shifts and tension.

 

The second set is a highlight reel from start to finish. Lazy Lightning > Supplication is tight and fiery, with the band navigating the rhythmic twists like they’ve got something to prove. Then comes Dancin’ in the Streets > Cosmic Charlie, and it’s a bittersweet moment—Cosmic Charlie makes its final appearance, and the transition feels celebratory and nostalgic all at once. Scarlet Begonias shows up later in the set with that unmistakable bounce, and the jam is full of color and movement.

 

9/25/1980 Warfield Theatre, San Francisco, CA – 1st of a 15-show run. This show marked the beginning of one of the most unique and beloved runs in Dead history—the acoustic set followed by two electric sets format. It kicked off the infamous tour that included 15 nights at the Warfield, a couple shows in New Orleans, and then a legendary 8-show run at Radio City Music Hall. What I love about this era is how fresh and adventurous the band sounded, and this first night sets the tone beautifully.

 

The acoustic set is pure magic. You can hear how excited the band is to be playing in that stripped-down format again, and the energy is warm, intimate, and totally dialed in. The whole set is a highlight, but the breakouts are what really make it special. All Around This World hadn’t been played since 4/29/71—558 shows ago. Rosalie McFall was last heard on 11/8/70 (620 shows), and Monkey and the Engineer hadn’t surfaced since New Year’s Eve 1970. Ripple also made its return after a 558-show absence, and Bird Song hadn’t been played since 9/15/73. Dark Hollow, Roses, and Jack-A-Roe all came back after long gaps, and we even got the first-ever performance of Ain’t No Lie. It felt like the band was digging deep into their roots and sharing something personal.

 

The first set electric highlights include a punchy Alabama Getaway > Greatest Story Ever Told opener, a smooth and soulful Althea, a crisp Jack Straw, and a fiery Deal to close things out. The band sounded tight and energized, and the transitions were sharp.

 

The second set dives into deeper territory with Playing in the Band > Drums > Space > Wharf Rat > Around and Around. Playing stretches out into a nice layered, exploratory, version full of rhythmic tension. Drums and Space are immersive and textured, and the drop into Wharf Rat is graceful and emotionally rich. They wrap it up with a high-energy Around and Around, sending the crowd out buzzing. This show has everything I love about the Dead—rarity, heart, and a sense of occasion. It’s the kind of night that reminds me why I keep coming back.

 

9/25/1981 Stabler Arena, Lehigh University, Bethlehem, PA - This show always feels like it gets overshadowed by the following night, but for me, it’s every bit as strong—maybe even more so in terms of raw energy. From the moment the band hits the stage, there’s a sense of urgency and joy that carries through the entire performance.

 

Minglewood kicks off the first set to get the juices flowing, followed by Friend of the Devil > El Paso, and the pairing works beautifully—Garcia’s vocals are crisp, and the transition into El Paso feels effortless. Cumberland Blues is a standout, full of drive and vocal interplay, and the whole band sounds locked in. They close the set with The Music Never Stopped, and it’s a burner—tight, funky, and full of momentum. The jam builds with purpose, and the final crescendo lands hard.

 

The second set keeps the fire burning. Samson and Delilah opens with thunder, and the rhythm section is relentless. Then comes Scarlet Begonias > Fire on the Mountain, and it’s one of those versions where the groove never lets up—Garcia’s leads are lyrical and fluid, and the transition is seamless. Lost Sailor > Saint of Circumstance follows with emotional depth and dynamic shifts, and the band rides the tension beautifully. The closing sequence—Sugar Magnolia > Black Peter > Around and Around > Sunshine Daydream—is pure catharsis. Sugar Magnolia bursts with joy, Black Peter pulls everything inward with quiet reflection, and then Around and Around > Sunshine Daydream sends it all back into celebration. It’s a rollercoaster of feeling, and the band nails every turn.

 

9/25/1991 Boston Garden, Boston, MA - Even though this show sits between two nights that featured Dark Star, it never feels like filler to me. The band comes out swinging, and the energy is undeniable from start to finish. There’s a sense of purpose in the playing—like they’re determined to make this night stand on its own. This show might not have the marquee jam, but it’s got heart, surprises, and a flow that keeps me coming back. It’s a night that proves how much magic can happen between the headlines.

 

The first set kicks off with a monster Help on the Way > Slipknot! > Franklin’s Tower, and it’s one of those versions where every transition feels locked in. The jam in Slipknot! is especially tight, full of tension and release, and Franklin’s lands with joyful momentum. Later in the set, Roses > Dire Wolf adds a dose of sweetness and storytelling, and the band sounds relaxed but focused. They close with The Music Never Stopped, and it’s a hot version for sure—funky, expansive, and full of rhythmic interplay.

 

The second set dives deep right away with Crazy Fingers > Playing in the Band > Terrapin Station > Jam, and the flow is seamless. Crazy Fingers is delicate and textured, Playing stretches out with exploratory confidence, and Terrapin feels grand and emotional. The jam that follows is loose and searching, setting the stage for a truly unique sequence. Out of Space, they drop into a haunting Mind Left Body Jam, which melts into the first-ever performance of That Would Be Something. It’s understated and beautiful, and the return to Playing in the Band feels like a thread being pulled back through the tapestry. They close the set with a tender China Doll, and the encore—Mighty Quinn—is pure joy, a perfect release after all the depth and exploration.



September 26th

 

9/26/1972 Stanley Theatre, Jersey City, NJ - 1st of a 3-show run. This show is part of a run that’s rightly celebrated—the band was clearly in the zone, playing with fire and conviction across the board. Every song feels like it matters, and the energy never dips. This night has that full-spectrum Dead experience—tight rockers, deep jams, emotional ballads.

 

The first set is packed with highlights. Promised Land kicks things off with a burst of rock 'n' roll swagger, and Cold Rain & Snow follows with a driving pulse that sets the tone. He’s Gone is soulful and deliberate, and Cumberland Blues brings that locomotive rhythm that always gets me moving. Bird Song is especially strong—dreamy and expansive, with Garcia weaving through the changes like he’s painting in real time. Big River closes the set with a punch, tight and full of bounce.

 

The second set opens with a lively Bertha, and the band sounds loose but focused. Playing in the Band stretches out into a nice exploratory version. Greatest Story Ever Told keeps the momentum going with its punchy delivery, and then they dive into a deep jam sequence: Truckin’ > The Other One > Baby Blue. Truckin’ has that swagger, The Other One explodes with chaotic beauty, and Baby Blue lands softly, full of melancholy and grace. Also worth noting—this show features the final performance of You Win Again. It’s a good version, nothing groundbreaking, but it’s still bittersweet knowing it was the last.

 

9/26/1973 Community War Memorial Auditorium, Buffalo, NY - This '73 show has a spark to it that I really love—tight playing, joyful energy, and a few unexpected twists that make it stand out. The band sounds dialed in from the start, and the vibe is upbeat and adventurous throughout.

 

The first set is packed with highlights. Here Comes Sunshine is bright and fluid, with Garcia’s leads dancing through the changes. Brown Eyed Women is crisp and full of bounce, and The Race Is On adds a fun, rollicking break in the middle of the set. China Cat Sunflower > I Know You Rider is seamless and energetic, with Phil driving the transition and the whole band locked into the groove. They wrap things up with Around and Around, and it’s delivered with punch and swagger—classic rock 'n' roll energy to close the set.

 

The second set brings in Martin Fierro and Joe Ellis on horns, and their presence adds a unique texture to the jams. Playing in the Band is sprawling and exploratory. The band stretches out with confidence, and the horns weave in and out of the mix without overpowering. The sequence that follows—He’s Gone > Truckin’ > Eyes of the World > Weather Report Suite > Let It Grow—is one of the most fluid and inspired stretches of the night. He’s Gone is soulful and deliberate, Truckin’ bursts with momentum, and Eyes is full of lyrical phrasing and dynamic shifts. The transition into Weather Report Suite is graceful, and Let It Grow closes the segment with intensity and precision. It’s a show that captures the spirit of ’73—tight musicianship, adventurous setlists, and moments where the band feels like it’s reaching for something just beyond the edge.

 

9/26/1980 Warfield Theatre, San Francisco, CA - 2nd of a 15-show run. This show opens with a gorgeous acoustic set that, for me, is the heart of the whole night. The band sounds genuinely excited to be playing unplugged again, and that energy comes through in every song.

 

The entire acoustic set is a highlight, but the breakouts make it feel historic. On the Road Again hadn’t been played since 12/1/66—over 1,200 shows ago—and hearing it in this context is like rediscovering a forgotten corner of their catalog. To Lay Me Down returns after a 314-show absence, and it’s delivered with quiet grace. China Doll hadn’t surfaced since 5/8/79, and it’s haunting and delicate. Rosalie McFall and Ripple, both featured on Reckoning, are played with warmth and intimacy that makes the whole set feel like a gift.

 

The first set electric kicks off with Feel Like a Stranger, and it’s got that slinky groove that sets the tone perfectly. Sugaree stretches out with patient phrasing and soulful solos, and Peggy-O is tender and well-paced. New Minglewood Blues brings some grit, and Candyman is sweet and slow-burning. The set closes with a strong sequence: Tennessee Jed > Lost Sailor > Saint of Circumstance. The transition is smooth, and Saint lands with a burst of energy that wraps the set on a high note.

 

The second set opens with a classic Scarlet Begonias > Fire on the Mountain, and the jam is fluid and joyful—Garcia’s leads are lyrical and full of color. Estimated Prophet > Eyes of the World follows, and the shift from tension to release is beautifully executed. Out of Space, they launch into Not Fade Away, and it’s full of bounce and crowd energy. The encore—Brokedown Palace—is the perfect sendoff, tender and reflective, with Garcia’s vocals carrying real emotional weight. This show feels like a celebration of the band’s full range—acoustic roots, electric fire, and deep emotional resonance.

 

9/26/1981 Community War Memorial Auditorium, Buffalo, NY - This show is pure fire from start to finish—blistering energy, unexpected turns, and a band that sounds like it’s having a blast. It’s one of those nights where everything feels just a little more alive. This show has everything I look for—deep jams, emotional weight, and a sense of spontaneity that makes it feel truly alive.

 

The first set kicks off with a funky, stretched-out Shakedown Street > C. C. Rider that sets the tone perfectly. The groove is deep, and the transition into C. C. Rider is smooth and soulful. Cassidy is tight and dynamic, with the jam reaching some truly inspired peaks. Then comes Let It Grow > Deal, and it’s the kind of pairing that just works. Let It Grow builds with intensity and precision, and Deal explodes with joyful energy to close the set.

 

The second set opens with a spiraling and inspired Playing in the Band. The segue into Bertha is unexpected and thrilling, and Estimated Prophet keeps the momentum going with its hypnotic pulse. The jam spills into Goin’ Down the Road Feeling Bad, and it’s pure celebration—tight, bouncy, and full of crowd energy. Later in the set, they drop into Morning Dew, and it’s one of those versions that stops time. Garcia’s vocals are raw and emotional, and the band gives him space to let it breathe. The return to Playing in the Band wraps the whole journey in a perfect circle, tying the set together with grace and power.

 

9/26/1991 Boston Garden, Boston, MA - 6th of a 6-show run. This show is one of those nights where the band taps into something truly special. It starts off a little slow, but once they find their footing, the energy builds and never lets go.

 

The first set really picks up with a gritty Wang Dang Doodle, followed by a sweet and soulful Candyman. The pairing of Mexicali Blues > Cumberland Blues brings a burst of upbeat momentum, and the closing sequence—Picasso Moon > Box of Rain—lands with emotional weight. Box of Rain especially feels like a moment of reflection, and it’s delivered with real tenderness.

 

The second set is pure bliss from start to finish. The stretch of Dark Star > Saint of Circumstance > Eyes of the World is one of my favorite passages of the night. Dark Star quickly becomes mysterious, and full of subtle interplay. The shift into Saint is unexpected and thrilling, and Eyes flows with that lyrical, jazzy bounce that always lifts me up. Out of Space, they dive into a haunting The Other One, then circle back into Dark Star, which feels like a thread being pulled through the whole set. Attics of My Life is delicate and reverent, and Good Lovin’ brings the energy back up with a joyful release. The encore—And We Bid You Goodnight—is the final performance of the song, and it’s a beautiful, bittersweet farewell. You can feel the history in it. This show has everything I love about the Dead: deep jams, emotional sparks, and a sense of occasion that makes it feel like more than just another night.



September 27th

 

9/27/1972 Stanley Theatre, Jersey City, NJ - Officially released on Dick's Picks Volume 11. This show sits firmly in my personal top ten—it’s got that rare combination of fierce energy, inspired playing, and a setlist that just keeps delivering. From the very first note, it feels like the band is on a mission.

 

The first set opens with Morning Dew, and it’s one of only ten times they ever used it to kick off a show. That alone makes it special, but the performance is raw and powerful—Garcia’s vocals are full of emotion, and the band builds the dynamics beautifully. Black Throated Wind follows with a tight, expressive delivery, and Tennessee Jed has that laid-back swagger I always love. Bird Song is dreamy and expansive, with the jam unfolding like a slow sunrise. They close the set with a layered, exploratory 15+ minute reading of Playing in the Band.

 

The second set keeps the momentum going with a punchy Greatest Story Ever Told, then dives into a deep stretch: Dark Star > Cumberland Blues. Dark Star is cosmic and searching, and the transition into Cumberland is seamless—this version earns its Jam Anthem status with its joyful, driving groove. Attics of My Life is delicate and reverent, and Promised Land brings the energy back up with rock 'n' roll swagger. Then comes Uncle John’s Band, and it’s truly a Jam Anthem version—fluid, melodic, and full of interplay. Casey Jones barrels forward with intensity, and the encore—Around and Around—is a rarity, played as an encore only five times. It’s a perfect capstone, sending the crowd out buzzing. This show has everything I look for: emotional depth, musical risk-taking, and a sense of occasion that makes it feel timeless.

 

9/27/1976 Community War Memorial Auditorium, Rochester, NY - This show is a sleeper gem from ’76—solid all around, but it’s the second set where things really take off. It’s the kind of set that reminds me why I love this band: unpredictable, emotionally rich, and completely alive in the moment.

 

Promised Land kicks things off the first set with that familiar burst of rock 'n' roll energy, and All Over Now follows with a tight, punchy groove. Lazy Lightning > Supplication is where things start to stretch out a bit—the jam is sharp and rhythmically adventurous. They close the set with The Music Never Stopped, and it’s got that funky, syncopated drive that always gets me moving.

 

But the second set is where the magic happens. Might As Well opens with a joyful bounce, and then the band dives into one of the most fluid and inspired sequences I’ve heard from this era: Help on the Way > Slipknot! > Drums > The Other One > Wharf Rat > Slipknot! > Franklin’s Tower. The transitions are seamless, and the improvisation feels fearless. Slipknot! is especially deep—twice visited, and each time full of tension and release. The Other One explodes with chaotic beauty, and Wharf Rat brings it all back down with emotional gravity. The final landing into Franklin’s Tower is pure catharsis—bright, flowing, and full of life.

 

9/27/1980 Warfield Theatre, San Francisco, CA - 3rd of a 15-show run. This show has that full spectrum I love: rare acoustic gems, tight first set playing, and a second set that stretches out and goes deep. It’s one I revisit when I want to feel the full range of what the Dead could do.

 

Like many shows of this run, the acoustic set is easily the soul of this show—intimate, joyful, and played with real care. It’s the part I keep coming back to. The breakout moment is The Race Is On, which hadn’t been played since 10/19/74, a 315-show gap. That alone gives the set a sense of occasion. From here on out in the run, the acoustic sets settle into a familiar rotation, but on this night, everything feels fresh and full of life.

 

The first set electric kicks off with a smooth Mississippi Half-Step > Franklin’s Tower, and the transition is seamless—Garcia’s leads are lyrical and flowing. Althea follows with that laid-back swagger I always love, and Let It Grow builds with intensity and precision. They close the set with a fiery Deal, and the band sounds locked in and loose at the same time.

 

The second set dives deep right away with He’s Gone > The Other One > Drums > Space > Stella Blue > I Need a Miracle > Goin’ Down the Road Feeling Bad > Johnny B. Goode. The jam out of He’s Gone is patient and soulful, and The Other One explodes with chaotic beauty—classic psychedelic jam territory. Drums and Space are textured and immersive, setting up a graceful landing into Stella Blue, which is delivered with emotional weight. Miracle brings the energy back up, and the closing stretch—GDTRFB > Johnny B. Goode—is pure celebration.



September 28th

 

9/28/1972 Stanley Theatre, Jersey City, NJ - Coming off the heels of an epic performance the night before, the band had a high bar to clear—and they absolutely rose to the occasion. This show feels like a continuation of that momentum, with consistently strong playing and some truly inspired jams.

 

The first set is stacked with highlights. Truckin’ opens with boastfulness and purpose, setting the tone right away. Beat It On Down the Line is tight and punchy, and Brown Eyed Women has that sweet bounce I always love. Mexicali Blues keeps the energy up, and Mississippi Half-Step is delivered with grace and drive. Black Throated Wind is especially strong—Weir’s vocals are sharp, and the band gives the song room to breathe. Don’t Ease Me In adds a playful touch, and Tennessee Jed is full of raw energy. They close the set with a 20+ minute Playing in the Band, and it’s got plenty of deep exploration in that classic ’72 sound.

 

The second set kicks off with a lively Bertha > Greatest Story Ever Told, and the transition is seamless. Brokedown Palace follows with emotional weight, and Garcia’s vocals are tender and deliberate. Me and My Uncle, Ramble On Rose, and El Paso keep the middle of the set moving with tight, energetic playing. Then comes the deep stretch: He’s Gone > The Other One > Me and Bobby McGee > The Other One > Wharf Rat. The jam out of He’s Gone is soulful and patient, and The Other One explodes with chaotic beauty. The detour into Bobby McGee adds a surprising twist, and the return to The Other One feels like diving back into the storm. Wharf Rat closes the sequence with grace and emotional depth. This show has that full spectrum of what I look for—rockers, ballads, deep jams—and the band sounds fully committed throughout. It’s one of those nights where everything just clicks.

 

9/28/1975 Lindley Meadows, Golden Gate Park, San Francisco - Officially released on 30 Trips Around The Sun. This show, billed as “Jerry Garcia and Friends,” felt like a gift dropped right into the heart of Golden Gate Park. It was the final day of the New Age Bicentennial Unity Fair, and with the Dead on their two-year “hiatus,” the buzz leading up to it was electric. I’ve read estimates of 40,000 people packed into the park, and honestly, it felt like every single one of them was holding their breath waiting for the music to start.

 

The band took a minute to settle in—understandable, given the chilly air—but once they did, the energy started to build. The opening sequence was a revelation: Help on the Way > Slipknot!. For many people, this was the first time hearing the new material they’d been working on, and it landed with a mix of surprise and excitement. Instead of the expected segue into Franklin’s Tower, they paused and launched into The Music Never Stopped, which adds a twist to the flow when listening to it now. At the time, of course, the songs were brand new and the band was still figuring out the flow of that sequence. Franklin’s Tower did show up later in the set as a standalone, and it was worth the wait—bright, joyful, and full of bounce.

 

But the real magic came in the second half of the set. The stretch of Truckin’ > The Eleven Jam > Drums > Stronger Than Dirt > Not Fade Away > Goin’ Down the Road Feeling Bad > One More Saturday Night was pure improvisational fire. Truckin’ had that swagger, and The Eleven Jam felt like a portal back to ’69—rhythmic, spiraling, and totally alive. Stronger Than Dirt was a deep dive into funk and texture, and the transition into Not Fade Away was seamless. The closing run through GDTRFB and One More Saturday Night was pure celebration, sending the crowd into a frenzy. This wasn’t just a show—it was a moment. A bridge between eras, a glimpse of what was coming, and a reminder of why this band mattered so much to so many. I still get chills thinking about it.

 

9/28/1976 Onondaga County War Memorial, Syracuse, NY - Officially released on Dick's Picks Volume 20. This show has a spark to it that really grabbed me—full of energy, sharp playing, and a few curveballs in the setlist that kept things fresh. This one’s got that full-bodied feel I love: unexpected choices, tight execution, and a second set that rewards every bit of attention you give it.

 

The first set is strong right out of the gate. Cold Rain & Snow opens with grit and momentum, and Big River follows with that tight, twangy punch. Bertha is joyful and loose, and Cassidy stretches out with some beautiful interplay. Candyman slows things down just enough to let the emotion breathe, and then comes the real surprise: Let It Grow > Goin’ Down the Road Feeling Bad to close the set. It’s the only time they ever used that pairing to wrap up a first set, and it works—Let It Grow builds with intensity, and GDTRFB lands with a burst of celebration.

 

The second set is one glorious Playing in the Band sandwich, and it’s absolutely worth sinking into. The band uses Playing as a thread, weaving in and out of jams and songs with fluid transitions and fearless improvisation. It’s the kind of set that feels like a journey—no wasted moments, just deep exploration and joyful release.



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


A picture of the book On This Day in Grateful Dead History

A picture of the inside of the book On This Day in Grateful Dead history opened to the chronological show list section

A picture of the inside of the book On This Day in Grateful Dead history opened to the monthly summary calendar page for the month of June

A picture of the inside of the book On This Day in Grateful Dead history opened to the page for the shows on June 24th

Peace out my good people. Until next week!



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