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It was great while it lasted: Dead and Company has concluded final tour in California

The Grateful Dead's offshoot band, Dead and Company, concluded its final tour in California on Sunday. For fans and vendors who have been following the bands for decades, it's the end of an era.

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Dead & Company Announce Final Tour: See the Full List of Dates

The 2023 tour kicks off on May 19 at Los Angeles' Kia Forum.

By Rania Aniftos

Rania Aniftos

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Dead & Company ‘s upcoming summer tour will be their final run.

John Mayer , who has been part of the the modern incarnation of the  Grateful Dead  since it was created in 2015, shared the band statement to his Instagram on Friday (Sept. 23). “As we put the finishing touches on booking venues, and understanding that word travels fast, we wanted to be the first to let you know that Dead & Company will be hitting the road next summer for what will be our final tour,” he wrote alongside the rose-adorned promotional tour poster for the upcoming summer stint. “Stay tuned for a full list of dates for what will surely be an exciting, celebratory, and heartfelt last run of shows.”

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The band revealed the full list of tour dates on Thursday (Oct. 6), beginning on May 19, 2023, in Los Angeles at the Kia Forum and stretching through July 15, when the tour ends in San Francisco at Oracle Park.

See below, and check out ticket and pre-sale information here.

05/19 – Los Angeles, CA @ Kia Forum 05/20 – Los Angeles, CA @ Kia Forum 05/23 – Phoenix, AZ @ Ak-Chin Pavilion 05/26 – Dallas, TX @ Dos Equis Pavilion 05/28 – Atlanta, GA @ Lakewood Amphitheatre 05/30 – Charlotte, NC @ PNC Music Pavilion 06/01 – Raleigh, NC @ Coastal Credit Union Music Park at Walnut Creek 06/03 – Bristow, VA @ Jiffy Lube Live 06/05 – Burgettstown, PA @ The Pavilion at Star Lake 06/07 – St. Louis, MO @ Hollywood Casino Amphitheater 06/09 – Chicago, IL @ Wrigley Field 06/10 – Chicago, IL @ Wrigley Field 06/13 – Cincinnati, OH @ Riverbend Music Center 06/15 – Philadelphia, PA @ Citizen’s Bank Park 06/17 – Saratoga Springs, NY @ Saratoga Performing Arts Center 06/18 – Saratoga Springs, NY @ Saratoga Performing Arts Center 06/21 – New York, NY @ Citi Field 06/22 – New York, NY @ Citi Field 06/25 – Boston, MA @ Fenway Park 06/27 – Noblesville, IN @ Ruoff Music Center 07/01 – Boulder, CO @ Folsom Field 07/02 – Boulder, CO @ Folsom Field 07/03 – Boulder, CO @ Folsom Field 07/07 – George, WA @ The Gorge 07/08 – George, WA @ The Gorge 07/14 – San Francisco, CA @ Oracle Park 07/15 – San Francisco, CA @ Oracle Park

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Dead & Company – The Final Tour

Launches Friday, May 19 th  & Saturday, May 20 th in Los Angeles at The Kia Forum

Through  friday, july 14 th  & saturday, july 15 th in san francisco at oracle park, seated presale fan registration open now  here, tickets on sale friday, october 14 th  @ 10 am local time.

DEAD & COMPANY  is launching its   2023 summer tour on Friday, May 19 th  and Saturday, May 20 th  in Los Angeles at the Kia Forum with dates running through Friday, July 14 th  and Saturday, July 15 th  when the tour ends in San Francisco at Oracle Park.  The band  – Mickey Hart, Bill Kreutzmann, John Mayer,  and  Bob Weir,  with  Oteil Burbridge and Jeff Chimenti –  will perform two sets of music drawing from the Grateful Dead’s historic catalog of songs. Tickets go on sale to the general public beginning  Friday, October 14 th   @  10 AM  local venue time through  deadandcompany.com . A full listing of tour dates can be found below.

The highly-anticipated 2023 summer tour, produced by Live Nation, will be the band’s final tour since forming in 2015. Highlights include the tour-opening back-to-back concerts at the  KIA FORUM  in Los Angeles (Friday, May 19 th  & Saturday, May 20 th ), as well as doubleheaders at  WRIGLEY FIELD  in Chicago (Friday, June 9 th  & Saturday, June 10 th );  SARATOGA PERFORMING ARTS CENTER  in Saratoga Springs, NY (Saturday, June 17 th  & Sunday, June 18 th );  CITI FIELD  in NYC (Wednesday, June 21 st  & Thursday, June 22 nd ); and  THE GORGE  in George, WA (Friday, July 7 th  & Saturday, July 8 th ); an epic return to  FENWAY PARK  in Boston, MA (Sunday, June 25 th ); the band’s first-ever three-night stand at  FOLSOM FIELD  in Boulder, CO (Saturday, July 1 st , Sunday, July 2 nd , & Monday, July 3 rd ); and the tour finale – a two-night debut at  ORACLE PARK  in San Francisco (Friday, July 14 th  & Saturday, July 15 th ). A full listing of the 2023 tour dates can be found below.

To ensure that tickets get directly into the hands of fans, advance presale registration is now available  HERE powered by Seated. The Artist Presale begins Wednesday, October 12 th  at noon local venue time and runs through Thursday, October 13 th  at 10 PM local venue time. Advance registration does not guarantee tickets. Supplies are limited. 

Guests who prefer an enhanced experience for this memorable Dead & Company tour can purchase a variety of VIP and Travel Packages. Packages include seamless venue access, early GA entry, pre-show lounge with food and a cash bar, exclusive merchandise, or travel packages for multi-night runs in various cities. Packages from 100X Hospitality will go on sale October 12 th  at noon local venue time. For full details, click  HERE .

Dead & Company and Activist will continue their work with longtime sustainability partner REVERB to reduce the summer tour’s environmental footprint and engage fans to take action for people and the planet. More details at  REVERB.org .

Dead & Company  was formed in 2015 when the Grateful Dead’s Mickey Hart, Bill Kreutzmann and Bob Weir joined forces with artist and musician John Mayer, Allman Brothers’ bassist Oteil Burbridge, and Fare Thee Well and RatDog keyboardist Jeff Chimenti, and quickly became one of the most successful touring bands year over year. Since its formation, the band has completed seven tours and became a record-breaking stadium act when it set Wrigley Field’s all-time concert attendance for a single concert, which still holds to this day. Having toured consistently since its 2015 debut, the band has held 164 concerts, performed 143 unique songs and has played to nearly four million fans.

Dead & Company has headlined iconic stadiums across the country including Fenway Park, Citi Field, Gillette Stadium, Folsom Field, Dodger Stadium, Wrigley Field, and Autzen Stadium, as well as multiple night-stands at Madison Square Garden, the Forum, Hollywood Bowl, and Shoreline Amphitheatre. Between tours, Dead & Company hosts its annual “Playing in the Sand,” an all-inclusive concert vacation that features multiple nights of Dead & Company on an intimate beach in Mexico.

Across all tours at the band’s legendary Participation Row, the Dead & Company community has taken more than 100,000 actions in support of various local non-profits and national social impact organizations and causes including voter registration with HeadCount and environmental actions with REVERB. Since 2015, efforts on tour have eliminated the use of 100,000 single-use plastic water bottles at shows and raised funds to support climate justice and carbon reduction projects which prevented 33,700 tonnes of CO2e from entering the atmosphere, the equivalent of 83.5 million miles driven by gas-powered cars. Throughout the seven tours the total raised directly from the band as well as fan auctions and other efforts is now over $3 million, providing direct support to HeadCount, REVERB and the Dead Family non-profit organizations, as well as the non-profit ocean conservation organization Oceana and MusiCares among others. 

About Live Nation Entertainment

Live Nation Entertainment (NYSE: LYV) is the world’s leading live entertainment company comprised of global market leaders: Ticketmaster, Live Nation Concerts, and Live Nation Sponsorship. For additional information, visit  www.livenationentertainment.com

For a high-res band photo and tour artwork, click  Dead & Company 2023 Summer Tour .

MEDIA CONTACTS:

Live Nation Concerts 

Monique Sowinski |  [email protected]

Dead & Company 

Anna Loynes |  [email protected]

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Dead & Company Detail Final Tour With 2023 Concert Dates

By Matthew Strauss

Dead & Company have revealed the details of the concerts that will comprise their final tour . The U.S. shows take place in May, June, and July 2023. Take a look at the band’s schedule below.

Dead & Company played their first shows in 2015. The lineup for the final tour includes Mickey Hart, Bill Kreutzmann, John Mayer, and Bob Weir (with Oteil Burbridge and Jeff Chimenti).

Read the 2017 feature “ The Grateful Dead: A Guide to Their Essential Live Songs .”

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Dead & Company:

05-19 Inglewood, CA - Kia Forum 05-20 Inglewood, CA - Kia Forum 05-23 Phoenix, AZ - Ak-Chin Pavilion 05-26 Dallas, TX - Dos Equis Pavilion 05-28 Atlanta, GA - Lakewood Amphitheatre 05-30 Charlotte, NC - PNC Music Pavilion 06-01 Raleigh, NC - Coastal Credit Union Music Park at Walnut Creek 06-03 Bristow, VA - Jiffy Lube Live 06-05 Burgettstown, PA - The Pavilion at Star Lake 06-07 St. Louis, MO - Hollywood Casino Amphitheater 06-09 Chicago, IL - Wrigley Field 06-10 Chicago, IL - Wrigley Field 06-13 Cincinnati, OH - Riverbend Music Center 06-15 Philadelphia, PA - Citizen’s Bank Park 06-17 Saratoga Springs, NY - Saratoga Performing Arts Center 06-18 Saratoga Springs, NY - Saratoga Performing Arts Center 06-21 Queens, NY - Citi Field 06-22 Queens, NY - Citi Field 06-25 Boston, MA - Fenway Park 06-27 Noblesville, IN - Ruoff Music Center 07-01 Boulder, CO - Folsom Field 07-02 Boulder, CO - Folsom Field 07-03 Boulder, CO - Folsom Field 07-07 George, WA - The Gorge 07-08 George, WA - The Gorge 07-14 San Francisco, CA - Oracle Park 07-15 San Fransisco, CA - Oracle Park

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By Madison Bloom

By Nina Corcoran

Dead & Company - The Final Tour

Tickets On Sale Starting Friday, October 14th at 10AM Local.

DEAD & COMPANY is launching its 2023 summer tour on Friday, May 19th and Saturday, May 20th in Los Angeles at the Kia Forum with dates running through Friday, July 14th and Saturday, July 15th when the tour ends in San Francisco at Oracle Park.  The band - Mickey Hart, Bill Kreutzmann, John Mayer, and Bob Weir, with Oteil Burbridge and Jeff Chimenti – will perform two sets of music drawing from the Grateful Dead’s historic catalog of songs. Tickets go on sale to the general public beginning Friday, October 14th @ 10 AM local venue time through deadandcompany.com . 

The highly-anticipated 2023 summer tour, produced by Live Nation, will be the band’s final tour since forming in 2015. Highlights include the tour-opening back-to-back concerts at the KIA FORUM in Los Angeles (Friday, May 19th & Saturday, May 20th), as well as doubleheaders at WRIGLEY FIELD in Chicago (Friday, June 9th & Saturday, June 10th); SARATOGA PERFORMING ARTS CENTER in Saratoga Springs, NY (Saturday, June 17th & Sunday, June 18th); CITI FIELD in NYC (Wednesday, June 21st & Thursday, June 22nd); and THE GORGE in George, WA (Friday, July 7th & Saturday, July 8th); an epic return to FENWAY PARK in Boston, MA (Sunday, June 25th); the band’s first-ever three-night stand at FOLSOM FIELD in Boulder, CO (Saturday, July 1st, Sunday, July 2nd, & Monday, July 3rd); and the tour finale - a two-night debut at ORACLE PARK in San Francisco (Friday, July 14th & Saturday, July 15th). A full listing of the 2023 tour dates can be found below.

To ensure that tickets get directly into the hands of fans, advance presale registration is now available HERE powered by Seated. The Artist Presale begins Wednesday, October 12th at noon local venue time and runs through Thursday, October 13th at 10 PM local venue time. Advance registration does not guarantee tickets. Supplies are limited. 

Guests who prefer an enhanced experience for this memorable Dead & Company tour can purchase a variety of VIP and Travel Packages. Packages include seamless venue access, early GA entry, pre-show lounge with food and a cash bar, exclusive merchandise, or travel packages for multi-night runs in various cities. Packages from 100X Hospitality will go on sale October 12th at noon local venue time. For full details, click HERE .

Dead & Company and Activist will continue their work with longtime sustainability partner REVERB to reduce the summer tour’s environmental footprint and engage fans to take action for people and the planet. More details at REVERB.org .

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Dead and Company Announce Final Tour

By Ethan Millman

Ethan Millman

Dead and Company are officially gearing up for its final tour.

John Mayer posted a tour poster on his Instagram page that read “The Final Tour: Dead & Co. Summer 2023” and noted the group would have details on tour dates soon.

“As we put the finishing touches on booking venues, and understanding that word travels fast, we wanted to be the first to let you know that Dead & Company will be hitting the road next summer for what will be our final tour,” Mayer wrote. “Stay tuned for a full list of dates for what will surely be an exciting, celebratory, and heartfelt last run of shows. With love and appreciation, Dead & Company.”

View this post on Instagram A post shared by John Mayer 💎 (@johnmayer)

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Dead and Company started in 2015 with three of the band’s original members: Weir, Mickey Hart, and Bill Kreutzmann, along with Mayer, Oteil Burbridge, and Jeff Chimenti. The band has been one of the more prolific live acts since their formation, playing each summer (minus 2020 during the pandemic). More recently, though, there’s been some lineup shakeups over some health issues surrounding Kreutzmann. He had to pull out of the later-canceled Playing in the Sand shows in Mexico over concerns related to his heart. Then, during the summer 2022 shows a few months ago, as Variety noted , he missed several dates over a back issue, then a positive Covid test.

Mayer, for his part, had praised the Dead for years before Dead and Company started. As he told  Rolling Stone  in 2013: “This free expressive sort of spirit — I listen and I want to find a mix of that openness. I kind of want to go to [a show like a Dead] show, if it still existed,” Mayer said at the time. “But I wish that there were tunes that I was more familiar with. I wish that I could be the singer. I wish I could have harmonies.”

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Dead and Company Announces Summer 2023 Tour Will Be the Group’s Last

By Chris Willman

Chris Willman

Senior Music Writer and Chief Music Critic

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After earlier hedging on whether the group might be coming to an end, Dead and Company issued a statement on social media Friday announcing a farewell tour for summer 2023.

The wording of the announcement suggests that details of the tour are far from final but that group members wanted to get out ahead of the news leaking with an official declaration that Dead and Company is coming to an end.

“As we put the finishing touches on booking venues, and understanding that word travels fast, we wanted to be the first to let you know that Dead & Company will be hitting the road next summer for what will be our final tour,” the statement read.

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The group’s Instagram post was accompanied by a dewy rose graphic and the words “more information coming soon.”

View this post on Instagram A post shared by Dead & Company (@deadandcompany)

Early in 2022, there had been rumors that the band — a contemporary offshoot of the Grateful Dead, with John Mayer as co-frontman — would be hanging it up after this past summer’s tour. It turns out the speculation was off by a year, with one more extended chance to see the band still ahead.

In response to an April 2022 report in Rolling Stone that the group would cease touring after this year, the band pumped the brakes on that news, saying then that “Dead & Company has made no official decision as to this being their final tour.” Bob Weir even posted on Twitter: “News to me.”

Health concerns have been an issue in keeping the full lineup intact, with original Grateful Dead drummer  Bill Kreutzmann  sometimes having to miss shows. On the summer 2022 tour, he was out of the lineup for six straight shows before delighting fans by returning for the tour-closing shows at New York’s Citi Field.

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Saying Goodbye to the Dead. (Again.)

Jerry Garcia died in 1995. The band bade fans farewell in 2015. This weekend, Dead & Company will close out its Final Tour. Why can’t we stop quitting one of rock’s beloved acts?

By Marc Tracy

Photographs by Peter Fisher

The first time Albie Cullen said goodbye to the Grateful Dead was on Aug. 9, 1995.

A co-worker told Cullen, an attorney for a Boston-area music label, that Jerry Garcia, the Dead’s iconic lead guitarist, had died that day. Cullen had attended dozens of shows. He reveled in the Dead’s improvisational spirit, the way no two performances were alike: “When you saw the Stones a dozen times,” he explained recently, “it was pretty much the same show.”

Despite the Garcia news, Cullen kept his plans to see RatDog, a side project of Garcia’s bandmate Bob Weir, play a concert in Hampton Beach, N.H., that evening. Weir, a rhythm guitarist, told the crowd that Garcia — who at 53 suffered a fatal heart attack at a drug rehab facility — “proved that great music can make sad times better.” During an encore of Bob Dylan’s “Knockin’ on Heaven’s Door,” Cullen, 59, recalled, “There was not a dry eye.”

“Everybody kind of knew that was the end,” he added.

The Grateful Dead had replaced departed members before, but this was different. With his rootsy tenor, Santa-gone-gray beard and unmistakable plucking, Garcia had defined a touring juggernaut and its vibrant subculture, which had become synonymous with the ’60s. The band’s four surviving original members agreed they would never use the name “Grateful Dead” without Garcia.

But the Dead did not die. The next year, several members participated in a tour. They maintained side projects that mainly played Dead songs. Different permutations toured together — as the Other Ones, as Furthur, as the adjective-less the Dead.

Finally, in 2015, the band staged another goodbye, playing five shows with Phish’s Trey Anastasio on lead guitar. The mini tour was called Fare Thee Well: Celebrating 50 Years of the Grateful Dead .

That adieu, too, did not take. That fall, Weir and the Dead’s original drummers, Mickey Hart and Bill Kreutzmann, assembled a new act, Dead & Company, with the keyboardist Jeff Chimenti, the bassist Oteil Burbridge and the lead guitarist John Mayer (yes, that John Mayer).

A funny thing happened as this new band wound its way across the United States: The Dead became a cultural touchstone again. Dead & Company attracted a new crop of younger fans, as did tribute bands like Joe Russo’s Almost Dead . Last August, the Dead had its largest week of record sales in 35 years, according to its publisher; in February, it won its first Grammy. Between 2012 and 2022, U.S. streams of Dead songs increased at nearly double the rate of the Rolling Stones, according to the tracking service Luminate.

The Dead had found its moment again.

“This could sound wildly corny, but I don’t care: The community of the Dead is a necessary community in a year like 2023,” said Bethany Cosentino, 36, of the indie rock band Best Coast . She became a fan just a few years ago thanks to her “Gen X boyfriend.”

“There’s a real ethos of joy to be in a room with a bunch of people who are just connecting to music in their own way but having this communal, collective experience,” she added.

Cullen said the Deadheads have taken note: “I joke with my friends — they’re bigger now than they ever were.”

Now there is yet another farewell. After more than 200 shows, Dead & Company has sold out stadiums across the country with its so-called Final Tour. The run concludes this weekend with three shows at Oracle Park in San Francisco, the city where the Grateful Dead formed nearly 60 years ago.

“It’s a part of the life cycle. In life, there’s death,” Hart said in a video interview. “But it all depends on what you call death. Because there’s life after death — in music, anyway.”

Bands led by Weir, the original Dead bassist Phil Lesh and Kreutzmann (who was replaced for this tour by Jay Lane) all have concerts scheduled in the next couple of months. Hart allowed for the possibility of a future for Dead & Company, while confirming this was its last tour.

“The music’s never going to go anywhere — and one of the brilliant things about the music is there are thousands of concerts we all have access to,” said Andy Cohen, the Bravo host and executive producer who has been a Dead fan since high school. “But the communal feeling of all of us being at Citi Field together and enjoying two banger shows,” he added, “that’s something I don’t envision we’re going to get again.”

We are, it seems, always saying goodbye to the Grateful Dead. But Weir and Mayer warned fans not to expect a eulogy.

“I think everyone’s had enough loss in their life to go to San Francisco and have this be funereal,” Mayer said.

“I’m dead-set against that happening,” Weir added. “I’ll be stir-fried if I’m going to let that happen.”

Mayer continued: “If I had my wish, it would be for people to say goodbye to Dead & Company without the pain of goodbye.”

THE PROMOTER PETER SHAPIRO , who owns the jam band redoubts Brooklyn Bowl and the Capitol Theater in Port Chester, N.Y., and promoted the Fare Thee Well shows, observed that the true volume of people who would pay to see the Grateful Dead — a band that stopped touring the year before Ticketmaster sold its first ticket over the Internet — wasn’t revealed until 2015, when Dead fans broke the site’s record for most buyers in a queue.

Ticket sales for the five concerts that year — two at Levi’s Stadium near San Francisco and three at Chicago’s Soldier Field — brought in $40 million. Nearly 71,000 people attended each Chicago show; many more viewed theatrical and pay-per-view simulcasts.

“Fare Thee Well was supposed to be an ending,” Shapiro said, “and it was a new beginning.”

Mayer was secreted away during the Chicago shows, already a planned addition. He had met Weir and Hart through Don Was, the producer and record executive. Mayer gushed to them about the Dead’s music, which he came to well after his formative listening years; he compared it in a recent interview to “cilantro, if all I’ve been eating is meat and potatoes.”

Hart had been only glancingly familiar with Mayer’s music, but knew he was an excellent guitarist. “On our stage, he’s not a pop star or anything like that,” Hart said. “He has so much respect for the Grateful Dead — I have much respect for him for that. He treated the music like his own.”

While some purists grumbled at Mayer’s inclusion (as, indeed, some grumbled about the Fare Thee Well shows), most fans “made a decision,” said Dennis McNally, a former Grateful Dead spokesman and biographer, “that they were not in love with ‘the band’ — the people — they were in love with the music, and that it was to some extent a matter of taste regarding who was playing it. That it was its own genre, almost like jazz or blues.”

While many classic rock artists spawned cover acts, a website dedicated to Grateful Dead tribute bands has more than 600 groups in its database, 100 to 150 of which, its proprietors estimate, are active.

Some Dead tribute acts are straightforward and quite popular, like Dark Star Orchestra, which recreates specific Dead concerts by set list. Others employ the Dead’s music as a jumping-off point. There is a jazz band and an Afrobeat one. Brown Eyed Women is all female. Warlocks of Tokyo sing in Japanese .

The electronic artist LP Giobbi, a Millennial daughter of Deadheads, uses sonic loops and stems over house beats to create what she calls Dead House. “I am blown away by how many ravers I meet who are also Deadheads,” said the artist, who played at after-parties following many concerts on this Dead & Company tour.

The uniqueness of each Dead performance is crucial to the music’s lasting appeal. Al Franken, the author, former senator and longtime fan who once opened for the band, recently caught up with friends who had seen Dead & Company outside St. Louis. “I asked what they played, and I was striking out. ‘Did they do “China Cat Sunflower”?’ ‘No.’ This is a big, big body of music. You can go to four nights in a row and basically not hear the same tune. And they play things differently all the time.”

The Dead’s eclectic songbook comes out of rock, folk, blues, country and bluegrass; its lyrics, many by Robert Hunter and John Perry Barlow, tend to be ambiguous yet buoyant (“strangers stopping strangers just to shake their hand,” “wake up to find out that you are the eyes of the world,” “what a long strange trip it’s been”).

“The thing about this music is it doesn’t take place at home — no one’s home. People are trying to get home,” Mayer said.

“There’s something about the fantasy of transience for people who don’t necessarily have it in their lives, like myself,” he added. “The fantasy of the perpetual searcher, the person with the knapsack who can sleep on couch after couch. Most people who go to Dead concerts don’t necessarily live that life, but aspire to spiritually have this devil-may-care attitude.”

Trey Pierce, 20, began discovering the Dead in middle school via CD boxed sets, DVDs and the Internet Archive, which hosts free tapers’ recordings of Grateful Dead shows. Now he is a die-hard who drove for hours from St. Lawrence University in northern New York to see Phil Lesh and Friends perform in March outside New York City.

“That’s what’s gotten me through much of my life,” he said. “Any weird stuff I’ve had going on, challenges I’ve had, it’s been relating to those lyrics and Jerry” — who died eight years before Pierce was born — “belting into my soul.”

IN A PARKING LOT across from Citi Field in Queens before the second of two Dead & Company shows last month, car stereos blasted recordings of live Dead as the subway clacked over the elevated lines. Vendors hawked T-shirts, jewelry, fresh cooked food and less licit fare. Erin Cadigan, who specified that she had seen 72 Dead shows “with Jerry,” performed tarot readings on a licensed, Grateful Dead-themed tarot deck she created with a partner.

The tour has tended to be well reviewed by fans. “Closest thing to the original I’ve seen,” Cullen wrote in a text message after leaving Fenway Park in Boston last month. “Ironically it’s ending just as they seemed to have figured it out.”

Mariah Napoli, 45, a self-described “second-generation” Deadhead, said she had seen on this tour “a lot more people crying the last two songs than you usually do.”

She added, “I’ve been doing it so long, I don’t see myself stopping until they’re all dead. At that point, it’ll be time for me to hunker down and start to grow older.”

Why do we keep saying goodbye to the Grateful Dead … then welcome them back, and then do it again?

“The Buddhists believe that knowing every minute you’re going to die is what makes life so precious,” said Elena Lister, a New York-based psychiatrist and grief specialist. “If you know you’re going to lose something of any sort, you treasure it all the more while you have it. If you deny it, you miss that opportunity.”

Dustin Grella, 52, a professor of animation at Queens College, has a more dramatic Dead story than most. In the spring and summer of 1995 he was following the Grateful Dead on what would turn out to be its last tour. But he missed the final two concerts at Soldier Field after he sustained an injury to his spinal cord when a porch collapsed at a campground outside a show near St. Louis.

“When you’re experiencing that kind of trauma,” Grella said of the recovery period, “you want just to go back to normal. For me, that was being a touring Deadhead.”

In 2015, he saw in the Fare Thee Well shows in Chicago a chance for closure — “my opportunity,” he said, “to make peace with the Dead.”

But that did not mean he would miss another occasion to say goodbye. For Dead & Company’s final tour, Grella and a friend bought a used Kentucky school bus, attached panels to both sides and covered them in chalkboard paint. Grella, who uses a wheelchair, parked the bus in the lot, put chalk out and encouraged passers-by to add their own designs. He had begun the spontaneous artwork by etching a lyric from “Scarlet Begonias”: “Once in a while you get shown the light/In the strangest of places if you look at it right.”

Marc Tracy is a reporter on the Culture desk. More about Marc Tracy

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Dead & Company ‘The Final Tour’ 2023 Recap: Highlights, Stats, & Top Shows

Dead & Company , the Grateful Dead spinoff band comprised of Bob Weir (rhythm guitar/vocals), Mickey Hart (drums), and Bill Kreutzmann (drums) alongside Jeff Chimenti (keyboards/vocals), Oteil Burbridge (bass/vocals), John Mayer (lead guitar vocals), and Jay Lane (drums), recently completed their final tour as a band. Appropriately billed as The Final Tour , its two-month loop around the United States ran from May 19th to July 16th and comprised 29 shows at 19 venues including one arena, 12 sheds, and six stadiums. To call the tour a success would be an understatement: per Billboard , the tour sold 845,00 tickets and grossed almost $115 million overall, more than double their previous best.

The band completed its eight-year run as a touring act as it had done throughout, playing extended concerts comprised almost entirely of original and cover songs from the Grateful Dead’s catalog, originals co-written by lead guitarist Jerry Garcia (1942-1995) with lyricist Robert Hunter (1941–2019) or by Weir with lyricist John Perry Barlow (1947-2018). Dead & Company also maintained the Grateful Dead’s long-standing practice of playing two unique sets each night pulled from an active repertoire of over 100 songs, with each second set containing a “Drums” segment for Hart, Lane, and Burbridge to improvise on a range of percussion instruments that lined the rear of the stage, followed by a “Space” segment for the guitarists and Chimenti to improvise outside the traditional song format.

There was a major swerve one month before the tour kicked off, though, when Kreutzmann made a shock announcement on April 22nd via social media that he would not be taking part in the tour due “to a shift in creative direction.” After no further elaboration by anyone, Lane played the entire tour as Kreutzmann’s replacement, as he had done at 17 previous Dead & Company shows since October 2021, when health issues first started forcing Kreutzmann offstage.

Fortunately, the next two pre-tour events were far more positive, with the band playing a well-received single-set show on May 6th at the 52nd staging of New Orleans’ annual Jazz Fest , two years after their scheduled 2021 appearance was cancelled. Two days later on May 8th, the band held a benefit show at Cornell University ’s Barton Hall , exactly 46 years after of the Grateful Dead’s legendary Barton Hall show on May 8th, 1977. The “C23” show went down as one of Dead & Company’s best and raised $3.1 million dollars for beneficiaries MusiCares , Cornell’s 2020 Project , and HeadCount .

PART 1: MAY 19th to JUNE 15th – WEST TO EAST

SOUTHERN CALIFORNIA & ARIZONA 

The Final Tour began in Los Angeles with a pair of nights at the Kia Forum . Along with D&C’s benefit show at Cornell two weeks earlier, these were the band’s first indoor shows since December 2019, and they would also be the last: the remaining 27 shows on the tour were staged at outdoor venues.

Friday night’s opening  show hit the ground running when “Shakedown Street” led off a generous 90-minute first set; its final 45 minutes consisted of the surprising placement of elongated ’60s-era classics “St. Stephen” and “The Eleven” before Mayer delivered a scorching performance during “Deal”. The second set was highlighted by a swaying “Sugaree”, Weir’s on-the-fly reversal in order of the vintage “Estimated Prophet” > “Eyes of the World” pairing, and a restorative and soulful “Black Muddy River” encore. But the night’s real highlight just might have been the debut of Mickey Hart’s extended workout on the new balafon he had bought earlier in the week, accompanied by Burbridge on bass banjo and Lane on drums. (And no, we didn’t know bass banjos were even a thing until tonight, either. We’ll talk more about this later.)

On paper, every song in the first set of Saturday night’s Forum show was in the Grateful Dead’s repertoire in 1972. In practice, D&C’s tempos for the delivery of those songs were noticeably and decidedly faster than normal, making for a bustling start that set up the show’s highlight: a 21-minute version of “Bird Song” that ambled along happily for half its length before jolting into a higher gear and remaining there until the closing verse. The second set was a nonstop run of songs with some novel twists and turns: opener ‘Althea” eschewed its usual full stop and segued directly into “The Other One”, whose two verses were split by a suspenseful “Terrapin Station”. There was still more, as GD crew member Steve Parish joined Hart, Lane, and Burbridge during “Drums”, the “Help on the Way” > “Slipknot” > “Franklin’s Tower” trio landed in an uncommon set-closer role, and the gentle encore of “Brokedown Palace” appeared instead of the conventional “One More Saturday Night”.

At the tour’s second stop in Phoenix at Talking Stick Resort Amphitheatre , Arizona’s low-desert weather was its usual unforgiving self, with the afternoon temperature reaching 102 degrees. It had only dropped to 98 by showtime, prompting onstage banter between Hart, Weir, and Mayer that involved Gold Bond Powder before a four-song run of “Dear Mr. Fantasy” and its “Hey Jude” coda, the first half of “Dark Star”, and a blazing “Cumberland Blues”. The second set went deeper and wider, launching with a colorful “Here Comes Sunshine” before a progression of “Scarlet Begonias”, “Viola Lee Blues”, the second half of “Dark Star”, the tour’s only version of “Spanish Jam”, and “Fire on the Mountain”. It was a heated night on multiple levels, with Mayer proclaiming on Instagram the following day: “We are cooking with g a s!”

TEXAS, GEORGIA, & NORTH CAROLINA 

Dallas’ Dos Equis Pavilion hosted D&C’s final show in Texas , and early flares of Friday-night energy came from “Hell in a Bucket” and “Big Railroad Blues”, followed by a 30-minute trek consisting of the tour’s sole version of “Ship of Fools” before Weir’s pairing of “Lost Sailor” and “Saint of Circumstance”. The second set embarked with “Jack Straw” and “Truckin’” and their respective crowd-pleasing Texas and Dallas references before settling into “He’s Gone”. The high points of the show were the jam in “Playing in the Band”, where Mayer used a lengthy run of chord riffing to build things up to a peak, and the surging rendition of Bob Dylan ’s “All Along the Watchtower”. “Touch of Grey”, now a relative D&C rarity, was the sentimental and satiating encore.

Next up was Atlanta’s Cellairis Pavilion at Lakewood Amphitheatre , where D&C played Top-Shows-caliber gigs on each of their three previous visits in 2017, 2019 , and 2021. They made it four-for-four with this Sunday show , and we’ll talk about it in more detail in the Top Shows section at the bottom of this article.

Two days later at Charlotte’s PNC Music Pavilion , early highlights were “Cold Rain & Snow” and “Dire Wolf”, but the first set’s finest moments were in its final three songs: “The Wheel” and its transcendent mid-song jam, the “Bertha” that contained numerous bass bombs from Burbridge, and the instrumental swells in “Let It Grow” that overcame a couple of imperfect transitions between sections.  The second set was anchored by “Fire on the Mountain”, which followed the “Help” > “Slipknot” > “Franklin’s” trio (the latter containing an immense organ solo from Chimenti) and preceded a 57-minute adventure of “The Other One” > “Drums” > “Space” > “The Other One” > “Black Peter”. And by tacking on a couple of extra choruses to the “U.S. Blues” encore, the band ran past the venue’s curfew. Hope it didn’t cost ‘em.

As the calendar flipped from May to June, the tour flipped from Charlotte to Raleigh’s Coastal Credit Union Music Park at Walnut Creek . After long waits to enter the lots and the venue, Deadheads were treated to one of Mayer’s best nights of the tour. Early high points came from the opening “New Speedway Boogie” and the slower arrangement of “They Love Each Other”, and Mayer also belted out the tour’s sole “Easy Wind” before Mother Nature delivered dramatic skies and light rain during the set-closing “Bird Song”. Mayer’s hot night continued throughout the show, with his solos responsible for the set’s multiple apexes in “Sugaree”, “St. Stephen”, and the set-closing “Casey Jones”. Along with all of that, “Iko Iko” as the lead-in to “Drums” was a great touch, and Mayer later brought the night to a meditative close during the “Black Muddy River” encore.

VIRGINIA, WESTERN PENNSYLVANIA, & MISSOURI 

Next up was the Baltimore/Washington, D.C. metro area and a jam-packed, sold-out Saturday show at Jiffy Lube Live in Bristow, VA, complete with major traffic snarls on the way in. This was one of the tour’s toughest tickets; a second show here would likely have sold out as quickly as this one did. The first set was top-tier: aside from the tour’s sole version of the Beatles ’ “Dear Prudence”, it was a satiating mix of classic material from the GD’s Europe ’72 and Wake of the Flood eras, driven by the trio of “Mr. Charlie”, “He’s Gone”, and “Brown-Eyed Women”. The second set’s early focal points came from “Deal” and “Scarlet Begonias” before a regionally appropriate “Cumberland Blues”, while the set’s closing run of songs featured four straight tour debuts: Miles Davis’ “Milestones”, “The Days Between”, “Throwing Stones”, and “One More Saturday Night”.

The ensuing show at The Pavilion at Star Lake in Burgettstown, PA was D&C’s first sellout of the Pittsburgh metro area venue. This would turn out to be a mixed blessing. The first set featured “Jack Straw”, the tour’s only versions of “Big Boss Man”, and “Peggy-O”, and the second set’s high points came from Burbridge’s graceful reading of “China Doll” that led straight into an engaging “China” > “Rider”, and the set-closing “Not Fade Away”. However, this show will also be remembered for Star Lake adding another black mark to its long history of ingress nightmares. Traffic backed up for miles during the afternoon as parking lots filled to capacity well before many ticketholders could enter, forcing many to park miles away on highway shoulders while many more never made it inside. Sadly, Star Lake’s ingress problem may never be solved , but it did at least create widespread situational awareness of the need for earlier arrival at the tour’s remaining 20 shows.

D&C then made like Ronnie Van Zant and rode 600 miles to do one more show at the Hollywood Casino Amphitheatre in St. Louis, where entry was uneventful and timely. All three of the band’s go-to “St. Louis” songs arrived in the first set: “Big River” and “Black Throated Wind” each contain direct references to the city, while the set-closing “Johnny B. Goode” was written by St. Louis native Chuck Berry . The second set flowered with its lengthy “Eyes of the World” opener and its coda of Burbridge’s bass solo/scat singing, and the show also made “Dark Star” chasers happy with its first appearance in seven shows. The band, however, saved the most unique portion of the show for last: following the “Space” segment, D&C separated “The Eleven” from “St. Stephen” for the first time and delivered a spirited rendition before a dramatic “Death Don’t Have No Mercy” preceded “Going Down the Road Feeling Bad”, in an atypical role as second-set closer.

ILLINOIS, OHIO, & EASTERN PENNSYLVANIA

From there it was north on I-55 for a pair of weekend shows at Chicago’s Wrigley Field . The venue became a D&C mainstay starting in 2017 , and in 2023 D&C played its 9th and 10th shows there, the most of any band. Friday’s opening show launched with a fiery pairing of “Playing in the Band” and “Deal”, and later the tour’s sole version of “Crazy Fingers” and the tour premiere of “Dancing in the Streets” preceded the set break. The second set loped through the GD’s 1976/’77 era repertoire, kicking off with “Sugaree” and a lengthy one-verse version of “The Other One” tucked between “Estimated Prophet” and “Terrapin Station”. After a serene “Stella Blue”, the late-show highlight came from directing “Sugar Magnolia” straight into “Scarlet Begonias”, just like the GD famously did in 1990 , before hurling back into the “Sunshine Daydream” coda. After all that, the “U.S. Blues” encore was an ideal choice.

Not for the first time, but probably for the last time, Dead & Company’s Saturday night show at Wrigley Field is covered in detail in the Top Shows section at the bottom of this article.

A jump back into the Eastern Time Zone begat D&C’s final show at Cincinnati’s Riverbend Music Center , a low-slung shed with an artificial turf “lawn” borne from its slightly steeper gradient yielding mudslide-type conditions in earlier days. Summertime anthem “The Music Never Stopped” kicked off the show in fine fashion, and the tour premieres of “Next Time You See Me” and “Me & My Uncle” preceded the tour’s sole “Row Jimmy”. Later, “Iko Iko” wrapped up the first set after a harmonious and unhurried “Cassidy”. As night fell, the turf lawn’s drainage system would indeed be called on to do its thing when rain arrived during the second set. Onstage, “Here Comes Sunshine” and an easygoing “Viola Lee Blues” preceded the impeccably chosen Weir/Barlow standard “Looks Like Rain”, which would also be the tour’s only version. The set ran for nearly two unhurried hours overall as the band combed the farthest corners of each song, where “The Wheel” and Mayer’s lengthy solo in the set-closing “Casey Jones” distinguished themselves.

Philadelphia’s lovingly fierce Deadheads have settled for nothing less than strong shows of GD music for over five decades, and they got themselves one more on this weeknight show at the Phillies’ baseball stadium, Citizens Bank Park . The tour’s only version of “Man Smart, Woman Smarter” turned up in the leadoff position and two songs later “Cold Rain & Snow” turned up the heat, but the set’s highlights came when the first half of “Dark Star” bled into the tour’s sole version of Marty Robbins ’ classic “El Paso”, and the show’s most unusual occurrence came after the set break. For the first and only time, D&C then kicked off a second set with a stand-alone version of “Fire on the Mountain” (something their Grateful Dead predecessors also did exactly once ) before “New Speedway Boogie” and the classic “Estimated” > “Eyes” pairing. Later, a rousing “Not Fade Away” closed the set before a delicate “Ripple” encore closed out D&C’s final show in the City of Brotherly Love.

PART 2: JUNE 17th to JULY 16th – EAST TO WEST

NEW YORK (UPSTATE & DOWNSTATE)

The 57-year-old Saratoga Performing Arts Center in Saratoga Springs, NY was awarded a pair of prized weekend shows on The Final Tour , and they’d be two of the tour’s hardest tickets to get. The venue’s design twists have always ensured that a sold-out show here feels more crowded, and with Deadheads taking up more space than others, the crowd extended well onto the plaza above the lawn. Due to line management issues on Saturday many of folks missed the beginning of the show and the stately trio of a 14-minute “Scarlet Begonias”, “Deal”, and the tour’s final version of “Black Throated Wind”. The show’s peak and biggest surprise kicked off the second set, a version of “They Love Each Other” performed in the faster, original 1973 arrangement. However, this version bubbled its way into an upbeat jam that nearly reached “Franklin’s Tower” levels of bounce before wafting into “Terrapin Station”. From there the show took an admirably darker turn with a 40-minute passage of “He’s Gone”, “The Other One” > “Drums” > “Space” > “The Other One” augmented by nature-film footage of ants crawling over the video screens just before Hart’s segment on The Beam.

Venue entry at Saratoga went much more smoothly on Sunday , and this show was driven by numerous Weir/Barlow heavy hitters. Openers “Hell in a Bucket” and “Sugaree” were once a prevalent show-opening duo during the Grateful Dead’s final decade, and later the complicated dynamics of “Lost Sailor” and “Saint of Circumstance” preceded the driving “Big Railroad Blues” set-closer. “Samson & Delilah” made its expected Sunday-show appearance to start the second set before Weir counted in “Playing in the Band”, whose jam unexpectedly yielded the “Help on the Way” > “Slipknot” > “Franklin’s Tower” trio. Later, following the tour’s final “Death Don’t Have No Mercy”, the set closed with two more Weir/Barlow powerhouses: the tour’s final “Throwing Stones”, and all-time classic “Sugar Magnolia”. The double encore included the tour’s sole version of Warren Zevon ’s “Werewolves of London” and a reprise of “Playing in the Band”.

D&C’s two-show run at New York’s Citi Field in Queens started with big-city anthem “Shakedown Street” before “Ramble on Rose” and “Dancing in the Street each got the big cheers for their local references, and the set’s peaks came from its final two songs, “Althea” and “Let It Grow”. Then things got weird. The second set started with Mayer announcing that he’d thrown his back out and would be playing the rest of the show seated, and we’re always going to remember this moment with the image of some Noo Yawk smart-ass loudly bellowing, “Hey Mayer! Siddahhhhnnnn!” right before “China” > “Rider” started. It was strange to watch at first, but it led to a cohesive and focused set, and following “St. Stephen” and “Uncle John’s Band”, the band ushered guest artist Joe Russo to join Hart, Lane, and Burbridge for “Drums”, and Russo helped propel a vivid, intense, and joyous segment. Later in the set, Mayer’s gorgeous solo on “Stella Blue” proved he could knock out a stadium crowd while sitting down.

The final show at CitiField was remarkable enough that you can read all about it in the Top Shows section at the end of this article.

MASSACHUSETTS & INDIANA

The tour’s next stop consisted of two shows at Boston’s Fenway Park , the 112-year-old home of baseball’s Red Sox . That’s old enough that the logistics and security issues that presented themselves in 2023 meant that the best way to get the band into the venue’s backstage compound each day was to walk them through the crowd, from the home plate dugouts to deep center field. As you might expect, this was entertaining.

The first Fenway show on Saturday night was the night of the big jams, and we’ll talk more about those in the Top Shows section at the bottom of this article.

The first set of Fenway’s Sunday show started with a healthy volley of “second set” songs, including “Samson & Delilah”, “Althea”, the tour’s only “Comes A Time”, and a nice pairing of “He’s Gone” with “Going Down the Road Feeling Bad”. The second set kicked off with the faster (and now longer) 1973 arrangement of “They Love Each Other” and a  stirring “Playing in the Band”, but the lasting memory came from setting “Franklin’s Tower” aside for a night, instead pairing up its mates “Help on the Way” and “Slipknot” with “Fire on the Mountain”, just like the Grateful Dead did “Help” > “Slip” > “Fire” that one time at Boston Garden , three miles away and 32 years ago . Late-show highlights came from a “Standing on the Moon” with a soaring, Slash -style classic rock solo from Mayer and a rallying “Not Fade Away” before the encore of “The Weight” and “Ripple”.

Two days later the tour arrived at Noblesville, Indiana’s beloved Ruoff Music Center (yes, we still call it Deer Creek ) for the tour’s final Midwest show . After an animated opening of “Bertha” and “Good Lovin’”, the band delivered the tour’s final versions of “It Must Have Been the Roses” and “Big River”, which morphed into the final verse of “Dark Star” sung over the “Dark River” mashup the band had invented on stage two shows earlier in Boston. The second set kicked off with the tour’s final version of “Iko” before Mayer cut loose during “Sugaree”. “Uncle John’s Band” landed in a familiar and welcome spot when it preceded “Drums”, and it was offset by a rare placement of a charged “Hell in A Bucket” appearing out of “Space”. Fittingly, D&C closed out their sixth and final appearance at Deer Creek, a signature venue for Grateful Dead music since 1989, with the tour’s final version of “Touch of Grey”.

The University of Colorado ’s Folsom Field in Boulder evolved into the epicenter of the Dead & Company universe over the space of six runs and thirteen shows from 2016 to 2023 (five previous runs of two shows until 2023’s three-show engagement), and by the time it was all over, the 99-year-old venue’s staff, security, and local law enforcement could often be seen singing along while they worked, the band’s “friends & family” enclosure by the soundboard was as tightly packed as the front of the GA floor area, and the multiple post-show gig and after-party options in town could easily keep one out until dawn each night, if so inclined.

D&C’s opening set crammed nine songs into just over an hour of music, including “Truckin’”, “Deal”, and the tour’s final versions of “Smokestack Lightning” and “Me & My Uncle” before a couple bigger surges during the “Hey Jude” coda to “Dear Mr. Fantasy” and the “Terrapin Station” that followed. After a brief moment of rain and a double rainbow during set break (yes, we imitated this guy too), the second set was far more spacious, with the band intertwining four distinct and diverse Garcia/Hunter numbers based on jazz (“Eyes of the World”), funk (“Shakedown Street”), psychedelia (“St. Stephen”), and bluegrass (“Cumberland Blues”) into a coherent, flowing whole. Following “Space”, the band aired the tour’s final “Milestones” and served up a “Sugar Magnolia”/“Scarlet Begonias” sandwich before the tour’s final version of “Going Down the Road Feeling Bad” landed in the encore slot.

Boulder’s second show kicked off with the tour’s final version of “Feel Like a Stranger” before Chimenti’s piano runs generated an outstanding “Brown Eyed Women” that literally had people jumping up and down, and later highlights arrived when Burbridge’s “High Time” preceded the tour’s final “Let It Grow” to close the set. The second set started with the “faster” 1973 arrangement of “They Love Each Other”, but this time the band nimbly pivoted its closing jam directly into “China Cat Sunflower”, to great effect. The show’s highlight, though, was the all-in on “Fire on the Mountain”, when Burbridge used his crowd-pleasing bass banjo during an actual song for the first time and Hart traded his drummer’s throne for a microphone to rap the song’s final verse, just like he first did on an unreleased recording from 1974. The place went foreseeably wild over it all, and later an authoritative trio of “The Eleven”, “U.S. Blues”, and “Morning Dew” drove the set home.

Many big things happened during D&C’s third and final show at Folsom Field , and we’ll go into more detail about them in the Top Shows section at the bottom of the article.

WASHINGTON & NORTHERN CALIFORNIA

The Gorge Amphitheatre and its onsite campground in central Washington served as The Final Tour ’s penultimate venue. Spectacularly situated 800 feet above the Columbia River Gorge, it’s a schlep to get there but it’s well worth it. Dead & Company’s two shows there were their first two sellouts at the venue, and the increased numbers made for startlingly heavy traffic into the lots while the scorching heat reached the mid-90s each day. The first show on Friday started with a varied opening trio of “The Music Never Stopped”, “Alabama Getaway”, and the tour’s sole version of “When I Paint My Masterpiece”, and later a striking “Bird Song” preceded closer “Big Railroad Blues”. Mayer then took full advantage of the opportunity to shine on the “Sugaree” that opened the second set before Weir counted in “Estimated Prophet” with its trademark 7/4 time signature, and “Viola Lee Blues” unfurled into the first half of the tour’s final “Dark Star”. Later, the second set’s final three songs were all sourced from “Workingman’s Dead”, the Grateful Dead’s transformative 1970 album: “Cumberland Blues”, “Black Peter”, and “Casey Jones”.

D&C’s Saturday show at The Gorge could probably be seen as Dead & Company’s last “normal” show before heading home to the Bay Area to deal with the hullabaloo surrounding the final three shows. The band made it count, and we’ll talk more about it in the Top Shows section at the bottom of the article.

The Final Tour concluded in the band’s hometown of San Francisco, with three shows at Oracle Park , the home of Major League Baseball ’s Giants . This was the first time since the 1974 “retirement” shows at Winterland Ballroom that the Grateful Dead or any of its offshoot bands had announced “final” shows in advance, so the festive atmosphere outside the shows included many folks intensely searching for face-value tickets while a slight air of melancholy hung over the proceedings. On stage, the band avoided any kind of “final shows” pageantry completely—aside from Weir’s set break announcements and Hart’s acknowledgement of the crew after the final night’s encore, there were no words. Somewhat surprisingly, Kreutzmann didn’t turn up after a cryptic, since-deleted social media post around the time of the shows at The Gorge that invited legitimate speculation about him appearing there or at Oracle. It also turned out that Bob Dylan had indeed been invited to sit in at Oracle, but he never responded .

Friday ’s opening set kicked off with a reverberating “Not Fade Away” and then immediately became an ambitious and reverent “Garcia/Hunter’s Catchiest Songs” show whose titles spanned a full 20 years of their celebrated writing partnership: “Shakedown Street”, “Ramble On Rose”, “Brown Eyed Women”, “New Speedway Boogie”, “Wharf Rat”, “China Cat Sunflower”, “He’s Gone”, “Scarlet Begonias”, “Fire on the Mountain”, “Standing on the Moon”, “Casey Jones”, and “US Blues”. Yep, all of those in one show. Dylan’s “Knocking on Heaven’s Door” got the nod to serve as the moving encore while a montage of photos of deceased members of the Grateful Dead and its inner circle played on the video screens, which now included former road manager Sam Cutler , who had passed three days earlier. And by this time, anyone who hadn’t dressed for San Francisco’s renowned “summer” weather was wishing they had, as the temperature had plummeted into the 50s by show’s end.

The second night ’s initial set bounced through multiple eras and genres with 1960s covers of “Let the Good Times Roll’ and “Turn on Your Lovelight” framing the proceedings, and in between them came Mayer’s take on “It Hurts Me Too” alongside Weir/Barlow standards “Hell in a Bucket”, “Jack Straw”, and “Cassidy”. The second set launched with yet another version of “Deal” where Mayer’s solo swept the crowd away, but after that it became a night with a lot more jamming and taking of chances, but with the occasional muffs and scuffs that happen when bands improvise. And, in contrast to the previous show’s succession of “hits,” this setlist was equally impressive through its focus on longer, open-ended songs: “Playing in the Band” and “The Other One” were each split in half during the set and appeared on either side of “Drums” and “Space”, while “Terrapin Station”, “Uncle John’s Band”, and “Morning Dew” were also interspersed amongst them before the “Ripple” encore.

Longtime readers are aware that every previous Dead & Company tour recap we’ve done has had its final show land in the Top Shows section. It happened one last time, and we’ll cover this one in the Top Shows section at the end of the article.

PART 3: TOUR NEWS, STATS, HIGHLIGHTS, AND FUN FACTS

THE LIMIT OF MY REVENUES

With the exception of the five Fare Thee Well shows in 2015 and a couple of Dead & Company’s Playing in the Sand destination events in Mexico, demand for tickets to The Final Tour exceeded supply at a consistent level not seen since the Grateful Dead’s last tour in 1995, and this was one part of “back in the day” that Deadheads were far from nostalgic for in 2023. Many of the tour’s “shed” venues sold out their face-value tickets within minutes, with many frustrated Deadheads refusing to buy the remaining seats at upcharged prices, whether offered as part of “VIP” packages, Ticketmaster / Live Nation ’s “Platinum” prices for up-close seats, or offered on resale sites at a markup, often around three times face value and sometimes even higher.

As the tour approached and progressed, resale tickets appearing at or near face value on Ticketmaster were usually gone before most folks even saw them, while Deadheads who posted non-premium-priced face-value tickets for no-markup resale on Cash or Trade were often bombarded with dozens of offers, sometimes in just a few minutes. However, even this egalitarian approach resulted in much frustration, as every would-be buyer except one came away disappointed, and many other Deadheads fell prey to online scams where tickets “bought” via Venmo and PayPal never materialized.

If there was any upside to all this, it was that at least ticket-buyers using legitimate resale sites were guaranteed to buy a genuine ticket and had recourse if a seller didn’t deliver; many Deadhead readers of a certain age and experience can probably recall at least one bad memory involving the counterfeit ticket sales that plagued parking lots at Grateful Dead shows for years.

At the actual venues, when shed and stadium shows are sold out and filled to legal capacity, they can be uncomfortably crowded at the best of times. It took a sold-out tour to remind everyone the hard way that a sold-out venue of Deadheads brings numerical, logistical, and infrastructure-related challenges that most other crowds don’t. (Many folks turning up without tickets, many of whom aren’t actually trying to get into the show, a greater percentage of blankets and lawn chairs amongst attendees, Deadheads taking up more room to dance in GA areas, the nitrous oxide vendors who shadow the tour, and a much higher rate of people trying and/or succeeding at sneaking into shows without tickets.) The first half of the tour took place primarily at “shed” venues where hours-long waits to park were common, as were long, slow lines for security screening and venue entry. Fortunately, the tour’s second half was primarily at larger stadiums with a bit more breathing room and parking capacity, but overall, it was still one crowded, congested night after another. On top of all that, a tragic shooting at an EDM festival at The Gorge on June 17th prompted an additional layer of security measures during the tour’s final month.

But despite the many rumors and accusations flying around, shows were not oversold like they were in the past, like at Saratoga in 1985 . Times have changed. In this fully electronic, post- Roskilde , post- Station -fire , and post- Astroworld era, it’s practically impossible to do in large venues now that they don’t take cash at the door, it’s practically impossible to cover up if authorities ever check, and the liability is now far more severe.

QUITE A BIT SHAKIN’, ACTUALLY

The Final Tour ’s high attendance figures were especially welcome on “Shakedown Street”, a.k.a. “Shakedown”, the name now given to the area in or near each venue’s parking lots where vendors sell a wide variety of clothing, jewelry, food, and beverage, and probably whatever else you can think of that’s legal. Once a loose, laissez-faire process but now formalized through pre-sold vendor permits and formal licensing of GD-related trademarks and copyrights, many Shakedown vendors nonetheless adhered to the long tradition of following much or all of the tour and looking out for each other along the way. On most days Shakedown was very busy at a minimum, and on some days the crowds were shoulder-to-shoulder until showtime. And for the second straight year, as the tour progressed some of the folks with AAA laminates would regularly buy t-shirts from Shakedown during the afternoon for band members to wear onstage during shows along with the official merchandise sold by the band.

However, despite considerable efforts to alleviate the problem, the official posters commissioned by D&C for each show often remained difficult to obtain. There were larger print runs than previous years, and there was the addition of more “early” merch stands outside venues on show days, but at most shows, would-be poster buyers needed to arrive at a show early and/or wait in line for an hour or more, with the best-received posters selling out by showtime or shortly thereafter. Somewhat predictably, sold posters usually appeared on eBay at a significant markup within hours of a show’s conclusion. The initial lack of a per-person limit enabled bulk-buying incidents where the purchaser’s intent to resell them at a markup was obvious, forcing the band to implement a five-poster limit by the end of the tour. Fortunately, a solid trading network has evolved amongst Dead & Company poster aficionados (with the occasional face value plus shipping costs sale popping up), but even then, many remained frustrated by the catch-22 of not actually having an in-demand poster to trade.

HEY, SAM BANJO

If you’re like us, we had no idea that a bass banjo was something that even existed before Oteil Burbridge walked onstage with one for the “Drums” segment on the tour’s opening night in Los Angeles. So, we decided to look it up, and we were a little bit stunned to discover that the bass banjo (also called a cello banjo) was invented in 1889  by Samuel Swaim Stewart  of Philadelphia, who dedicated his life and his company SS Stewart to “remaking the banjo into an instrument of cultural sophistication.” We’re not sure how we missed this before, but we’re now completely down with the bass banjo and with Mr. Stewart’s life mission. Burbridge would go on to use it every few shows during “Drums” while Hart played a balofon he found in Los Angeles a few days before the tour and Lane accompanied them on his drum kit. Finally, Burbridge used his bass banjo in an actual song during the version of “Fire on the Mountain” on July 2nd (the same one that featured Mickey’s rapping), to great effect.

SONG STATISTICS

If you want this section summarized in one sentence, the band stuck to its already-successful playbook , with no breakouts or new songs. Like they have done all along, Dead & Company ran on a four-night cycle, meaning fans could usually see four consecutive shows without many (or any) songs being repeated. During the tour’s 29 shows, there were 23 songs played at least seven times, i.e., every four shows, and all of them tended to be the biggest and/or most popular songs from the Grateful Dead’s catalog. This so-called “regularity” paid dividends, though, as there were no real off-nights to speak of—attendees generally walked away sated and then some, barring the folks who missed parts or all of some shows due to traffic and long lines. On the other end of the spectrum, 18 songs were only played once on the tour, and another 12 songs were only played twice.

But if it’s geeky song statistics you want? Ok, coming right up! First, we know that the “Scarlet Begonias” > “Fire on the Mountain” pairing remains a perennial favorite amongst Deadheads, and D&C did play seven “Scarlets” and eight “Fires” on the tour. However, the band only paired the songs consecutively as the classic “Scarlet > Fire” on two occasions, in New York on June 22nd and on San Francisco on July 14th . “Don’t Ease Me In” was more prevalent this tour, appearing as a first-set closer six times, including consecutive shows at Noblesville and Boulder . “Samson & Delilah” was played at all five shows that fell on a Sunday, while “One More Saturday Night” was played at five of the tour’s eight Saturday shows. “Althea” was played nine times, and five of those versions were part of a Top Show. There were five versions of “Morning Dew” on the tour, and three of those versions landed in a Top Show.

Also, there were no continuous, unbroken two-verse versions of D&C’s biggest jamming vehicles, “Dark Star” and “The Other One”. Each version was broken into two halves, with three of the tour’s five “Dark Stars” appearing in different sets in the same show, and two other versions split over multiple shows. Meanwhile, three of the tour’s six versions of “The Other One” were split into two parts that appeared in the same set of the same show, while the remaining three versions were split over consecutive shows. In total, 16 of the tour’s 29 shows contained some part of “Dark Star” or “The Other One”, and the Boston show on June 24th was the only show on the tour that contained both songs. Wicked lucky!

When it came time for encores, 21 of the tour’s 29 shows contained encores of a single song, while three more contained two-song encores. However, consider yourself lucky if you saw either of the two shows with a three-song encore, or any of the three shows with no encore at all, because all five of them ended up in our Top Shows section below.

DID YOU HEAR WHAT I JUST HEARD?

For the third year in a row, set breaks during the tour’s live-streamed video broadcasts on nugs.net were filled with the Dead Air  program featuring David Gans and Gary Lambert , the longtime co-hosts of the weekly series “Tales from the Golden Road” on Sirius XM ’s Grateful Dead Channel . Along with single-song previews, Dead Air was simulcast live on YouTube to help promote purchases of livestreams, and each night featured a recently pre-recorded interview with notable guests from the Grateful Dead universe: All six D&C band members (John Mayer, Oteil Burbridge, Jeff Chimenti, Jay Lane, John Mayer (again), Mickey Hart, Bob Weir), D&C’s front-of-house engineer and VP of Touring at Ultrasound (Derek Featherstone), writers and photographers (Jesse Jarnow, Alan Paul, Rosie McGee, Jay Blakesberg & Blair Jackson, Ed Perlstein), musicians (LP Giobbi, Bob Bralove, Jeff Pehrson, Adam Theis, Dave McMurray), music industry folks (David Lemieux, Rob Bleetsteen, Brad Serling, Mark Pinkus, Jeff Norman), and charitable/activist organizations (Andy Bernstein, John Leopold, Cameron Sears, Hilary Gleeson, Jason Scheuner, William “Hawk” Semins).

While each interview contains its high points, we have to give a special shout-out to Gans’ cat Ringo for his complete and total disruption of the proceedings at the 16:10 mark of LP Giobbi’s interview. Good work, fella!

Links to all interviews are below in the order they appear in the above paragraph:

BAND & CREW: John Mayer 1 of 2 (5/19), Oteil Burbridge (May 20th), Jeff Chimenti (June 18th), Jay Lane (July 1st), John Mayer 2 of 2 (July 14th), Mickey Hart (July 15th), Bob Weir (July 16th), Derek Featherstone (July 3rd)

Dead Air Featuring John Mayer – 5/19/23

Dead Air Featuring Oteil Burbridge – 5/20/23

Dead Air Featuring Jeff Chimenti – 6/18/23

Dead Air Featuring Jay Lane – 7/1/23

Dead Air Featuring John Mayer – 7/14/23

Dead Air Featuring Mickey Hart – 7/15/23

Dead Air Featuring Bob Weir – 7/16/23

Dead Air Featuring Dead & Company Front Of House Sound Engineer Derek Featherstone – 7/3/23

WRITERS & PHOTOGRAPHERS: Jesse Jarnow (May 26th), Alan Paul (June 13th) Rosie McGee, (June 17th), Jay Blakesberg & Blair Jackson (June 21st), Ed Perlstein (June 27th)

Dead Air Featuring Good Ol’ Grateful Deadcast ‘s Jesse Jarnow – 5/26/23

Dead Air Featuring Author, Allman Brothers Band Biographer Alan Paul – 6/13/23

Dead Air Featuring Photographer Rosie McGee – 6/17/23

Dead Air Featuring Photographer Jay Blakesberg & Author Blair Jackson – 7/21/23

Dead Air Featuring Photographer Ed Perlstein – 6/27/23

MUSICIANS: LP Giobbi (May 23rd), Jeff Pehrson (June 5th), Adam Theis (June 7th), Dave McMurray

Dead Air Featuring LP Giobbi – 5/23/23

Dead Air Featuring Bob Bralove – 5/28/23

Dead Air Featuring Jeff Pehrson (Furthur, Box Set) – 6/5/23

Dead Air Featuring Adam Theis (The Wolfpack, Grateful Grass) – 6/7/23

Dead Air Featuring Jazz Saxophonist Dave McMurray ( Grateful Deadication ) – 6/10/23

MUSIC INDUSTRY FOLKS: David Lemieux (June 3rd), Rob Bleetsteen (June 15th), Brad Serling (June 22nd), Mark Pinkus (June 25th), Jeff Norman (July 2nd)

Dead Air Featuring Grateful Dead Archivist & Legacy Manager David Lemieux – 6/3/23

Dead Air Featuring Rob Bleetsteen (GD Radio, SiriusXM) – 6/15/23

Dead Air Featuring Nugs Founder Brad Serling – 6/22/23

Dead Air Featuring Rhino Records President Mark Pinkus – 6/25/23

Dead Air Featuring Jeffrey Norman (Mockingbird Mastering) – 7/2/23

ACTIVIST ORGANIZATIONS: Andy Bernstein (May 30th), John Leopold (June 1st), Cameron Sears (June 9th). (Hilary Gleeson June 24th), Jason Scheuner (July 7th), William “Hawk” Semins (July 8th)

Dead Air Featuring Head Count Executive Director Andy Bernstein – 5/30/23

Dead Air Featuring Arhoolie Foundation Executive Director John Leopold – 6/1/23

Dead Air Featuring Rex Foundation Executive Director Cameron Sears – 6/9/23

Dead Air Featuring Backline Co-Founder/Executive Director Hilary Gleason – 6/24/23

Dead Air Featuring Jason Scheuner (Grateful Guitars) – 7/7/23

Dead Air Featuring William “Hawk” Semins (Owsley Stanley Foundation) – 7/8/23

THEMES DURING “DRUMS”

The second-set “Drums” segments with Hart, Lane, and Burbridge featured a welcome new development during The Final Tour . On many show days, Hart took to his Instagram account to announce the “theme” for that night’s segment, with video and photos to go along with the percussive interlude. The themes fell into six underlying categories: broad concepts (Acoustics of Water, Rhythm’s Infinite Symphony, Yin and Yang, History of Underwater Diving), percussion instruments (The Beam, Conch, Prepared Piano, Gong, Anklung, Honk Night), places on earth (Great Pyramids, Rainforest, Golden Gate Bridge), places not on earth (The Cosmos, Gods, and Planets), living things (Serpents, Ants), and ice (Ice). We hope this practice continues into whatever iterations of the music come next.

PART 4: TOP SHOWS

We’re happy to report that there really were no off nights on The Final Tour . Part of it was that the band stuck to proven, favored material while avoiding working any new material into the repertoire. But in 2023, it was also coming from the ongoing self-reflection, gratitude, and recognizance (frequently mentioned in band members’ social media posts) that came from knowing the end of the D&C’s existence as a touring entity was coming.

But like all of Dead & Company’s previous tours, there were shows that stood out from the rest, and we’re recognizing them here in a bit more detail. (Also, for those keeping score at home, D&Cs early May shows at Jazz Fest and Cornell were not part of The Final Tour —we’re going by what’s on the tour shirt.)

MAY 28th – ATLANTA

Atlanta’s Cellairis Amphitheatre at Lakewood was a charmed location for Dead & Company—all four of their shows there. Earlier Lakewood shows in 2019 and 2021 made our Top Shows lists for those tours, and the 2016 show would have made that tour’s Top Shows list if we’d been doing our tour recaps then. In 2023, D&C made it four for four. The weather was refreshingly cooler than expected, and the first set contained several pleasant surprises, including an opening duo of “Cassidy” and “Deal”, a version of “Friend of the Devil” played in its slower, electric arrangement, and the tour’s only version of “If I Had the World to Give”. The second set’s pre-“Drums” segment launched with “Althea” and then featured the classic pairing of “China Cat Sunflower” and “I Know You Rider” in between another classic pairing of “Estimated Prophet” and “Eyes of the World”. However, the show reached stratospheric heights through towering versions of “Terrapin Station” and “Morning Dew” played back to back to conclude the evening, with the latter rivaling the version played three weeks earlier at Cornell’s Barton Hall. The set ran so long that the band hit curfew and couldn’t play an encore, but that was probably for the best because it ensured that Dead & Company rode out of Atlanta for the last time on a proverbial thundercloud. All hail Lakewood and its excellent staff.

JUNE 10th – CHICAGO, NIGHT 2

Maybe it’s just a coincidence, but Dead & Company never played a show at Wrigley Field before the Chicago Cubs broke their 108-year drought by winning a World Series championship in 2016. And while the Cubs will continue to play at Wrigley for the foreseeable future, probably with mixed results, Dead & Company’s final appearance at the iconic stadium was a resounding win. It kicked off with a first set comprised almost entirely of “second set” songs, including the opening “Truckin'”, “Althea”, and “All Along the Watchtower”. However, the second set contained Field of Dreams levels of song wish fulfillment, with a performance to match. Not only was it tightly performed with maintained momentum, except for “Cumberland Blues”, the setlist on paper was essentially a classic 1977 Grateful Dead second set circa the band’s Winterland run in June 1977: “Help on the Way”, “Slipknot”, “Estimated Prophet”, “Uncle John’s Band”, and “Morning Dew”, all capped off with a rare three-song encore that incorporated the reprise of “Playing In The Band”, which had kicked off the run 28 hours earlier. All told, the partnership between Dead & Company, Wrigley Field, and Chicago turned out to be a successful one, and we will definitely miss those after-show noshes at Cheesie’s .

JUNE 22nd – NEW YORK, NIGHT 2

We can sum this one up in five words, “Dude! Scarlet Fire Estimated Eyes!”, but we’ll say more. One of the hallmarks of the final Dead & Company tour setlists was that nearly every era of the Grateful Dead’s 30-year career would get touched upon in a show. But along with its performance, this show stood out because, with the exception of the covers of Miles Davis ’ “All Blues”, the show’s set list looked like a Grateful Dead setlist from the late-’80s In the Dark era, when many second-generation Deadheads discovered the band. First there was the opening “Feel Like a Stranger” and “Franklin’s Tower” (a common pairing from 1979 to 1989), then the tour’s final “Mama Tried”, “Alabama Getaway”, and at the end of the second set, there was “Cumberland Blues”, “All Along the Watchtower”, and “Morning Dew”. So far so excellent, but the real prize was the first four songs of the second set. For the first time in D&C’s history, the band knocked out the beloved and elusive four-song sequence of “Scarlet Begonias” > “Fire on the Mountain”, “Estimated Prophet”, and “Eyes of the World”. In Deadhead shorthand, the quadruple hit of “Scarlet Fire Estimated Eyes” was one of the best things that could happen at a Grateful Dead show (25 occurrences in total, all between 1978 and 1988), and it was just about always the sign that the band was having a hot night. “Brokedown Palace” made for a gentle close and a fitting goodbye to the city that’s served as the second home of Grateful Dead music for over five decades.

JUNE 24th – BOSTON, NIGHT 1

This Saturday show unfolded on a typically hot and humid New England summer evening at Fenway Park beginning with “Cassidy” and “Brown-Eyed Women” before a first-time-ever pairing of the tour’s final “I Need a Miracle” with “Here Comes Sunshine”. Later Burbridge provided an understated highlight with the tour’s final version of “China Doll”, and after an abbreviated set break, the band put the second set in motion with “New Speedway Boogie”, which jibed with the sweltering weather. But then, right as the band floated into “Dark Star”, a cool breeze blew in while a gorgeous sunset commenced, with the timing so perfect that it was almost as if it was all cued to the music. From there it became the most exploratory and experimental set of the tour, with 25 combined minutes of “Dark Star” and “The Other One” before “Terrapin Station”, followed by 45 cumulative minutes of “Drums”, “Space”, and a lengthy let’s-just-try-this-and-hey-it-works! segment comprised of an instrumental mashup of “Big River” and “Dark Star” before doubling back into several more instrumental minutes of “The Other One”. The band reached the venue’s curfew before the encore, which is often a telltale sign that things ran wild in a good way. If Dead & Company’s biggest, deepest jams are your thing, this was the night to catch.

JULY 3rd – BOULDER, NIGHT 3

Big things just kept on happening throughout Dead & Company’s final show at Folsom Field. After shooting out of the gate with “Bertha” and an exceptional “New Speedway Boogie”, the band was delivering one of the tour’s best first sets while grey Close Encounters -style clouds formed dramatically over the stadium. Three minutes into the set’s sixth song, “Playing in the Band”, a distant flash of lightning prompted a halt to the show, which then became the set break, though fortunately the nearby rainstorms never made it to the stadium. The band started the second set by resuming exactly where they’d left off and delivering an eight-song, hour-long segment that included the first set’s remaining songs, including “Uncle John’s Band”, before the “Help>Slipknot>Franklin’s” trio (with Chimenti in particular shining on the latter), and “He’s Gone” > “The Other One”. So far, so excellent, but the show’s final hour cemented this one’s legendary status. First, a blue curtain of 600 drones dramatically rose from behind the stage during “Space” and morphed into a stealie skull and a dancing bear in the night sky above the stage. That primed the crowd for Weir’s impassioned, echo-enhanced delivery of “Standing on the Moon” while a full moon just happened to be rising over the stadium. But there was still more, as musical guest Dave Matthews sat in with his trademark acoustic guitar for the rest of the show. First up was Matthews’ tense, effective arrangement of “All Along the Watchtower” before “Not Fade Away”, and after a two-song encore of ‘Knocking on Heavens Door” and the tour’s final version of “The Weight”, the drones returned to spell out, “Please Be Kind.” Between the location, the music, and the night’s “big things,” this was the signature show of The Final Tour .

JULY 8th – GEORGE, NGHT 2

The first set of D&C’s final show at The Gorge kicked off with generous versions of “Mississippi Half Step” and “Here Comes Sunshine” before “Loose Lucy”. They contrasted nicely with lush versions of “Lost Sailor” and “Saint of Circumstance” that got the full benefit of the spectacular views from the lawn as the sun headed for the horizon to start “magic hour.” The second set’s song choices were on a Make-A-Wish level, starting with a page from the Grateful Dead’s 1976 comeback-era playbook: a 30-minute trip where “Playing in the Band” segued into “The Wheel” before returning to the “Playing” reprise, all during an archetypal Gorge sunset. From there it was 45 minutes of 1969 Live Dead -era psychedelia via “St. Stephen”, “The Eleven”, and the tour’s final “Dark Star” surrounding the “Drums” and “Space” segments, while the closing trip consisted of a stop in 1979 for Mayer’s signature song, “Althea”, before a pair of 1972 classics, “Stella Blue” and “One More Saturday Night”. And yes, even in the middle of nowhere, Dead & Company still found a way to play so long they had to skip the encore. But it mattered little by then, as sated Deadheads headed back to the campgrounds to partake in whatever until whenever. If you haven’t made it to The Gorge for live music yet, we encourage you to consider adding it to your bucket list.

JULY 16th – SAN FRANCISCO, NIGHT 3

Dead & Company’s final show of The Final Tour started a full hour earlier than usual, leading to speculation that the band would play a third set, possibly with Bill Kreutzmann, in a mirror of Hart’s return to the Grateful Dead at their “final” show in 1974. However, the band ultimately used the added time to play two slightly extended sets and a longer encore without fear of running up against the venue’s curfew. The nine-song first set stuck mostly to 1970s-era GD classics, highlighted by “Bertha” and “Good Lovin’” to open, Burbridge’s final lead vocal on “High Time”, “Althea”, and the closing “Bird Song”. By process of elimination, setlist watchers made accurate prognostications of what was still left to play, and it all followed, in top form. The “Help > Slipknot > Franklin’s” trio preceded “Estimated > Eyes”, and the ensuing “Drums” segment concluded with Hart delivering one of the tour’s most intense and inspired performances on the beam. Next, the fleet of 600 drones that first appeared in Boulder two weeks earlier made its expected appearance during “Space”—this time word had gotten out about it several days earlier. It all set the table for Weir to belt out his now-signature version of Garcia/Hunter’s “The Days Between” (he’s truly made this one his own) before the high-energy finish of “Cumberland Blues” and “Sugar Magnolia”. The encore’s three songs were all expected, welcome, and gratifying: “Truckin’”, “Brokedown Palace”, and the final verse of “Not Fade Away”, which had opened Friday’s show, contained one last savor-the-moment jam before its calculated fade-out. After the band and crew took their final bows, the drones returned to display Gary Gutierrez ’ iconic “Sam” skeleton tipping his hat.

And like that, they were gone. At least for now. Just two days after tour’s conclusion, Mayer confirmed via social media what hadn’t quite been said out loud until then: “Dead & Company are still a band. We just don’t know when the next show is.”

The remaining official merchandise from Dead & Company’s final tour is available here . Dead & Company’s live show archive is available at Nugs.net . Bob Weir & Wolf Bros fall 2023 tour dates and tickets are available here , Oteil & Friends fall 2023 tour dates and tickets are available here .

Revisit previous L4LM Dead & Company tour recaps using the links below:

2018 Summer Tour 2019 Summer Tour 2019 Fun Run 2021 Summer/Fall Tour 2022 Summer Tour

Dead and Company final tour: Where they'll be in 2023, including NYC and Philadelphia

It's time for one last trip.

Grateful Dead legacy act Dead and Company have confirmed the itinerary for their final tour, which launches with a two-night stand at the Forum in Los Angeles on Friday, May 19, and Saturday, May 20, 2023.

The 27-date tour will travel across the country and back again before wrapping up with performances on Friday, July 14, and Saturday, July 15, at Oracle Park in San Francisco.

Dead and Company returns to our region to play Citizens Bank Park in Philadelphia on Thursday, June 15, and Citi Field in New York on Wednesday, June 21, and Thursday, June 22.

Presale fan registration is now open at deadandcompany.com . Tickets go on sale at 10 a.m. local time on Friday, Oct. 14.

Featuring Bob Weir, Bill Kreutzmann and Mickey Hart of the Grateful Dead, with John Mayer, Oteil Burbridge and Jeff Chimenti, Dead and Company launched in 2015. The band announced on Sept. 23 that the 2023 outing would be its last.

Dead and Company: The Final Tour dates

May 19 and 20, 2023, Forum, Los Angeles

May 23, Ak-Chin Pavilion, Phoenix

May 26, Dos Equis Pavilion, Dallas

May 28, Lakewood Amphitheatre, Atlanta

May 30, PNC Music Pavilion, Charlotte, N.C.

June 1, Coastal Credit Union Music Park at Walnut Creek, Raleigh, N.C.

June 3, Jiffy Lube Live, Bristow, Va.

June 5, Pavilion at Star Lake, Burgettstown, Pa.

June 7, Hollywood Casino Amphitheatre, St. Louis

June 9 and 10, Wrigley Field, Chicago

June 13, Riverbend Music Center, Cincinnati

June 15, Citizens Bank Park, Philadelphia

June 17 and 18, Saratoga Performing Arts Center, Saratoga Springs, N.Y.

June 21 and 22, Citi Field, New York

June 25, Fenway Park, Boston

June 27, Ruoff Music Center, Noblesville, Ind.

July 1 to 3, Folson Field, Boulder, Colo.

July 7 and 8, Gorge Amphitheatre, Gorge, Wash.

July 14 and 15, Oracle Park, San Francisco

Grateful Dead comes back to life for final show of their final tour

Luke Lukert | [email protected]

July 17, 2023, 8:44 AM

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The band that resurrected the Grateful Dead, Dead & Company, played their final show of their final tour Sunday night in San Francisco, California. Deadheads both young and old danced to the final jam brought in part by a D.C. native.

Oteil Burbridge — born and raised in D.C. — sang “High Times” during the last show that also saw long improvised performances of fan favorites “Bertha,” “Truckin’” and “Not Fadeaway.”

Sun. 7/16/23 SF, CA #3 Showtime: 613pm-10:35pm Next show: … 📷: Matt Busch pic.twitter.com/hzcky4Dsng — Dead & Company (@deadandcompany) July 17, 2023

The multi-instrumental musician joined the incepted group in 2015 along with pop rock heartthrob John Mayer. Burbridge played bass, drums and even banjo for the Grateful Dead revival band. He had previously spent over a decade with The Allman Brothers Band.

The two joined original Dead bandmates Mickey Hart and Bob Weir.

The band became another cultural touchstone appealing to both fans from the ’70s and new Millennial and Gen Z “Deadheads” during their eight-year stretch that spanned over 200 live shows.

They began their last tour in Los Angeles, winding across the country and even stopping in Bristow, Virginia, on June 3 for the band’s last D.C.-area show.

“So if someone tells you it’s your last show, it’s gonna be a different show than if it’s not. And so you just tell yourself that before and this whole tour is like that,” Burbridge told the “Dead Air with [Gary] Lambert and [David] Gans” podcast in May. “It’s the final tour … you’ve got two months to live.”

Burbridge also sang “High Times” during the band’s first set of the last show.

  View this post on Instagram   A post shared by Oteil ☥ (@oteil_burbridge)

You can watch the full concert at Nugs.tv.

Since joining WTOP Luke Lukert has held just about every job in the newsroom from producer to web writer and now he works as a full-time reporter. He is an avid fan of UGA football. Go Dawgs!

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Dead & Company's 2023 ‘The Final Tour' Includes 2 Chicago Dates at Wrigley Field in

Published october 7, 2022 • updated on october 7, 2022 at 7:01 am.

Grateful Dead fans in Chicago won't have to travel far in 2023 to see Dead & Company perform on their farewell tour.

The band, which formed in 2015 and includes several original members of The Grateful Dead along with other musicians including John Mayer, has released concert dates for what they're calling " The Final Tour. "

Watch NBC Chicago local news and weather for free 24/7

The 18-city tour kicks off May 19 2023 in Los Angeles, and will wind through Arizona, Texas, Georgia, North Carolina, Virginia, Pennsylvania and Missouri before stopping in Illinois for two back-to-back shows.

The group's Chicago dates are scheduled for June 9 and 10 at Wrigley Field.

According to the band's website, tickets go on sale to the general public Friday, Oct. 14 at 10 a.m.

Here's the full list of tour stops:

• May 19, 20: The Forum, Los Angeles, CA
• May 23: Ak-Chin Pavilion, Phoenix, AZ
• May 26: Dos Equis Pavilion, Dallas, TX
• May 28: Lakewood Amphitheater, Atlanta, GA
• May 30: PNC Music Pavilion, Charlotte, NC
• June 1: Coastal Credit Union Music Park at Walnut Creek, Raleigh, NC
• June 3: Jiffy Lube Live, Bristow, VA
• June 5: The Pavilion at Star Lake, Burgettstown, PA
• June 7: Hollywood Casino Amphitheater, St. Louis, MO
• June 9, 10: Wrigley Field, Chicago, IL
• June 13: Riverbend Music Center, Cincinnati, OH
• June 15: Citizens Bank Park, Philadelphia, PA
• June 17, 18: Saratoga Perming Arts Center, Saratoga Springs, NY
• June 21, 22: Citi Field, New York, NY
• June 27: Ruoff Music Center, Noblesville, IN
• July 1, 2, 3: Folsom Field, Boulder, CO
• July 7,8: The Gorge Amphitheater, George, WA
• July 14, 15: Oracle Park, San Francisco, CA

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Published: 2024/04/30

Dead & Company Detail Free Immersive Dead Forever Experience at The Venetian

The wheel is turning and you can’t slow down…

With just two weeks to go before Dead & Company’s highly anticipated debut at the new state-of-the-art Sphere venue in Las Vegas, the band has unveiled its plan for a unique, fan-focused Dead Forever Experience. Starting on May 15 and open five days a week for the duration of the band’s residency, this space will serve as a centralized hub for fans to celebrate, shop, view exclusive Dead & Company content, and delve into the Grateful Dead’s unparalleled legacy, all for free. 

The Dead Forever Experience was created in partnership with Vibee, the Live Nation-founded destination experience company, which will assist in transforming 22,000 square feet of the Venetian event space into an interactive exhibit with two floors of access. Included is a 1:4 scale recreation of the iconic Wall of Sound, the revolutionary stacked speaker sound system designed by audio engineer Owsley Stanley for the Dead in 1974. The 500-speaker, 7,000-watt multi-channel wall on display was built by Anthony Coscia of “Le Petit Mur De Son.” 

Mickey Hart will also exhibit his innovative vibrational expressionism paintings, a first-of-its-kind display featuring dozens of sensory-enhancing pieces touching on Hart’s many art forms and mediums, such as blacklight immersion. In the art realm, noted photographer Jay Blakesberg and his daughter Ricki will showcase 145 images by 27 different photographers for their An American Beauty: Grateful Dead Photography 1965-1995 experience. 

SiriusXM Grateful Dead Channel Zone is also on the docket, with the promise of pre-show broadcasts hosted by Gary Lambert, David Gans, and Big Steve Parish throughout opening weekend, with a Thursday, May 16 start date, which will be every Thursday through the residency with the Big Steve Hour.  

Participation Row will continue its well-intended mission with help from HeadCount and REVERB to inspire fans to take action through the support of nonprofit groups. An auction will also be available, where folks can bid and support good causes and the continued charitable legacy of Dead & Company. 

In addition to the aforementioned offers, Dead Forever Experience will include a retail store where fans can explore a diverse selection of items, such as collector-worthy and exclusive Dead & Company merchandise–show posters, apparel, and accessories. The store will also feature Grateful Dead vinyl and merchandise through James Perse, Teton Gravity Research, and more.

Learn more here . Tickets remain on sale for Dead & Company’s Sphere residency.

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Listen: Mike Gordon Offers Grateful Dead Classics at Nectar’s (A Gallery + Recap)

Photo Credit: Luke Awtry Photograph

Last night, Nectar’s in Burlington, Vt., hosted Grateful Tuesday, the final chapter of Dobb’s Dead’s April residency at The Green Mountain State venue. The April 30 lineup brought together featured players such as Rob Compa, Chuck Jones, Joe Agnello, Ryan Clausen, Jess Leone, Ali McGuirk, Lara Cwass, and namesake Josh Dobbs, and an unbilled guest, Phish’s Mike Gordon, who sat in on a pair of classic Grateful Dead covers. 

Before Gordon arrived, Dobb’s were “Callin’ out around the world” on “Dancin’ in the Streets” before a pairing of “Lazy Lightning” into an unfinished “Supplication,” which marked the conclusion of the night’s third cover. With band anticipation looming, Gordon ascended on stage, making his first public appearance since Phish’s Sphere residency in Las Vegas; the bassist lent his skills on “He’s Gone,” followed by jam catalyst “Scarlet Begonias.” 

Following the night’s unbilled appearance from Gordon, the known lineup kicked into Jerry Garcia Band-performed “Don’t Let Go” and “That Lucky Old Sun” and set-ender “Tangled Up in  Blue.” The night’s secondary frame also included special moments, including known members of the ensemble and the newest asset in Goose, backbeat Cotter Ellis, who showed up for the final three, “Let It Grow,” “Dark Star,” and “Estimated Prophet.” 

For the night’s encore, Dopapod guitarist and featured player on the night’s roster, Compa, took the vocal lead on the Chuck Berry classic, “Johnny B. Goode.” Scroll down to view photos via Luke Awtry Photograph.

Listen to the audio from the concert here .

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The annual fest, which runs 12 to 17 June, has also revealed Academy Award-winning director and producer Williams as this year’s guest of honour. Williams was the first African American director to win an Academy Award for his short Music by Prudence in 2009, and will present a curated program of five social impact documentaries, while moderating a panel discussion with the filmmakers. He has directed and produced tonnes of docs over the past 25 years.

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Sheffield DocFest will announce its 2024 theme on Thursday, with the full public program announced and tickets on sale May 8. A further release on May 15 will detail the industry program of sessions, pitches, networking, and receptions.

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