I was lucky enough to have caught the first couple of shows from this Phil-O-Ween run the weekend prior with Scofield, Krasno, and Mikaela Davis, but wasn’t able to hit any of the shows with Rick Mitarotonda and the TAB horns. When I read that this special lineup had played this special setlist, I knew right away that a download and burn to CD was warranted. No bones about it, this one is a modern classic. This show is exactly as good as it looks on paper, and then some.

Some Phil shows are all-star displays, where a stacked lineup levels you with its pure quality and power. Others are generational collaborations, where you can enjoy the old guard working alongside the new kids on the block. This show is both.

Phil, Grahame, and Molo have had their fair share of P&F shows. In recent times, whenever this trio operates together, their wealth of experience makes them the perfect creative springboard for whoever they’re performing with. They know the lay of the land. While songs like Here Comes Sunshine, Cassidy, and The Eleven are open-ended jam vehicles by nature, they still have complex changes and riffs. The more experienced band members guide Rick through these formalities without a hitch, and you can tell the kids have done their homework, because as a whole, this unit sounds sharp and well-rehearsed. Smooth navigation and successful experimentation all around.

What an impressive Dead debut for Rick. He’s full of confidence, and his velvety vocals are delivered in a fashion that infuses instant freshness into age-old Garcia/Hunter classics. Instrumentally, he serves up some sweet solos, and during the jams, he shows considerable wisdom for his age. He contributes to and occasionally leads the jams, but is careful not to overstep. He shows immense respect for the importance of listening to the ideas and contributions of his many bandmates, and then layering his own ideas into the mix.

The secret sauce here is John Medeski. He’s the Hershey’s chocolate syrup dashed across the amazing musical sundae. His work on the Hammond B3 not only gives weight and warmth to that amazing Dancin’ > Scarlet > Dancin’ > Fire sequence, but also curls and sculpts those wild jams arising from the psychedelic ‘60s vehicles in the second set. His piano approach is excellent as well, as demonstrated on Ship of Fools.

This show is novel, rich, experimental, psychedelic, assertive, and proud. The perfect setlist, venue, lineup, crowd, performance, and recording. When you make it to the end of this show, the aftertaste and glowing energy you’re left with perfectly matches that feeling you get after enjoying an old Grateful Dead recording from the Fillmore East, Avalon Ballroom, or… Capitol Theatre.

Magical modern stuff. This is as great a show as you’ll hear from the 2020’s.

Great sounding show. I'm glad to see Rick joined in for these shows. He does sound good singing those Jerry tunes. I wonder how long until more GD covers start making their way into those Goose setlists.

I'll check out the recording at some point soon. Keith's been doing this forever. I'm sure it's a great pull.

The show was very enjoyable. No complaints with the setlist and the playing, for the most part, but I have agree with Matt Hoffman. It seemed like Grahame was trying to take over rather than let the ensemble breathe a little bit. I didn't notice it as much on Friday as I did on Saturday.

Also, it was partly mix related...Graham was much brighter in the mix and kinda cut through Rick's semi-hollow body sound. I was in the balcony, so that could have played into it.

Rick sounds so good singing them Jerry parts.

Wish Grahame would take a more willing back seats when it's this type of a group on stage with him

Sounds great, nice job. I was there.

Love the old school Neumann Shotguns & Oade Preamp. Can't be beat.