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What a Short and Stunning Trip It’s Been. Will They Return?
By all rights, the residency by Dead & Company at Sphere shouldn’t have seemed that historic. After all, they were the third band into the venue, following U2’s opening 40-show run and Phish’s brief but sweet four-concert stop in Las Vegas, both of which were described as “mind-blowing.” New creative ground had been broken, bars had been raised, and it had become clear that no one would ever consider calling the venue “Dolan’s folly” again (if anyone had even considered that in the first place). A 30-night stand by the semi-retired offshoot of the Grateful Dead could have seemed anticlimactic, given how quickly something that seems innovative at the start can become the new normal.
So, when Dead & Co wrapped up their run Saturday night after two months, why did it seem like they had come to own the place? People were already asking how soon they could come back. What a short, stunning trip it had been—one that will likely have a long tail for the band, the venue, and the future of live entertainment.
The 30 shows operated at near-capacity from the May 16 opening night to the August 10 closing. Dead & Company took a unique approach, attracting repeat business. While devoted Deadheads came in knowing there would be no overlap between setlists, even casual fans didn’t feel completely sated by just one of these nearly four-hour shows. The ultra-big-screen visuals, though not entirely changing nightly, still provided the sensation that each show was customized, ensuring excitement for every ticketholder.
Even if the show remained static from night to night, many would still want to see it more than once to experience the major digital-FX bookends that stayed identical throughout all 30 shows. The second number in the set took fans on a journey from the Grateful Dead’s old haunts in the Haight Ashbury district, over San Francisco, through the clouds, and ultimately to an overhead view of Earth. The penultimate number made a return trip from the cosmos to San Francisco circa 1965, landing with the original Dead members jamming in a second-story window. Conceived by Mayer, with Treatment producing the visuals and executed by Industrial Light & Magic, these moments marked peak experiences for most fans on hand.
In a June interview, Mayer mentioned that new video content would be introduced even as late as the final two weekends of the residency to keep things fresh for repeat customers. The rotation of visual elements was purposeful. Sam Pattinson of Treatment Studio, who served as co-creative director, explained that they aimed to create between 30-40% extra content to mix it up constantly. By the end, they had produced five and a half hours of visual content for a three-hour show, beating their 40% goal.
The final show featured a moonscape image during Weir’s reading of “Standing on the Room,” with an American flag and a briefcase with a Dead logo planted on the moon. While not the most elaborate rendering, it was a nice touch. Both nights included faux-Western sepia movie imagery for classic country songs, and the animated, skeletal Uncle Sam remains a show highlight. Differences were apparent between the two nights, including a visit to the Egyptian pyramids on Friday and a sky-high montage of ticket stubs and backstage passes on Saturday.
As always, the segment of musical content that remained consistent for all 30 nights was the instrumental, atonal “Drums” executed by Mickey Hart, Jay Lane, and Oteil Burbridge, which flowed into the equally trippy “Space.” Hart’s section became a highlight, thanks to the haptics built into the seats, making it feel like a deep-tissue massage. This effect added another layer to an already immersive experience.
Much of the Dead’s music falls squarely into Americana, to the point where it could be mistaken for a vintage concert if not for their improvisational flights. The biggest misconception is that if you’re into songs, this music isn’t for you. The visuals at Sphere acted as a sleight-of-hand, engaging even the most reluctant listeners.
With or without the added visuals, it’s unlikely anyone could dislike the show unless they also hate the electric guitar. Weir and Hart are the beating hearts of the show, while Mayer adds emotional fireworks. In a symbolic nod to Jerry Garcia, Mayer played with a bandaged finger after injuring it, and still, he sounded more soulful than ever.
Saturday night didn’t carry much pomp as the final show of the residency, or possibly Dead & Company’s career. The only sign that this night was unique was a group huddle and an unplanned addition of “Ripple,” which moved one fan to tears. After the show, full credits for the residency were displayed on the giant screen for the first time.
There was little sense of sadness among the crowd, less so than when Dead & Company ended their 2023 tour. Many fans were confident the band would be back for another residency. The incentive is clear: from merch sales alone, the payday was substantial. In an interview with Variety in June, Weir hinted at a return, expressing his desire to see the arrangement become looser and more interactive. This evolution feels inevitable.
The financial incentives may be irresistible, but there are greater reasons for the Dead to rise again in 2025. It will be an anniversary year, and #Dead65 is a hashtag waiting to happen. The reunion of this community is something to look forward to, especially with Mayer, Weir, and Hart symbolizing the bridges between generations. Weir believes they’re just scratching the surface of their improvisational potential, and “Dead Forever II” feels like a necessity.
The checks waiting to be cut might be irresistible, but there are even better reasons than that for the Dead to rise in 2025. It will be an anniversary, and #Dead65 is a hashtag waiting to happen for a collective that has not shied away from birthdays in the past. But mostly it’s something to look forward as the rejoining of areal community in a world that needs them more than ever — and most especially with Mayer, still a wunderkind at a boyish 46, and Weir and Hart, wunder-elders of 76 and 80, respectively, being on-stage symbols of how people from different generations and genres can jam. Throw in the fact that Weir swears “we’re just scratching the surface” on how to use the technology for something improvisational — which is to say, something deeply human — and “Dead Forever II” feels like a necessity.
Source: Variety
