Phil Lesh – Capitol Theatre – March 16, 2015
This year marks the 50th anniversary of the Grateful Dead and, if you haven’t noticed, their music seems to be everywhere, a constant presence that transcends genre, age and geography. Part of that constant presence has been the band’s bassist, Phil Lesh, who, remarkably, turned 75 on Sunday and is celebrating (how else?) with a run of jam-filled shows at the Capitol Theatre. Monday night’s band of Lesh’s friends included Warren Haynes of the Allman Brothers Band and Gov’t Mule on guitar and vocals, Eric Krasno of Soulive on the other guitar, and longtime Lesh running mates John Molo and Rob Barraco on drums and keyboards respectively. The evening began with a session of noodling: free-form, aqueous improvisation that featured all five musicians interacting with the others, like wolves licking their chops before devouring helpless prey.
The set proper bounced back and forth between the Dead’s repertoire, older blues-based material like “Dupree’s Diamond Blues” and “Cosmic Charlie” interleaved with later-era groove-rockers like “West L.A. Fadeaway” and “Alabama Getaway.” Of course, the songs themselves were merely starting points for various shades of space-outs and left-turn excursions. The walls of the Capitol Theatre were populated in tie-dyed fractal explosions that seemed to open up wormholes to past eras, 20, 30, 40 years back. Krasno’s clean-toned guitar played counterpoint to Haynes’s gritty licks, but Lesh was the constant force, running circles around his younger crew. Each measure of bass playing was a snowflake— clear, defined crystal, beautifully unique. The first set ended with an optimistic spring theme: “Here Comes Sunshine” brought a projected sunrise to the theater’s walls with Lesh pushing Haynes and Molo while Baracco glued together the sonic collage, segueing into the Allman Brothers classic “Blue Sky,” the ceiling turning a bright indigo as Haynes ceded the floor for Krasno and Baracco solos before shining his own big, Allmans-y turn.
The second set picked up where the first left off, another round of free jamming, Lesh slithering through multiple THC-soaked themes before charging through a few more covers: Traffic’s “Dear Mr. Fantasy” and Hendrix’s version of “All Along the Watchtower” and later Van Morrison’s “Into the Mystic,” the band cracking open classic-rock radio and lacing it with LSD-inspired psychedelia. There’s often a concern with the various Dead-cover outfits about who will sing which song, but really it’s not a problem because the guy next to you will (probably) know most of the words and sing it out, loud and proud. The smiles and the twirling dancers were as integral to these shows as the weird set-list variations like the traditional “Help on the Way” > “Slipknot” > “Franklin’s Tower” being split up by “Just a Little Light” and “Uncle John’s Band” as the quintet mostly pulled off Monday night. Krasno shined best during the closing section, finding comfort in build-up solos and going toe-to-toe with Haynes. A supercharged ovation brought back the band for an emotional “Stella Blue,” Haynes belting it out as those in the smiling audience sang along, many swaying in one another’s arms. But no smiles were bigger than the constant one on the 75 year old leading the way. —A. Stein | @Neddyo