Review by Shawn Perry
I must admit I was apprehensive about going to see Bob Weir at the Ryman. After attending Dead and Company’s 2022 Summer tour closer in New York City, I had to resign myself to the fact that Weir was getting older and no longer in his prime. Arguably the strongest singer in the Grateful Dead, Weir’s voice, like so many of his contemporaries, has lost a little bit of its bite. For a guy who always retained such a youthful and fit image — from the running shorts he wore during the Dead’s latter-day outings, to a daily exercise regimen that continues to this day — it’s hard to imagine Bob Weir, at 75 and going back to the once-derided “Bobby,” as a senior citizen. The shaggy white beard certainly gives credence to that notion.
With the Wolf Bros (drummer Jane Lane, bassist Don Was, pedal steel guitarist Barry Sless and keyboardist Jeff Chimenti) and the Wolfpack string and brass quintet (Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling, and Sheldon Brown) in his corner, Weir seems to be having a howling good time. And that he did, along with thousands of Deadheads who held court at Nashville’s Mother Church for the weekend. Best of all, within the intimate confines of the 2,300-seat venue, Weir’s voice adequately bubbled and fizzled its way over two sets without the baggage of a heavy-handed band to push the singer’s lungs to capacity. There was a concerted emphasis on nuanced embellishments, padded gateways, stirring alleyways and elegant passages to keep the music moving so you’d never want it to stop. And it didn’t for over three hours.
As he has done on his own and with other ensembles, Weir crafted tonight’s sets with a bit of traditional material, a couple solo-related originals, and plenty of Grateful Dead music. The songs of Jerry Garcia and Robert Hunter got a lot of love, especially in the first set as “New Speedway Boogie,” “Crazy Fingers” and “Ramble On Rose” were all rolled out in succession. Weir started off a little hoarse, but quickly got up to speed as the rest of players circled around the melodies and filled the gaps. Both Sless and Chimenti rose to the occasion with stunning solos, while the Wolfpack lathered up the verses and turnarounds with selective string and horn accents. The arrangements breathed new life into music that lends itself to that sort of flexibility.
Nashville resident Mickey Raphael, best known for tooting the harmonica with Willie Nelson, stepped up for a raucous rip through Bob McDill’s “Catfish John,” and stayed for “Even So” and “October Queen,” both from Evening Moods, the only album Weir ever made with Ratdog, as well as the set’s finale, the always effervescent “Bird Song.” The bridge expanded into a soulful jam with a flute solo that led to a mind-altering wind-down before settling down for the night. You have to think Garcia would have loved being a part of it.
The second set lifted off in grand style with the “Help On The Way, “Slipknot!,” “Franklin’s Tower” suite. It must have been a stimulating break because every player came out swinging. Chimenti dazzled the floor as his fingers effortlessly danced across his Vintage Vibe electric piano. No wonder Weir has been bringing him to every gig he’s played for the last 20 years. “Slipknot!” was especially unwieldy in its execution, as Lane reigned in the tempos, doing the job of two, while Weir’s guitar texturings drove the song to the next movement. The shift lifted spirits instantly once the familiar chorus of “Roll away the dew” swept over the room and brightened the mood. With every bend, slide and pick, Sless elevated the pedal steel to the pulpit of the Ryman.
Weir then turned to a couple of his own Grateful Dead compositions: “Looks Like Rain” and “Estimated Prophet.” Light bubbles popped and fizzled across the Ryman’s back wall of stained glass. From the upper balcony, I could see the entire rotunda come alive. It felt as if it was about to spin into the heavens. Along the way, the band paid a short visit to Marvin Gaye’s “What’s Going On.” It took the mighty soar of “Morning Dew” to bring everyone back down to the earth.
It being a Saturday night, Weir and company’s (including Raphael) ephemeral go-to delivery of “One More Saturday Night” capped off a night of spellbinding manifestations. The floor and balcony heaved and hoed; earth girls in the back aisles spun faster. Once the music stopped, everyone exited, spilling out onto the city streets, joining the denizens co-mingling on Broadway and adjoining side avenues. A slight drizzle permeated the air. Many would return Sunday for the final show of the Winter leg. After a handful of April dates out west, Weir then takes one last lap out with Dead & Company. Once that’s over, he’ll no doubt show up on another stage, likely with the Wolf Bros, maybe by himself, or possibly with a new outfit ready and willing to give these songs a fresh twist. As with everything that comprises the Grateful Dead, you just never know what’ll happen next.
