![]() In retrospect, perhaps putting “Cold Rain and Snow” in the second slot may have been tempting fate a little too brazenly, as the downpour became markedly more intense almost as soon as that song started – and while actual snow would have been a little too on-the-nose (especially in July), the weather deities had a few other tricks up their capacious sleeves, including hail and high winds. By the end of that second number, the deluge was in full effect. And even worse, the radar was indicating some serious thunder and lightning bearing down on the venue. The band announced that a break of unknown duration would be necessary, the stage and sound crews scrambled to protect the gear and the venue staff did a heroic job of shepherding audience members from the field and grandstands to every available covered space within the structure – although some of the most dedicated and slightly crazy fans who had shown up early for those coveted spots closest to the stage chose to remain exactly where they were, zipping up their ponchos, huddling together under their tarpaulins, blankets and even one or two overturned trash cans, determined to ride out the storm. It wasn’t until the worst of the weather had subsided and it was deemed safe for the remaining fans to emerge from cover that the band retook the stage, about an hour and a quarter later, resuming the show in an inspired manner that we won’t spoil here. Indeed, rather than try to describe the music in too much detail – it speaks quite eloquently for itself – we’ll just say that what transpired was unique in the long continuum of the Grateful Dead and its musical progeny. ![]() ![]() A few songs into the restart, Bob Weir announces that to make up for the time consumed in the delay, the band (with massive black clouds and dramatic thunder and lightning still looming in the distance but never reaching the stadium) would play straight through with no additional set break – meaning that, after what must have been the shortest “first set” ever at a bit over sixteen minutes, Dead & Company would present an almost seamless “second set,” with only occasional and minimal pauses, comprised of many of the signature works in the repertoire, not leaving the stage until a majestic set-closing “Morning Dew” nearly two and a half hours later. And while band and audience alike could have been excused for calling it a night right there, everyone’s patience and fortitude is rewarded with a double encore, made up of Robbie Robertson’s classic (and very appropriate to the occasion) parable of a road-weary traveler, “The Weight” and the perfect choice for an Independence Day weekend, “U.S. ![]()
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