Playing in the band
Loose Lucy
Til the Morning Comes
rJ tune>
Cold rain and Snow
Ohio>
Jack a roe
Drummer song
Other RJ song
Unbroken chain>
Saint Stephen>
Sugar magnolia

Samson & Delilah
Respect (A. Franklin)
Ripple (PL)

Not working from the printed setlist but I think Tumbling Dice sung by GL came before Chain and that there was no 'Other RJ Song'

The bangers-and-mash rattling bass of Phil Lesh filled the Brooklyn Bowl London on Tuesday, marking his first appearance in the country since the well-documented 1990 European run. The brand-new venue is built inside the recently-developed O2 Arena complex, an indoor music amphitheater surrounded by a modern commerce center on the Greenwich peninsula which stands in sharp contrast to the rich history of London to the west.

Yes, there is a bowling alley at stage left but no the public was not playing ten-pin during Phil's blistering two-and-a-half hour set. However, there was the occasional clattering of pins during the quieter moments of JJ Grey and Mofros hearty opening set.

Phil's Terrapin Family Band is a six-piece that also features his son Grahame, a legacy who has more than earned the right to stand alongside his jam band titan dad.

Over the years, I've heard nearly every combination of Phil's "friends" but this lineup was a first for me. Being from the midwest, I always assumed my first experience would be in California at Terrapin Crossroads but circumstances were such that I found myself planning a trip to London as these shows were announced. I was able to rearrange my itinerary just enough to catch night one. And thank god for that as the show was one for the ages.

The 800-capacity venue was nearly sold out and exploded with positive vibes from an audience whose tour stories were from Europe '72 and '90, along with a healthy dose of 20-somethings, many of whom were seeing Dead royalty for the first time.

Car troubles sabotaged my seeing the first-ever Unbroken Chain in Philly back in '95 but I still clearly remember the eruption of joy from Memphis and Chicago that fateful year. In the years that followed, Unbroken became to those of us stateside just another song in rotation. I wasn't prepared for the outpouring of emotion that struck as Phil plucked the opening notes of the Mars Hotel classic. Grown men and women were unable to hold back the tears as Unbroken made its European debut midway through the the one-set performance. What a privilege it was for those few Americans in attendance to share in that moment with our English counterparts. However, in terms of highlights, it was only one surrounded by many, many great moments.

Grahame kicked-off the show with an expertly-executed, Bobby-who?-version of Playing that included several economical warm-up jams, setting the stage for an intense night of furious dancing. With rare exception, this lineup played in high-gear for the rest of the evening.

The second stop on the bus was at the Mars Hotel with a bouncy Loose Lucy led on vocals by drummer Alex Koford, one-half of the dueling percussion rhythm section. The Family Band then dug its heals into a fast -paced Till The Morning Comes that sounded like the American Beauty 45 played at 33. The beautiful and talented Emily Sunderland shined in her supporting role as harmonies moved lock-in-step toward the songs inevitable break-of-day.

Guitar virtuoso Ross James took command of the steering wheel for the busses fourth stop, opening the door to Brotherly Love. Not your traditional Grateful Dead song, it initially broke the momentum but simmered to boil the way a good ole Jerry ballad would have and made for a great launching pad into Phil's first lead vocal of the night.

The first verse or so of Cold Rain and Snow got of to a rough start vocally. Later in the show, there was another rough patch during the "ladyfinger" portion of St. Steven. Aside from that, I can't remember Phil's voice sounding any better in the 22 years I've been listening to him. CRS eventually built into an amazing, amazing peak that shot directly into the unexpected CSNY classic, Ohio. What a great moment in Grateful Dead history this was.

Perhaps a nod to their Americana roots; perhaps a subtle commentary on the escalating Israeli-Palestinian conflict; perhaps neither, it does not matter, the venue was shaking like never before during this one-two knock-out highlight punch that took our collective breath away.

What followed was a version of Jack-a-Roe like I'd never heard before. Moving along at break-neck speeds, the bus was tilted onto its drivers-side wheels as the Family Band found more twist-and-turns than anyone could ever imagine from this old folk tune. RJ's guitar run prior to the final verses was closer to speed-metal than jamband.

Alex the drummer slowed the bus yet again for John C but much like Brotherly Love the piece shifted into high-gear before its conclusion, arriving at the casino just in time for the Rolling Stones classic Tumblin' Dice. The song happens to be a personal favorite of mine and Grahame hit the jackpot, playing the song like he was Jagger's prodigy instead of Phil's. He did not, however, have the moves like Jagger.

The previously-reviewed Unbroken Chain stood alone. Brits were still drying their tears as the bus pushed forward to the hallowed halls of St. Stephen, the harmonies as tight as the choir at Westminster. Except for a couple minor vocal flubs, the Family Band roared from St. Stephen into a set-closing Sugar Mag. Im not sure if it was me or the band but the combo finale may have been played twice as fast as any versions in the nearly 50-year history of the Dead. Wow.

A triple encore followed with RJ trading searing guitar licks with Grahame in Sampson. Peaking at the setlist at the feet of keyboardist Scott Padden, I questioned whether the Respect on paper was the Aretha Franklin classic or a different song with the same name. Sure enough, Emily Sunderland stepped up to the mic for the Motown classic. Big shoes to fill but let me tell you, she rose to the occasion as Phil grinned mischievously from ear-to-ear. Bass guitar led the band into the opening notes of Ripple, a perfect closer to a great night.

Wish I could have fit night two into my trip. There should be a little more room down front in my absence. The show last night wasn't sold out. If your in the neighborhood, do yourself a favor and get down to the O2 asap. Have a great show mates!

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what a great review. It is a lost art around here these days. Thanks for the info for those of us stuck on this side of the pond not able to pony up for the stream this time.

I agree,
Great review~!

I love reading Phil reviews and will post one after I see him later this month.

So now we're comparing Grahame Lesh to Bob Weir (Grahame kicked-off the show with an expertly-executed, Bobby-who?-version of...")?

Please. Glad you enjoyed yourself. But think about what you wrote. Throw on a fall 1972 or spring/summer 1974 Playing in the Band and then tell me what your thoughts are on Grahame's playing.

Tell em' SHS!!!

Challenge accepted SHS. I’m listening to 11/18/72 as I write this…more for good measure as my counterpoint is apples-and-oranges-based. There were no Playin’ openers in ’72 and ’74. Also, the atmosphere was much different. Acid versus ale. The London show was about playing rock-and-roll in a bar versus taking everyone up on the spaceship. Finally, I don’t think it’s a bad thing to compare a musician covering a Bobby song to Bobby. My intent was not to disparage Weir in anyway. Bobby does not cover Phil songs but if he did I’d make that comparison. Phil has more latitude to reinterpret the catalogue as a whole and plays Bobby songs frequently and that’s fine. Maybe some in the audience read into it. I find it an interesting dynamic that Phil’s flesh and blood steps into that role. “Bobby-who” to me means that it does not matter who is interpreting or re-interpreting Playin’ (which could technically be considered a Mickey Hart cover) lets get over the hang-ups and get on with the show. At least, that’s how I see it.

As far as “expertly-executed” I would make the argument that stylistically, Bobby and Grahame are completely different. Grahame appears to me to be a more formally-trained musician, versed in lead as well as rhythm, who was trading licks with RJ like Warren and Jimmy. Weir did not develop in the same discipline and has a rather unique approach to rhythm guitar. After shaping the main riff, Bobby’s role in a jam is more about filling spaces.

It might be more appropriate to compare versions from this year. Bobby opened with a Playin in Milwaukee in March. The song was a little chunky but ultimately soared, laying the groundwork for the feel of the show, which was more folk-jam. Father and son were in agreement in London that the show was going full-tilt rock-and-roll, and that was evident from the first notes through the concise "economical" jams. I love Bob and mean him no ill will by this but I don’t think the term “expertly-executed” would hit-the-mark in describing his approach to performing.

4-29-1972, 5-11-1972, both shows opened with playin'. I loved your review, Grahame is very talented, but he's no Bob Weir.

I stand corrected. My statement didnt seem right, Ive prob listened to both those shows dozens of times. I failed to turn back one page in Deadbase IX (which I hadnt opened in years!?!) Another shortcoming of paper in the digital age I guess. No question, Bob Weir is one of a kind. Cant wait for Phases. Thanks Lesh's. Peace and love and fuck you August 9th.

guess bobby wont be showing us his talents any time soon. I'm bummed, i was looking forward to seeing furthur at lockn. I'm posistive that mr lesh will not dissapoint his fans, with all those friends at the same event at the very same time. I hope bob is alright and look forward to seeing some 50th anniversary shows!!!

Listening to the Playin opener from 5-11-72 and I gotta say Bobby instrisically-executed a Mickey-who?-version of the jam formerly known as The Main Ten. Peace, love and rest.

Like warren and jimmy???? Your kidding right?

In as much as Warren and Jimmy playing duel lead guitar roles with Phil as opposed to Bobby's rhythm guitar approach and Jerrys lead, then yes. Grahme is not yet at those levels. However, RJs name deserves to be mentioned alongside the great post-Jerry guitar players. RJ reminds me a lot of Barry Sless, one of my favorite Friends who I wish I would see more of.

That being said we were right down front for the show and about a foot away from RJs monitor. Listening back to the audience recording, it tells a much different story. From the back of the room, and I assume to most of the audience, RJ was low in the mix while Grahame was way above the mix. That killer RJ jam before the final verses of Jack-a-roe was still hot but only bubbled underneath the surface.

Ross James is a hack; doesn't have a psychedelic bone in his body.