Hear Bruce Springsteen's Rockabilly ‘Repo Man' From ‘Tracks II' Box Set
As opposed to the 'socially conscious' and largely acoustic The Ghost of Tom Joad, the rockabilly rocker 'Repo Man' finds Springsteen having some honky tonk fun in the studio alongside a band that features Danny Federici, Garry Tallent, Gary Mallaber and pedal steel player Marty Rifkin, all of whom also played on Tom Joad.
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'What happened was I wrote all these country songs at the same time I wrote The Ghost of Tom Joad. Those sessions completely overlap each other. I'm singing 'Repo Man' in the afternoon and 'The Line' at night. So the country record got made right along with The Ghost of Tom Joad,' Springsteen said in a statement.
''Streets of Philadelphia' got me connected to my socially conscious or topical songwriting. So that's where The Ghost of Tom Joad came from. But at the same time I had this country streak that was also running through those sessions and I ended up making a country record on the side.'
In addition to 'Repo Man,' Somewhere North of Nashville also boasts 'Stand On It' and 'Janey Don't You Lose Heart,' two tracks that dated back to the Born in the U.S.A. sessions, as well as the title track and 'Tiger Rose,' another known outtake from the Tom Joad era.
Tracks II, due out June 27, begins with L.A. Garage Sessions '83, which Springsteen recorded in the interim between Nebraska and Born in the U.S.A. The box set also features Streets of Philadelphia Sessions (with 'Blind Spot') and Inyo, a collection of songs from the road while promoting The Ghost of Tim Joad between 1995 and 1997.
Perfect World spotlights several songs he wrote with longtime collaborator Joe Grushecky, the songs on Faithless were recorded in 2005 and 2006 for a film that has yet to be made, and Twilight Hours was created at the same time as Western Stars in 2018 and is essentially a companion album; Springsteen previously shared 'Faithless' from that latter LP.
'The Lost Albums were full records, some of them even to the point of being mixed and not released,' Springsteen previously said in a statement. 'I've played this music to myself and often close friends for years now. I'm glad you'll get a chance to finally hear them. I hope you enjoy them.'
In other Bruce news, Springsteen and the E Street Band's Land of Hope and Dreams Tour in Europe kicks off tonight in Manchester, England.
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Time Magazine
4 hours ago
- Time Magazine
The Science of Why Humans are Obsessed with Stadium Concerts
August 15, 2025 marks the 60th anniversary of a pivotal moment in live music history: The Beatles' infamous performance at Shea Stadium. What began as an unprecedented attempt to accommodate the Fab Four's overwhelming popularity has evolved into a touchstone of pop culture—the modern stadium tour. Today's stadium concerts are more than just supersized live shows; they have become cultural phenomena and socio-economic markers. Perhaps most intriguingly—at least to me—they are also neuroscientific experiments in mass synchronization. In 1965, pop music's demographic was dominated by teenagers with disposable income and a desire to break the self-imposed boundaries of their post-Depression-era parents. The Beatles' audience at Shea was overwhelmingly young, predominantly female, and distinctly American. In the decades since, stadium audiences have expanded in every conceivable way. Through the '80s and '90s artists like U2, Madonna, and Michael Jackson drew increasingly global, multi-generational crowds. Today, truly global music acts like BLACKPINK and Bad Bunny play to stadium audiences worldwide, reflecting the increasing multicultural appeal of contemporary music. And touring artists like Bruce Springsteen, Paul McCartney, Cyndi Lauper, and The Rolling Stones now draw in new followers aside lifelong fans, with three generations of family members often attending together. Fandom itself has transformed. Where fans once relied on the vagaries of radio play and magazine spreads to engage with their favorite artists, today's fans form tightknit communities on social media platforms like TikTok and Discord. Through these digital spaces, enthusiasts exchange theories, share memes, decode Easter eggs, and coordinate elaborate travel plans and ticket-buying strategies months in advance. The shift from passive consumption to active participation has transformed how fans engage with pop music, turning concerts into global events that have expanded well beyond geography and generations. Yet this evolution has created new challenges, chief among them, the skyrocketing cost of being part of the experience. We've gone from $5.10 to see the Beatles at Shea Stadium to Eras Tour tickets with face values ranging from $49 to $449 reselling for up to $20,000 on StubHub and SeatGeek. When my mother wanted to surprise me with tickets to Bryan Adams' Waking Up The Neighbours Tour in 1992, she lined up at the physical box office hours before opening with other eager fans. She forked over $42.50 for two, side-view seats in the lower bowl. Compare that to last year when I battled bots and refreshed my browser every few milliseconds in the hope of scoring four tickets to Olivia Rodrigo's GUTS World Tour before they soared to mortgage-level proportions. By some miracle, I was able to take my three teenage daughters to their first arena show for a relatively low $600. They're now saving their babysitting money and diligently tracking price trends for Benson Boone's American Heart Tour while I'm (half) considering dipping into their college fund to see Bryan Adams again this fall. At what point does the price of admission outweigh the joy of participation? When it came to the Eras Tour, like many other disappointed Swifties, we had to settle for movie screenings and grainy live feeds. Swift didn't stop in our hometown of Montreal. We considered travelling to Toronto, Boston, New York, or Philadelphia. When calculating the costs—tickets, travel, accommodations, meals—our cheapest option turned out to be Lisbon, Portugal. That three-day excursion would have set us back about $6,000 CAD. While that was substantially less than the resale tickets in any nearby city, the financial cost and complicated logistics of participation were too great. Economists often argue that high ticket prices are simply a reflection of market forces—artists, and resellers, can charge more because demand far outstrips supply. Sociologists counter that this trend deepens cultural divides, turning concerts into exclusive experiences for the financially privileged. Despite the costs, stadiums continue to sell out at record speed, raising the question: what is it about live music that makes us willing to pay such a premium? Is it the music itself, the sense of community, or something even more basic? For 30 years, our lab has been exploring why music moves us—literally and figuratively. Many of our studies focus on memory for music, demonstrating that people have a remarkable ability to recall melodies, pitch, tempo, and loudness with surprising accuracy, even without formal music training, suggesting that musical memory operates differently from other forms of memory. We conducted some of the first neuroimaging studies to map the brain's response to music—showing how it lights up the brain, engaging areas responsible for hearing, memory, movement, and emotion all at once. This is why a song can transport you back to a specific moment in time, evoking vivid memories and emotions. Our studies show that when people listen to music they love, it activates brain regions associated with pleasure and reward, helping to explain why a favorite song can feel as satisfying as a good meal or a warm hug. Music's ability to give you chills and make you feel euphoric is tied to the release of natural opioids in the brain, the same chemicals that help relieve pain. Years ago, our lab showed in brain scans that listening to the same piece of music caused people's brain waves to synchronize. Recent studies conducted in real-time, in concert halls, demonstrate that people enjoy music more when the performance is live and experienced as part of a group. Live music triggers stronger emotional responses than recorded music due to the dynamic relationship between the audience and the performers. The visual cues, collective energy, and real-time responsiveness of live music engage more sensory and emotional systems than listening alone, deepening our visceral connection to the experience. Attending a concert is associated with increases in oxytocin, a bonding hormone, enhancing our sense of social connection. When we move together to music—clapping, swaying, or singing in sync—we engage neural circuits involved in motor coordination, empathy, and social prediction, reinforcing our sense of being part of a group. We're literally on the same brainwave! What ties all this together is the simple but profound idea that music is more than just entertainment. From the joy of discovering a new banger to the comfort of an old, familiar tune, music may well be a biological necessity, a fundamental part of being human, wired into our brains and bodies in ways that shape how we think, feel, and connect with one another. Our innate desire for connection might also, in part, explain why a friendship bracelet exchange (inspired by Swift's You're On Your Own Kid) is trending at modern stadium shows: the simple act of swapping beaded bracelets cultivates a microcosm of human connection within a macro-scale experience. It's a ritual that transforms a crowd of thousands into an intimate community, where strangers become momentary friends, bound by shared enthusiasm and a tangible token of group membership. It's a small, tactile gesture that taps into our deep-seated need to bond, to feel seen, and to belong. In a world where digital interactions often replace physical ones, these trinkets are a reminder of the power of touch, of giving, and of creating memories that extend beyond the concert itself. Music has always been a social glue, a way for humans to synchronize their emotions and movements, whether around a Neanderthal campfire or in a packed stadium. And in an era of increasing isolation, these moments of connection feel more vital than ever. Making friendship bracelets to share with your fellow Swifties may be part of the solution. But today's stadium shows aren't just about emotional connection or even entirely about the music—it's also a masterclass in sensory stimulation. The Beatles may have pioneered the stadium format, but their setup was quaint by today's standards. Early stadium shows featured little more than musicians standing in front of a static backdrop, struggling to project their sound through subpar sound systems designed for sports announcers, not music. By the 1980s, technological advancements had changed the game. Pink Floyd's The Wall Tour in 1980 set a new standard for large-scale stage production, with elaborate sets, visual projections, and theatrical storytelling. U2's Zoo TV Tour in 1992 introduced multimedia screens that transformed the stage into a digital playground. More recently, Taylor Swift's Eras Tour involved 70,000 wristbands pulsing in unison, and stage sets transforming from slithering snakes to whimsical fairy-tale forests to cinematic cityscapes. And Beyoncé's 2023 Renaissance Tour incorporated cutting-edge robotics and high-fashion couture, proving that stadium concerts can be as much about visual effects as they are about the music. While many fans view these advances as improvements, others argue that the intimacy and simplicity of early stadium shows have faded, and been replaced by a commercialized, high-stakes industry. The Outlaws Roadshow stadium tour in 2012 left me feeling as though I had overpaid for a lights and lasers show that happened to include the Counting Crows phoning it in somewhere in the background. In the pursuit of grandeur, has some of the raw, unfiltered magic of live music been diluted? And what does all this mean for the future of live music? If the past 60 years of stadium shows (and tens of thousands of years of human music-making) have taught us anything, it's that music, at its core, is about shared experience. We crave the pulse of the bass beneath our feet, the collective chant of a catchy chorus or killer bridge, the unspoken understanding between strangers who, for just one night, are part of something bigger than themselves. As technology continues to evolve and fan communities grow more interconnected, one thing is certain: the stadium concert will remain a space where we come together, not just to listen, but to belong.
Yahoo
9 hours ago
- Yahoo
Mickey Hart on Dead's 60th Anniversary Shows: ‘I Saw Jerry and Phil and Pigpen Hovering'
Following Dead & Company's epic weekend at San Francisco's Golden Gate Park, Mickey Hart shared a poignant reflection of the 60th anniversary shows. 'This weekend was 3 days of coming home and in those final moments of the weekend, it was truly profound,' he wrote on Instagram. 'I saw 60,000 people sparking light, in love, entrained big time and coming our way. Different than applause after a song, it sounded more like an ahhhhhh. All the peace and love in proximity generated a collective energy that was shared by all. Very rare stuff indeed.' More from Rolling Stone The World's Hardest Grateful Dead Quiz 'An Affirmation, Not a Protest': How the First Be-In Changed the World Listen to Dead & Company's San Francisco Concerts to Celebrate the Grateful Dead's 60th Anniversary Hart then took a moment to mention late members of the Dead, including Jerry Garcia and Phil Lesh, plus lyricist Robert Hunter and longtime roadie Ramrod (Laurence Shurtliff). 'I saw Jerry and Phil and Pigpen hovering over the crowd smiling like Cheshire cats,' he said. 'I saw Hunter and Ramrod through the beauty of the fog and lights.' He added: 'In the final moments of the weekend standing right next to Bob [Weir] and feeling the raw emotion coming our way from our fans, I felt Bob's heartbeat, along with mine, and the deep connection we have with all of you. All the years combine. They melt into a dream.' The Dead & Company shows featured special guest appearances from Trey Anastasio ('Scarlet Begonias' and 'Fire on the Mountain'), Sturgill Simpson ('Morning Dew'), Grahame Lesh (several songs, including his dad's 'Box of Rain' on Friday), and Billy Strings ('Wharf Rat'). 'No matter how many shows we play as a band, I will always be a guest in this musical world, and I'll never lose sight of what is the great honor of my life,' John Mayer said, following the three-night run. Next up, Deadheads can look forward to seeing 1977's The Grateful Dead Movie in IMAX this month, while a 50th anniversary deluxe edition of Blues for Allah arrives in September. 'If you hang in there long enough, people start paying attention to you,' Weir told us earlier this year. 'I guess if I ever have grandkids, they'll probably take me a bit more seriously. But really, I'm the same guy. I still have to get out of bed in the morning, and my back's cranky. Nothing much has changed.' Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
Yahoo
9 hours ago
- Yahoo
15 Moments That Defined the Last 30 Years of the Grateful Dead
When Jerry Garcia died in 1995, it seemed like the story of the Grateful Dead might end there. 'I didn't go out of my house for a week,' Mickey Hart recalled years later. But the Dead's music and community and culture rebounded and carried on, creating one of the most impressive second acts in rock history. To honor the band's 60th anniversary, here are some of the key moments that have defined the Dead's past 30 years, from their many musical reincarnations and subsequent tours to a five-hour tribute album to Kennedy Center honors and arguably the most epic Vegas residency of all time. More from Rolling Stone The World's Hardest Grateful Dead Quiz 'An Affirmation, Not a Protest': How the First Be-In Changed the World Mickey Hart on Dead's 60th Anniversary Shows: 'I Saw Jerry and Phil and Pigpen Hovering' November 1995: John Oswald reimagines 'Dark Star' with the two-hour mix 'Grayfolded' Sound-collage artist John Oswald, known for coining the term 'plunderphonics,' wasn't a particularly huge Deadhead when Phil Lesh invited him to work his cut-and-paste magic on the band's live vault in the early Nineties, but he found a unique way to celebrate fans' tape-trading culture. Oswald ended up splicing more than 100 performances of 'Dark Star' into the ultimate version of the ultimate live Dead song, stretching it out into a trippy odyssey that runs close to two hours. Since the performances that Oswald sampled range from 1968 to 1993, Grayfolded taps into something that no one bootleg, however transcendent, could. 'It's not a performably possible version of 'Dark Star,'' he said. 'You can't have three generations of Jerry Garcias live onstage together. But there's this illusion of it being the Grateful Dead in concert.' —Simon Vozick-Levinson May 10, 1996: The Internet Archive debutsThe digital librarian and historian — and Deadhead — Brewster Kahle started the Internet Archive in the spring of 1996; its mission was 'universal access to all knowledge.' Over time it would become a trove for all kinds of old media, from scanned vintage magazines to digitized tapes of old DJ sets to the famous 'Wayback Machine,' which has archived millions of now-dead web pages. The janky RealAudio files of 1996 — the era when internet cafes began sprouting up in American cities — would, by 2004, give way to mp3s and, increasingly, streaming, as connectivity became far faster and more reliable. That year, Kahle started the Dead Archive — by and for tape traders — helping fans get on the fast track to Dead-show knowledge. It was taken down by the band's lawyers in late '05 — a move so controversial within the band's inner circle that it made The New York Times. Eventually, the band and Kahle made an agreement: Soundboards made by the band were listen-only; audience tapes could be downloaded. Even after decades' worth of reissues and box sets, the Internet Archive remains the place to get your uncut Dead fix. —Michaelangelo Matos Summer 1996: The first annual Furthur FestivalOperating for three summers total in the immediate aftermath of Jerry Garcia's passing, the Furthur Festival adapted the Lollapalooza format for the jam-band circuit. The initial outing, which opened in Atlanta and closed in Phoenix, was headlined by two Dead men's bands, Bob Weir's RatDog and Mickey Hart's Mystery Box, along with the simpatico likes of Hot Tuna, Los Lobos, Bruce Hornsby, Alvin Youngblood Hart, and John Wesley Harding, plus jugglers the Flying Karamazov Brothers. They meshed in interesting ways — most of the groups played Dead songs routinely … except for the bands with actual Grateful Dead members: Hart's all-percussion group might encore with 'Fire on the Mountain' (done … yes … as a rap), while RatDog 'only knew two Grateful Dead songs,' Joel Selvin writes in his post-Garcia Dead chronicle, Fare Thee Well, summing up the Deadheads' frustration with them: 'Not only did [Weir] refuse to have a lead guitar in his band, he wouldn't even play rock music, much less Dead songs.' —M.M. July 24, 1998: The Other Ones start touringThree years after the death of Garcia, the revival the Grateful Dead reached another major landmark when Weir, Lesh, and Hart formed the Other Ones. Bolstered by Bruce Hornsby, Steve Kimock, Mark Karan, John Molo, and Dave Ellis, the lineup debuted its mojo on July 24, 1998, on the Further Festival tour. Dead favorites like 'Dark Star,' 'Hell in a Bucket,' and 'Scarlet Begonias' were all in the set, along with the song that gave the group its name, 1968's 'The Other One.' The band toured through 2002, with various personnel shifts, and ultimately transformed again in 2003, christening themselves the Dead. —Joseph Hudak 2008: The Core Four reunite to support Barack ObamaWeir, Lesh, and Hart hadn't shared a stage in four years before they reunited at San Francisco's Warfield Theater on Feb. 4, 2008. The man who brought them together? Presidential candidate Barack Obama, who was facing Hillary Clinton in California's Democratic primary the next day. Lesh, whose teenage son had been working as a volunteer on Obama's campaign, got the band back together for the concert dubbed 'Deadheads for Obama '08' after being impressed by the Illinois senator's hope-and-change-filled rallies. 'The first thing I thought of was to talk to these two guys and say 'Hey, are you with me on this?'' Lesh told Rolling Stone. 'Not only am I with you on this,' said Hart, 'I was just about to call you up for the very same reason.' Obama lost the California primary but won the Democratic nomination, and that October, the three musicians played another campaign rally in Pennsylvania, this time joined by Bill Kreutzmann, en route to the candidate's historic general election win. —S.V.L. Jan. 20, 2009: And play one of Obama's inaugural ballsIn a moment that would've been inconceivable when the band formed during the LBJ administration, the Dead were tapped to play one of the inaugural balls to honor new president Barack Obama. As Lesh recalled, 'We had about an hour. The way we were thinking of it, we could either do two songs for an hour, or do six songs and keep it down a little bit.' They're set was highlighted by classics like 'Uncle John's Band,' 'Sugar Magnolia,' and 'Eyes of the World,' and was briefly interrupted by the arrival of Vice President Joe Biden and his wife, Jill, who slow danced to Van Morrison's 'Have I Told You Lately.' The Dead even complied with the night's formal-wear protocol. 'The inauguration crowd was pretty swinging,' Weir said. 'They were in a celebratory mood. We played a few songs before I took my coat off.' —Jon Dolan March 30, 2009: The Dead play three free New York club shows in one dayFresh off the reunion for Barack Obama in Pennsylvania, the 'core four' members decided to embark on their first tour together in five years, with guitarist Warren Haynes the latest to step into Garcia's sizable shoes. To get Deadheads psyched, the new lineup hopscotched around New York City in one day, playing three free shows at three different venues. The day began with an unlikely appearance on The View, where co-host Whoopi Goldberg exclaimed, 'I love me some Dead!' Then came a Weir, Lesh and Haynes acoustic set at a Lower East Side theater, followed by a full-band electric show at the Gramercy Theatre before a wrap-up concert at the since-closed Roseland Ballroom. Although Haynes' guitar and vocals were more rooted in barroom blues and Southern rock than any of his predecessors, so much else about the band — Lesh's fluid bass, the two-drum attack of Hart and Kreutzmann — remained intact. In the stamina department alone, the Dead's triple play was an accomplishment unto itself. —David Browne. March 12, 2012: Furthur celebrate Phil Lesh's 70th birthday in San FranciscoDuring the few years Furthur existed, the post-Dead reunion-tour band formed by Lesh and Weir was among the most limber of the post-Garcia combos. It was also the most eerily familiar: Guitarist John Kadlecik had Garcia's voice and guitar down. The band had many standout shows, like a celebratory one at New York's Madison Square Garden in late 2020, but this special San Francisco gig also stood out. To help Lesh celebrate entering his seventh decade, Furthur was joined by Black Crowes' Chris Robinson, who took the lead on 'Peggy-O' and a rare live version of Pigpen's 'The Stranger (Two Souls in Communion),' while new-gen jam master Jackie Greene handled 'Scarlet Begonias.' Amid the many smiles onstage was the sound of the Dead's repertoire being handed over to disciples willing to run — and have fun — with it. —D.B. July 2015: The 'Core Four' commemorate 50 years together with the Fare Thee Well concertsFare Thee Well: Celebrating 50 Years of the Grateful Dead was a two-part series of concerts that brought the band's surviving 'Core Four' — Weir, Lesh, Kreutzmann, and Hart — back together for the first time in years. Spread across two sets of shows — the first two concerts at Levi Stadium in Santa Clara, California, and then three at Chicago's Soldier Field — the performances featured Trey Anastasio of Phish, stepping into Garcia's role on guitar, former Grateful Dead touring member Bruce Hornsby, and Ratdog/the Other Ones keyboardist Jeff Chimenti. There were several standout moments from the shows, including the Chicago July 3, 2015, opener, where Lesh opened the show singing 'Box of Rain,' and a gorgeous rainbow appearing after the first set on the first night in Santa Clara on June 25, 2015. —Alison Weinflash Fall 2015: Dead & Company launch their first tourJust when everybody thought they'd never see most of the Dead together again after the Fare Thee Well shows that spring, here came another incarnation with … John Mayer? The connection actually began with Rolling Stone, after Mayer mentioned his love of the band in an interview, leading to request from someone in the Dead camp for a contact for him. Despite Mayer's guitar skill set, it was easy to be skeptical about how he would blend with Weir, Hart, and Kreutzmann (and keyboardist Jeff Chimenti and bassist Oteil Burbridge). But from the kickoff, 'Jack Straw,' and building over two sets to a cathartic 'Morning Dew,' Mayer didn't just adequately play ball, but also seriously stepped up to the plate. Along with Burbridge, he proved himself a respectful student who took his new part-time job seriously. That show would set the stage for another, starting decades' worth of Dead & Company shows. —D.B. May 20, 2016: Five-hour 'Day of the Dead' tribute album is releasedAn astonishing tribute to the Dead's living legacy, this five-hour Dead-covers album helmed by Aaron and Bryce Dessner of the National is probably the most ambitious album of its kind ever created. There's Afropop (Senegalese guitar wizards Orchestra Baobob's shimmering 'Franklin's Tower'), country (Lucinda Williams' hot and heavy take on 'Going Down the Road Feeling Bad'), and soul music (Charles Bradley funking up 'Cumberland Blues'). But most of the album is a love letter from the indie-rock community, a world where the Dead's beautifully paradoxical notion of American beauty and guitar gorgeousness has had a massive resonance for decades. Kurt Vile, Courtney Barnett, Stephen Malkmus, Yo La Tengo's Ira Kaplan, and many others all turned in reverent reimaginings of Dead classics. —J.D. Jan. 23, 2017: 'Long, Strange Trip' premieres at the Sundance Film FestivalBy 2017, there had already been lots of books about the Grateful Dead, plus a number of appearances by band members in various musical-history programs and films (see 2003's Festival Express, about a legendary 1970 Canadian tour by train, also featuring Janis Joplin, the Band, and Buddy Guy). There had even been The Grateful Dead Movie (filmed in 1974, released in 1977). But there was no full-on band-bio feature until Long Strange Trip premiered at the Sundance Film Festival that January. Originally planned for a 2015 release — 50 years from the band's inception — but completed on Dead time, Amir Bar-Lev's four-hour documentary history, co-executive-produced by Martin Scorsese, received a rapturous reception. No wonder — as Rolling Stone's David Fear reported from the festival, 'Most of the folks assembled for the Sundance premiere of Long Strange Trip were almost assuredly Deadheads at one point.' —M.M. 2020: Nike and the Dead team up for an epic sneaker launchYou could probably write a whole book about the relationship between the Grateful Dead and various kinds of merchandise, and this collaboration with Nike is a unique moment in that history. The overlap between Deadheads and sneakerheads might not be immediately apparent, but in 2020, when Nike released three Dead-themed versions of its SB Dunk Lows (in green, orange, and yellow, designed to pay tribute to the band's Dancing Bear mascot), the shoe was a smash. The first batch immediately sold out, and the shoes were soon going for as much as $3,500. —J.D. May 20, 2024: The Sphere residency beginsAfter months of mixed messages about their future, Dead & Company surprised fans by announcing a residency at the Sphere in Las Vegas. The band confirmed a 24-show run beginning March 20, 2024, which was later extended to 30 shows. Guitarist John Mayer acted as creative director, working with digital studios and using visual effects to create the stunning visuals displayed on the Sphere's huge wraparound LED screen. The whole production took six months to develop, with new visuals added throughout the first part of the residency. Alongside the concerts, fans could visit the 'Dead Forever Experience' at the Venetian, which showcased a one-quarter scale model of the Wall of Sound, artwork by drummer Hart, a collection of concert tapes from archivist David Lemieux, and photos from Grateful Dead tours between 1965 and 1995. Dead & Company returned to the Sphere in 2025 for a second residency. Fans are hoping the band will come back in 2026. —A.W. Dec. 8, 2024: The Dead receive Kennedy Center HonorsJoe Biden held his final Kennedy Center honors ceremony in 2024, celebrating the Grateful Dead, Bonnie Raitt, and Francis Ford Coppola. 'Technical virtuosos fiercely dedicated to their craft, they fused decades and dozens of musical styles to create a whole new American sound. Experimental, innovative and brave,' the president said in his remarks. Weir, Hart, and Kreutzmann were on hand for a televised performance that included Sturgill Simpson performing 'Ripple' with help from a video of Jerry Garcia singing the song, and Derek Trucks, Suzan Tedeschi, and Dave Matthews teamed up for 'Sugaree.' The peak moment had to be Queen Latifah doing the disco-Dead classic 'Shakedown Street' backed by dancing bears. —J.D. Best of Rolling Stone Sly and the Family Stone: 20 Essential Songs The 50 Greatest Eminem Songs All 274 of Taylor Swift's Songs, Ranked Solve the daily Crossword
