There is something about the energy created by people coming together to hear the music of Jerry Garcia and the Grateful Dead. The first time I experienced this seemingly human-powered electricity was a few days before my 18th birthday, in 1994, in a parking lot near what was then the Boston Garden. When Jerry died the following summer, I found myself in a park sitting in a circle around a singular candle that seemed to burn for hours. I was too young to have experienced much of what the people around me had, but they assured me, even if only with their kind faces, that I was welcome.

This past Saturday night at The Cabot Theater in Beverly, Massachusetts, I felt the light of that candle from the vigil. In between snowstorms, on a relatively mild winter night, we gathered to see, hear, and experience Melvin Seals and JGB. In the moments I spent outside before making my way in, I felt the familiar spark, exchanging smiles with strangers, seeing old friends unite, and chatting with folks in line.

The Cabot is a welcoming place from the start, from the folks that work the door to the smell of popcorn in the lobby and the friendly faces that will help you find your seat. And then once at the edge of my seat, I  took a few moments to take in the beauty of the building itself and the love that has clearly gone into a recent restoration project.

I’m going to tell you now. I didn’t come to study chord progression. This almost stopped me from writing this today, this “how does a non musician write a music review?” But I do study how things feel in my body, and perhaps there’s something to be said for finding what moves us, and for knowing what places and spaces allow us the full expression of our human experience. For me, that’s feeling deeply and connecting with other people. Also, dancing.

Melvin Seals and JGB have a presence before they even take the stage. Their set up, a half circle, with Mr. Seals’ soothing electric organ, a Hammond B3,  on the left, which is even more beautiful once he sits down, sporting a red and black scarf, which really looked sweet with his wool fedora.

OK but Zach Nugent, the guitar player, shared something within moments of stepping to the microphone that made me excited to be the girl with the pen – he was playing the Wolf guitar that was once Jerry Garcia’s Wolf guitar, auctioned last year to support the Southern Poverty Law Center. So, that’s super cool, and said guitar glistened with Zach’s excitement at getting to play it.

Melvin Seals and JGB have taken on the legacy of being “the keepers of the flame,” of the music of the Jerry Garcia Band and the Grateful Dead, and indeed the warm friendly notes of each song were felt deeply by many of us throughout the Cabot Theater.

Covering the Rolling Stones first, they opened with “Let’s Spend the Night Together”. Yes, please-let’s! Maybe half of the theater stood to dance – but not my section and so not me, yet. I closed my eyes and felt my wanting to dance, a joyful swaying in my chair, and a hope that soon I would stand without worrying about blocking someone. I was warmed by the back up vocals of Lady Chi and Sunshine Becker – the energy of the two of them side by side. in the semicircle is like literal sunshine in which we basked.

Thank goodness, “Cats Down Under the Stars” brought some dancers into the aisle to my right. Also, someone nearby suddenly face-timing a friend to share the show - these are new times! They didn’t stay too long in that spot and soon enough the woman behind me was standing and so was I. I felt the familiar notes of this almost anthem reverberate in my heart as I reminded myself to ground in the rooting of my legs. It would be the song I would be singing to myself in my kitchen hours later, reheating the leftovers saved by my family.

During the next song “Mission in the Rain,” I became distinctly aware of what seems to be Melvin Seals’ (I want to call him Mr. Seals) intention for leading this band, for keeping this candle lit. Through the moments he takes to look up from his powerful finger work, he connects with the audience, makes eye contact, shares a smile. I think the show was sold out, and I think this band will sell out other shows soon, so the flame is definitely alive. It’s really special to see the care with which the band holds this legacy. This song – the first Grateful Dead tune of the night – got the crowed fired up (technical music review term). Jerry himself would have loved it.

“That’s Alright Mama,” a JGB favorite brought anyone able and wanting to dance to the floor. It also brought screams around me of, “This set list is so fine!” and “This set list is ridiculous!”  Did you know this song was written by a man named Arthur Crudup, who shares a first name with my dad. Yup. (hi, Dad.) Melvin Seals has a soulful and funky way of playing his gorgeous organ that’s distinctly his own, but in these songs, Melvin’s intention is palpable, a connection to keeping the songs true to the familiar home of this music.

I don’t think you need me to tell you about my thoughts and feelings during each song. It was a great show. We got a little biblical and melodic with “Gomorrah” which also gave Melvin an opportunity to share his love for the keyboard. Next up was the sort of thing some of us might have come for: A spacey Scarlet Begonias > Fire on the Mountain.  I was struck by the way John Paul McLean carried the bass line through the transition. (Note to self: curious to know how a real music reviewer would discuss this.) The vocals were stunning, the Deadheads went lovingly crazy, and I focused on the vibration tapping on my ribs from the drums played by Pete Lavezzoli.

Such a fun first set, wrapped up of course with Melvin (Mr. Seals?) lovingly checking in with the crowd. I saw one of my dancing neighbors in the restroom at set break and got to say hi to my Facebook friend, Gary, and I realize why I am really here.  It’s a chance to enter into what becomes a sacred space of it’s own, governed only by music, if only for a few hours.

The second set started with “That’s What Love Will Make You Do,” which brings another Jerry favorite and a chance for Zach to have some fun with Jerry’s guitar. Melvin appears to really love this song and leads the crowd in a mini sing-along toward the end. The whole band, led by Melvin, is having fun, but also, they’re working really fucking hard.

This is not a band that’s interacting with each other a whole lot, but you can feel the way they are interacting with the audience. “Brown Eyed Women,” one of my favorite Grateful Dead songs, was followed by a song I’d never heard live, Jimmy Cliff’s “Sitting in Limbo.” It’s during the next song, “Lay Down Sally” that I truly fall in love with the combination of vocals that this band brings with Sunshine Becker, Lady Chi, Zach Nugent, and Melvin Seals.

“Don’t Let Go” was written by Jessie Stone and is the title track of the JGB album recorded a week before I was born. Saturday night’s version brought a funky groove with room for jams and solos. One couple near me was now watching the show with their heads squished together to see through one of their phone’s video camera. Thankfully, the lights sparkling around the theater gave my eyes somewhere to rest. I cannot tell a lie. Sometimes the long jams that jam bands are known for make me a little restless. But as if Melvin Seals and his friends on stage know this restlessness themselves, when the jam here started to feel a little long, we delight in gorgeous teases of Van Morrison’s Moondance.

Jerry’s “Sisters and Brothers” makes my soul happy and I make a mental note to play it for my sons soon. It’s simple message feels so important: “Walk together little children we don’t ever have to worry. Through this world of trouble, we got to love one another.” Of course, I’m feeling a little guilty that my family isn’t with me to experience the divinity of this beautiful song in person.

The penultimate song was “Ruben & Cherise”. Hooray! This might be why I am here, this tender lyrical Grateful Dead original that I love in my hips every time. I don’t think I should say any more about that one, so you can just go see if you can catch it for yourself.  Last in the church of love and live music at The Cabot Theater on Saturday was “Magnificent Sanctuary Band” with its vocally playful beginning and powerful lyrics. The song, written by Dorsey Burnett, starting with “There are multitudes of people dying.” The chorus, repeating the line, “Singing in the band, talking to the man…. Join the magnificent sanctuary band,” brought goosebumps that almost felt like tears.

When Rich came back to our seats after the song was over, I wanted to still be dancing. Thanks so much to Melvin Seals & JGB, for keeping this flame alive, and to The Cabot Theater for hosting a lovely night. 

There were at least five reasons I almost didn’t get to the Levitate Music & Arts Festival this weekend. I’m glad I did get to go, and I can think of probably at least 25 reasons why that’s true.

The first is The Suffers. Forever running late, I missed The Elovators and New Kingston (let’s check them out together) but the spark of The Suffers reached me as I opened my window while making my way through the festival arrival traffic, and I felt immediately welcomed by the powerful voice I would learn to be that of Kam Franklin. I started dancing as I waited at will call for my wristband. Once inside, I could see that Kam was leading an eight-piece band, and I could hear that the soulful sound and skillful range of the entire band matched the beauty and positivity that Kam radiates. They graciously sailed through sound struggles and exuded a message of loving each other and sharing time (and sandwiches) with people we love. Their cover of “Shout” had me kicking up my heels by the end of their set.

Right after The Suffers, I saw a cute toddler in a t-shirt that read, “Don’t kill my vibe.” Instantly I was like “omg maybe she’s talking to me and omg is my vibe killing her vibe and truly, how can I just walk around all day with the media sticker and no friends??”  Indeed her shirt really had nothing to do with my anxiety but my gosh we sure do talk a lot about vibes these days.

Indeed it seemed like the crowd was in great spirits and taking care of each other all weekend. My vibe was sweaty. Though a heat wave had just broken, the sun was hot and shaded spots were at a premium. Thankfully, sunscreen dispensers set up by the Race Cancer Foundation were a great reminder to reapply. I guess that although it was hot, the vibe was also quite chill. Lines for food, beer and water did not seem to bother people – or if they did, the festival’s fantastic line-up made it possible to bear.

The set up at Levitate is cozy. Three stages are named for what appear to be pillars of the Levitate surf and sun brand, which is well known in Marshfield and neighboring towns. Stoke, Style, and Soul. Hmm… smart. Food trucks, rows of vendors, and kids’ activities were always within range of listening and creating a kind of village feel within the festival itself. In fact, I did find a Levitate Village, a little group of huts selling festival merchandise around the brightly colored mini-house meant to be a great spot for a photo opp. The sense of community at Levitate is strong, rooted perhaps in the crew’s dedication and the history of the festival’s site, the Marshfield Fairgrounds, in operation for more than 150 years.

Stoke to Style, I saw Xavier Rudd next, who released a new album, Storm Boy, in May. Levitate was his last American stop on a huge world tour and holy Xavier Rudd, it was special. His sound was new to me as many of the artists at Levitate were, maybe because I am a practically middle-aged lady who just realized there are now like 8 million music festivals with new ones being born every year. From a distance, I could see the crowd pulsating as Xavier asked, “Can you feel it?” They could and soon, I could as I moved closer to the reggae-inspired beats. An Australian Aboriginal Flag danced on the stage as Xavier’s beautiful, healing voice gave thanks and praise to the sun as the keyboardist and drummer helped me realize that maybe my heart was beating outside of my body. A gorgeous didgeridoo brought the wind as Xavier had fun with his multi-instrumental capabilities. I floated away from there, promising myself to see them again the next chance I get.

Speaking of hearts beating outside the body, I was missing my kids by now, yet conscious that this time by myself was not only a gift but necessary. Further, I am an anxious mother and like to thoroughly scope out as much as possible before bringing them along. A hot music festival is a hard place to take great care of children, and it’s an even harder place to take care of yourself while being with your kids. At Levitate, I saw plenty of parents valiantly parenting, from cutting strawberries with a fork, to dancing with kids dangling from shoulders to one dad flossing with his daughter. My kids would love a misting spot and like maybe a juggler, magician or mime, but don’t kids always want too much? Levitate had plenty of fun for the littles with shaded stops like the Chalk World, Germination Station, and Kid’s Drum Circle tents. Also, a half-pipe of people skateboarding.

During Ripe’s set on the Stoke stage, (this was the biggest, “main” stage as you might guess!) I put my pen away and danced like the regular festival-goer I wanted to be, a lighter version of myself, thinking less about loss and worry. Woot. It worked! There I found myself, for at least a minute. Ripe is so fun to dance to, literally electrifying. I met my first friend of the day in this dancing space, Terrance, who then tried to use my striped shirt as a landmark for someone looking for him in the crowd. Alas, I couldn’t carry out this mission as I had to boogie over to Twiddle on the Style Stage. Hope you got found, Terrance!

It was hard, leaving Ripe – like it was hard to leave my family (who would totally love Ripe, btw) to get to Levitate – but so then is life, I guess, choice after choice, some harder than others. I reckon Levitate would have to have less amazing music if they wanted to make it easier for people like me who have a hard time with the torn-in-two feeling. For sure there is something for everyone all the time at Levitate. I was trying to see everything, but it’s just not possible given the overlap in the schedule, but if you like floating, then well, of course, that’s the way to Levitate. The stages aren’t too far from each other, yet each has its own distinct space.

Anyhow, while this was my first live meeting of Twiddle, I know their fans are numerous and loyal, and the crowd was solid when I arrived. Pausing here to catch my breath and ponder, um, Twiddle. It kind of makes me giggle, to be honest. But their sound isn’t laughable – broad and big for four guys from Vermont, fun and playful like their name. I found myself grooving into their first song, “Lost in the Cold,” which almost grooves into itself, and taking in the excitement of the rail riders and several rows of folks behind them with their hands up in the air. I felt some tension in my shoulders and neck release with a sweet keyboard jam, and the lyrics helped me feel some feelings I needed to have.

OK, girl by herself at music festival crying a little: Check. But off I went to see Robert Randolph & The Family Band at the Soul stage, where the sun-baked lawn was crowded. I would later learn from another new friend, a Levitate crew member named Shawn, that 17,000 wristbands were sold, as in sold-out. Robert Randolph and his Family Band have soul for sure, and I was able to feel myself wanting to move my feet and hips, but I was conscious also that I needed to move towards water and food. There were regular reminders to hydrate at Levitate, which I really appreciated. Twiddle, and Robert Randolph and the Family Band will be on my list of bands to hear more of after sampling at Levitate.

Samantha Fish launched her recording career in 2009. She surely brought her beautiful, bluesy voice to Levitate and she was fabulous as is each member of the band. They were all dressed so nicely; definitely, the first thought I had was that their mamas must be so proud. Samantha’s presence is fun but badass and her supporting band, playing instruments ranging from fiddle to flute to saxophone, match her in talent.  I made a note to listen to their recent album, Belle of the West, to hear more.

Samantha’s set offered a much-needed boost of girl power that propelled me back to the Stoke Stage in time to hear Slightly Stoopid’s cover of Franklin’s Tower. You would have been proud, Grateful Web fans, of this seemingly reggae band that brought a jazzy layer to this favorite song featuring a Bostonian, Paul Wolstencroft, on keyboard. They also delivered a beautiful cover of Tom Petty’s  “You Don’t Know How it Feels,” with instructions to the crowd to sing loud enough to reach the sky. I’d just listened to this song on my ride down and was, well, stoked to hear it.  I’ve been processing a lot of loss in my own life lately, and here I realized the importance of music as therapy.

Um. We’re still on day one. I’ve got more notes if you want to grab a snack and come back.

OK. Levitate clearly came to 2018 with intention to get bigger and so a headlining act like Trey Anastasio is certainly one way to manifest that. This was my first time seeing Trey separate from Phish, and hmmmmmm. Certainly, Trey doesn’t need me to tell you about his voice or say that he’s a great performer and, um, good with his fingers, but these things are still true.

I didn’t know the first song because it was apparently born in the last few years and the last new song I really remember hearing is probably Ocelot.  But the second song Saturday night, “Caman Review” did bring me back and I found some version of myself singing along. A little later, “Gotta Jiboo” got a little spacey, giving me the chance to take in the now dusky sky and cooler air bouncing off my skin. The Levitate crowd, fully together for the first time all day with no other band playing on another stage, had a great time, evident in the bouncing culmination of glittery faces, flower crowns and lit up beach balls.

It was great to learn that The Trey Anastasio Trio, as listed on the schedule, was actually playing as a quartet, given that Ray Paczkowski had just returned to his keyboard the night before, after recovering from a health issue. That may have been Trey’s first real interaction with the crowd, there before the encore, where he played two solo songs with his acoustic, including a lovely “Waste,” before bringing his bandmates back for a third together. I did love how he phrased it, the news about Ray being better, genuinely thrilled to share “some good news in what seems like a world of bad news.”

This good news thing brings me to the best vibe I found at Levitate, a sort of mission to do good for the local community and beyond while caring for the earth that we’re all just borrowing. Rather than simply striving to be an escape from the real world, Levitate offered a connection between loving music and loving our world. Recycle/compost/trash stations provided helpful instruction on what to put where. Many folks purchased cute reusable cups, which got them a small discount on beer and must have significantly reduced the number of plastic cups. Festival staff was frequently sorting through to remove pieces that didn’t belong, and I did hope my fellow festival goers could appreciate the work that goes into a production of this size. Reverb brought filtered water, and there was, of course, a water bottle for sale if you didn’t bring your own.

I had a chance to talk with Joanna at the Boys and Girls Club booth, who explained that while their partnership with Levitate is year round, a dollar from the sale of each festival wristband, in addition to funds collected for parking, support their community-based organization. I also loved that they were selling t-shirts on which the organization’s logo appears at the heart of the festival logo.

The Beau Hawks Foundation sponsored the live stream from Levitate, which made it possible for anyone on the internet to be able to enjoy the music. I was grateful to get to meet Alben Belliveau, who founded Beau Hawks to raise money and awareness about research in a particular gene therapy that has the potential to save his sons’ lives; tragically, both have been diagnosed with Duchenne Muscular Dystrophy, a progressive, fatal muscle disease. I’ve included the link for this one so that you can donate from the couch.

Importantly, I saw more ADA accommodations at Levitate than I have at other music festivals, shows, and venues. Further, I felt like Levitate’s line-up displayed a commitment to inclusion of women and people of color in a way that made me feel hopeful. But to truly build the bridge that it feels like Boston and the rest of Massachusetts needs, amazing next steps could be to make this festival more accessible to low-income folks and people who rely on public transportation. I noted a bus option from Boston, but it wasn’t clear how much it would cost. I understand that’s one way for ride sharing to work – that the cost depends on how many people buy in – but it doesn’t work for someone who does need to pay attention to what they’re spending. Allowing folks to bring in picnic food would also make Levitate more do-able for peeps on a budget.

Sunday I arrived with a new level of excitement for day two and also acceptance that there is no way to fully take in every band in a way that would allow me adequately me to tell you about them. But yes, Sunday at Levitate brought so much great music, and I did try to check out every band.

I will love to have more Quadrafunk in my life after Levitate and was thrilled to make it on time to feel the arrival of their funk on the Style stage, along with their version of “Shakedown Street”. Stephen Marley and his band took the Stoke stage at 1:30 and they are most definitely making dad - Bob Marley- proud, playing tunes like “Stir it Up” and “I Shot the Sherriff,” with their own, powerful and very present style that delighted this festival in Massachusetts.

Two bands I would never have known about if I weren’t at Levitate on Sunday were impressive – a local band, The Quins, and West End Blend, from Hartford, CT. Though they are quite different from each other, I enjoyed them both a lot. Spafford fans line up early, and I had the chance to see why. This band, hailing from Arizona, is danceable, a little funky, and a lot of fun. Some of my moments with them there on the Style stage felt reminiscent of some of my favorite moments from Phish shows years back. Jon and Roy have a fascinating ska-ish sound that moved me and made me wish for more time to enjoy all the things we want to enjoy. Lake Street Dive was amazing, which I confirmed with the crowd watching them on the Stoke stage as I headed to see Turkuaz. Their horns have a warm and familiar sound that feels a little like a cozy blanket.

I gotta tell you, as the 6:15 Greensky Bluegrass start time moved closer, the excitement kicked up in the air. I grabbed a grilled cheese from the Mom on the Go truck, enjoying the shade created by the truck and other people as I waited. I chatted with more new friends at a picnic table – one who had come to Levitate for Lake Street Dive was going to see Greensky for the first time. If Saturday was the first time for lots of Levitate-goers, then I imagine there are more than a few that are going to be finding their way to a next Greensky Bluegrass show as soon as possible. I swore off being addicted to any one band a while ago, but it’s true that I need two hands to count the number of times I’ve seen Greensky since their music found me a couple of Septembers ago. I barely have the words to tell you why, actually, except to say I’m amazed at the sounds they accomplish with only stringed instruments, combined with lyrics that have heart and a sense of real life, and a fan-base (Campers!) that seem to be mostly good, fun, and kind people. I get to have all my feelings with Greensky, and the dancing is good medicine.

After they opened with “The Four,” we got swept up in “Run or Die” during which Anders Beck called up Ryan Montbleau who lent his beautiful and local voice to Paul Hoffman’s for a lifting of Coolio’s “Gangster’s Paradise,” unexpected and fabulous in the way certain bits of spoken word, or a mandolin player rapping, are unexpected and fabulous. It also gave this crowd a chance to catch our breath, slow a teensy bit down, and acknowledge an almost overwhelming feeling of being connected by music. Back to “Run or Die” and then “Reflections,” a pretty new ballad written by guitar player Dave Bruzza. After that, it was really a huge dance party showcasing a the bluegrass favorite, “Hit Parade of Love” and closing with a powerful Greensky favorite, “Kerosene,” for which the band was joined by Brian Moss of Spafford. I left the set the way I leave every Greensky show, ready for more.

Are you still reading? OMG. It’s almost done. What else to tell you… The Soul Stage was my favorite because of Katie who introduced the acts there with amazing enthusiasm and brought the bubbles. Samples of Hippeas, Yasso, and Unreal chocolates were yummy. (And still available when I got to them!) I do still love meeting new people who love music. One person did call me fake news.

I split myself between the last two acts of the festival and was rewarded for this feat. I caught the first two and last few songs performed by The Head and the Heart on the Stoke stage, who opened with their well-known tune “All We Ever Knew.” (Don’t tell my kids.) In between, the Mihali and Friends jam on the Soul stage drew a crowd there that kept growing. Indeed, Mihali Savoulidis from Twiddle brought up friend after friend, and the crowd was thrilled to welcome each. Highlights for me included “No Woman No Cry” followed by Phish’s “Farmhouse,” which echoed Trey’s set the night before, and made me appreciate the thought that went into curating the festival and the deep influences that artists have on other artists. Paul Hoffman made his way over for a couple of tunes including a rocking cover of Alanis Morrisette’s “You Oughta Know,” which undoubtedly surprised us, thrilled us, and perhaps even brought out some necessary rage. We all wanted more of this crew, but Katie thanked us and assured us there would sadly be no more Mihali and friends this time.

The Style and Stoke stages were swiftly being taken down as The Head and the Heart finished their set. With the energy streaming fingers to toes, I felt the levity and didn’t want to leave without knowing all of the music had stopped. Once it did, I was ready to get back to my family and perhaps even reality itself, and I moved to the exit and out into the traffic, grateful for all of it.

Greensky Bluegrass! I love their songs and their sound, and I love the people that love the band. Stratton, Vermont is a great place for a music-lover and the venue at Stratton Mountain is cozy and friendly, a perfect venue for Greensky.

The opening band, The Lil Smokies, had already taken the stage when we arrived Saturday – I was reminded of their unique slant on bluegrass right away. I loved hearing them as we settled in after being in the car for a few hours.

The Lil Smokies -- Scott Parker on bass; Jake Simpson on fiddle; Matt Rieger on guitar; Matt Cornette on banjo, and Andy Dunnigan on dobro – are a tightly gelled and talented band that seem both like they’ve been together for a while and like they are just getting started. It’s curious to see a bluegrass band without a mandolin, but the Lil Smokies are not concerned with appearing as a traditional bluegrass band. A little bit country and a little bit rock and roll, their songs are beautifully written and each member of the band shines. I love the tune “California,” which I was excited to hear Sunday night. Their cover of “Rocket Man” was impressive, and really showcased Andy’s voice. It seems like The Lil Smokies have a lot more to do together, and that they’re maybe on the verge of stepping a little further beyond a sort of comfort zone. I’ll be listening for sure. 

As their set wound and turned, slowed down and jumped, the air was heavy even under the tent that protects the stage and dance floor from the rest of the universe.  A fog blanketed the night and as I looked at the faces of others dancing along, I wondered just how much each of us was carrying in our hearts, just how badly each of us needed the musical medicine we’d showed up to soak in.   

Greensky helped us feel better, literally, opening with Traffic's “Feelin Alright”.  Mike Devol’s bass. Holy moly. It was loud but in a maybe-good way, versus the chatter of the folks behind us, which was loud in a definitely-not-good way.  Anyhow. I’m reminded here that I love Greensky Bluegrass! I love the way that each individual member – Anders Beck (dobro), Michael Arlen Bont (banjo), Dave Bruzza (guitar), Mike Devol (upright bass) and Paul Hoffman (mandolin) – joins with the others to create the band’s amazing sound and spirit.  Greensky is always doing something new it seems, and it’s exciting that the collection of cover songs they play is as impressive as their catalogue of original songs. Going to see them is super fun.

“Past my Prime” got the crowd’s hands up in the air and moved in a way that was expected until it was wonderfully unexpected—a dark, windy transition delivering us into the Dave Bruzza song “Bottle Dry,” a gritty sort of love-letter to loneliness and the ways we cope with it. Following its moments of introspection, the first notes of “Take Cover” were a welcome lift for my heart and my feet. As Paul acknowledged the fog, I wondered if people who want to talk to each other during shows could maybe make a chat zone that’s not within a certain amount of space near the stage. Greensky Bluegrass is five guys, great songwriters and musicians. It’s great to get to hear them.

A dobro is not a sideways guitar or maybe it is a kind of sidewise guitar? My research (Wikipedia) tells me it’s a resonator guitar, which is “an acoustic guitar that produces sound by conducting string vibrations through the bridge to one or more spun metal cones (resonators) instead of to the guitar's sounding board (top).“ Ok. To me, a dobro kind of sounds like a cross between an electric guitar and a steel drum. It does seem to resonate like all of the best things that resonate. For Greensky Bluegrass I think Anders Beck on dobro often means an unexpected shift in vibe just as it’s needed. It creates a different feeling, the sound landing in a different way. On Saturday, the dobro in “Take Cover,” meant it was a little bit funky a little bit jammy.

Although Greensky fans might not have expected to hear “Middle Mountain Towns” after it was played a few nights earlier, we were blessed. Stratton is a mountain town built for dancing and Greensky did not disappoint, next playing “Burn Them,” which was hot. As the first notes launched, one of the ladies behind me shouted “You are my hero,” which was perhaps reflective of the general sense that seemed to emerge among all of us that were lucky enough to be in Stratton for this show last weekend. “Through the Trees” written by Michael Bont and Paul Hoffman is as gorgeously written as it is played.

Anders might not always sing, but he gets to introduce the special guests. Jake from the Lil Smokies came out with his fiddle to play the classic tune “Crying Holy Unto the Lord,” followed by “I’d Probably Kill You,” and we were all stomping our feet thrilled.  “Leap Year” closed the first set, lucky us. Stratton played great set break music and has some chairs and picnic tables for hanging out.

The second set was like treasure, including so many Greensky songs we were grateful to hear --- “No Idea,” “Into the Rafters,” “Jaywalking,” “Run or Die,” “Old Barns,” and “Tied Down.”  Wow. There is something so amazing about hearing these songs live that I listen to in my car and in my kitchen. The songs we are waiting to hear. There is something so great about sharing the songs with other people who love them.

Dueling banjos, dueling dobros, oh my. In the second set was the arrival of The Lil Smokies onstage to play a ruckus cover of The Band’s “The Shape I’m In” and a nearly 20 minute “Freeborn Man” that unfolded like a conversation between instruments and within music itself, the musicians of two bands temporarily forming one, referencing others with multiple teases of other songs. The night wrapped up with encore “What You Need,” which brought a visit from Guido Batista on vibraslap. This song made me curious about a new album.

Saturday wrapped up the first leg of their fall tour, which will start back up again – with The Lil Smokies – on October 31 at the Roseland Theater in Portland, OR. And, as I have been writing, Greensky has announced their next album All for Money will be out in January and they’ll go on a giant winter tour.  Go see them.

Greensky Bluegrass has been busy winding their way through a huge winter tour and tending to their new baby, studio album All for Money, released on January 18. This tour has featured three different opening acts, a fun treat for fans that will see multiple shows. Some of us in Boston knew we wouldn’t want to miss a Wednesday at the House of Blues with Billy Strings warming up and we sure did need warming up, with snow squalls and frigid temperatures sweeping through at show time.

Billy Strings. Musician? Band? Both? Rolling Stone has said “Billy Strings doesn't have any trouble living up to his name. [He is] one of the latest breakneck guitar pickers to emerge in the bluegrass world.” Indeed Billy Strings, born William Apostol, is a phenomenal guitar player. As a lead guitarist and vocalist, Billy plays with Jarrod Walker on mandolin, Billy Failing on banjo and Royal Masat on bass.

Billy and his band drew the chilly crowd closer, opening with the quick original “Hollow Heart.” In his mid-twenties, we see in Billy Strings someone for whom playing music was never separate; his fingers are as if mini acrobats on a fretboard, and while I imagine this is where Billy finds God, I see a spiritual experience in the whole crew he has pulled together. The hopping, instrumental “Thirst Mutilator” was next, played impeccably for those of us with our dancing shoes, followed by a raging “So Many Miles.” I felt a little like I was in music appreciation class, or at least that this is what music class should feel like.

Billy’s pedal set up features a sticker that reads “Thank you Doc Watson” and indeed it seems like the ghosts of bluegrass past smile through this group of musicians, their fingers coming together beautifully across the strings. I loved their cover of Little Feat’s “Willin,” perfect for the evening.  “Dealing Despair” and “Watch it Fall” led us to a jamming “Meet Me at The Creek” which closed out their almost 45-minute set, feeling like it was over in a flash.

As the five members of Greensky Bluegrass – Anders Beck on dobro, Michael Arlen Bont on banjo, Dave Bruzza on guitar, Mike Devol on bass and Paul Hoffman on mandolin – took the stage, a friend whispered to me, “Billy Strings is a hard act to follow.” Sure, I thought. But Greensky is up to that, and that’s why I am here. Truly, I don’t think there’s any competition between an opening act and headlining act – and in this case the energy created by a combination of Billy Strings and Greensky Bluegrass is a draw in itself, perfect for a frozen end-of-January evening.

To begin this show on the 50th anniversary of the Beatles final concert, Greensky opened with a cover of “Get Back” proving (for anyone still needing evidence) that they’re a certain kind of special. Not to be lost in a debate over whether they are a bluegrass band or a rock band or maybe a jam band, Greensky is a band that’s both paying attention and earning attention. They were tentative or maybe just tired to start, but had their signature, confident sound just right in the end.

A fiery “Handguns” led to an equally hot cover of Jimmy Martin’s “Hit Parade of Love,” kicked off with Dave Bruzza singing. Some listening closely could hear howling coming from the crowd. The first notes of “Living Over” are grounding and familiar, and in this song last Wednesday, Greensky delivered a generous serving of what makes them the band they are: talent and love for playing music together, Paul’s mandolin and vocals supported by the intense banjo licks of Michael Arlen Bont, beautiful, deep bass of Mike Devol, fierce guitar picking by Dave Bruzza, and Anders Beck’s unique sound on dobro.

A long pause after this fourth song allowed me to marvel at the hard-working nature of this band, consistently touring, experimenting, and pushing a little further to curate a particular experience for their devoted fans. Vibrating in the stillness, there we were, waiting for what was next. And what that would be was the night’s first peek at Greensky’s new album, which had landed itself on six Billboard charts in the days before last Wednesday, including number one on the bluegrass chart.

This first taste of the night, “Do Harm,” creates a warm swaying with Anders and Paul shining, and then it springs off with an almost surprise ending. Next, Anders had two words for us, and though it seemed early in the night, we were ready for them. Billy Strings. Woot. Billy joined the boys for a smoking “Butcher’s Girl” that found Dave Bruzza and Billy picking in a little huddle with Anders. Billy stayed for a “Broke Mountain Breakdown” that journeyed to a funky, spacey jam and into a sweet cover of the Allman Brothers’ “One Way Out,” and eventually back to itself to complete set one.

The second set seemed to find the band refreshed and ready to turn up the heat, opening with the lovely “Cathedral Eyes,” a new song written by Michael Arlen Bont that beautifully blends Dave and Paul’s vocal skills together above the layers created by the bands’ instruments. Bont, affectionately known as Bontzilla to Greensky fans, was an MVP of sorts last Wednesday. Sporting his white t-shirt and blue jeans, he was a determined presence on his left side of the stage. The second song of the second set was “All Four,” during which I noted someone in the audience nearby yelling, “this is the most sexualized feeling I have ever felt at a concert!” Hmmm. I think I just want you to know that this feeling could be felt last week in Boston during this song that might be about making both a living and a life.

Greensky’s new album was the star of the second set, and the band is excited to introduce this new friend. “Murder of Crows,” an intriguing new tune by Dave that really meshes each individual’s sound nicely, led to “What You Need,” featuring Guido Batista, album percussionist extraordinaire (and tour manager), playing the vibraslap. There was also dancing. Dancing on stage, dancing in the crowd, and a dancing light show. Greensky is known for the full show experience that they bring with them, and Andrew Lincoln’s lights always activate a sort of magical dimension.

The pairing of classic tunes “Just to Lie” into “Train Junkie” was a personal treat, but to then hear “Like Reflections,” one of my favorite songs from the new album, I was almost overwhelmed with delight. Some of the crowd was asking for a “Casual Wednesday” which appears to no longer be, or is maybe on hiatus. I think being casual is wonderful, but I was thrilled for the influx of other music that we got to hear without “Casual Wednesday,” with no offense to the whole thing actually. It’s just that Greensky has so many original songs as well as great covers to play. Speaking of covers, that’s how the show ended (as it had begun), with a cover, actually two -- Bruce Hornsby’s “King of the Hill” to close the second set and “White Freight Liner Blues,” originally by John Townes Van Zandt as an encore.

Some folks might have been hoping for another song and yet sadly some had already left, surely missing out. The band departed the stage, and I felt full of music, ready to face the cold wind once again. As we bundled up, my friend and I introduced ourselves to the folks that had been behind us all night, Alan and Ann, and we all agreed that we hope Greensky Bluegrass and Billy Strings come back to Boston again next year. And then we said good-night, grateful for this live music family and the musicians that bring us together.