On December 1, 1979, the Grateful Dead graced the stage of the Stanley Theatre in Pittsburgh, Pennsylvania, delivering a performance that has since become a cherished gem among fans. This show captures the band at a transitional period, with keyboardist Brent Mydland solidifying his role and bringing new energy to the ensemble. The night was a blend of classic tunes, exploratory jams, and moments of pure musical magic.

Set 1:

    "Jack Straw"

Opening the evening with this fan favorite, the band set a relaxed tempo. While the start was slightly subdued, the jam mid-song ignited the energy, with Phil Lesh's bass delivering unexpected "Phil Bombs" that thrilled the audience. The interplay between Jerry Garcia and Bob Weir hinted at the heights the night would reach.

    "Sugaree"

Clocking in at nearly 17 minutes, this rendition unfolded patiently. Garcia took his time, building intensity through three extended solos. The first solo was delicate and measured, the second saw Brent Mydland's organ taking the lead, and the third showcased Jerry's rich, deep tones evolving into higher registers. The entire band contributed to a collective crescendo, making this a standout performance.

    "Me and My Uncle" > "Big River"

The classic cowboy pairing brought a burst of energy. "Me and My Uncle" was solid, but it was during "Big River" that the band truly shone. Brent's keyboard solos were spirited, adding fresh dimensions to the familiar tune, and Jerry's rapid-fire licks elevated the song to new heights.

    "Loser"

This rendition carried a haunting quality. Garcia's solo was both soulful and melancholic, capturing the song's essence of risk and regret. The emotional depth resonated with the attentive crowd.

    "Easy to Love You"

Brent stepped into the spotlight with this heartfelt ballad. While some fans have mixed feelings about this song, its inclusion highlighted Brent's growing influence and added a tender moment to the set.

    "New Minglewood Blues"

Injecting renewed vigor, the band delivered a fiery performance. Weir's vocals were spirited, and the solos were tight. Notably, Bob sang "T for NYC where the little girls know what to do," despite being in Pittsburgh—a playful oversight that added to the show's charm.

    "Althea"

With crystal-clear vocals, this version of "Althea" was a treat. Garcia's solos were introspective, and although there was a slight lyrical mishap with verses being repeated, the overall performance was compelling.

    "The Music Never Stopped"

Closing the first set with flair, the band introduced a slightly different intro that piqued interest. The jams were intense, and the ensemble playing was exceptional, leaving the audience eagerly anticipating the second set.

Set 2:

    "China Cat Sunflower" > "I Know You Rider"

The transition between these two staples was seamless. Despite Garcia's vocals being somewhat strained, the jams were lively. The "Feeling Groovy" tease during the jam added a nostalgic touch. "Rider" built momentum steadily, culminating in a powerful "headlight" verse that had the crowd roaring.

    "Looks Like Rain"

Weir delivered a passionate performance, with the thunderous drumming emulating a storm. While some might find its newer placement in the second set unusual, it added an emotional depth to the evening.

    "He's Gone"

This song marked the beginning of a profound musical journey. The first solo was exquisite, with Garcia's guitar conveying a sense of longing. The outro jam extended into exploratory territory, lasting over 14 minutes. Brent and Jerry led the way, weaving intricate melodies that captivated the audience.

    "Gloria Jam"

Emerging organically from "He's Gone," the band flirted with the theme of Van Morrison's "Gloria." This segment showcased the band's improvisational prowess, with Brent's contributions pushing the boundaries. The jam was energetic and hinted at several musical directions, keeping listeners on their toes.

    "C.C. Rider"

Transitioning smoothly, this blues number was delivered with uncommon vigor. Brent's soulful organ solos and Weir's enthusiastic vocals injected fresh life into the song. The culmination jam achieved a level of intensity that elevated the performance beyond its usual rendition.

    "Drums"

The Rhythm Devils, Mickey Hart and Bill Kreutzmann, took center stage, delivering a percussive exploration that was both hypnotic and dynamic. Their synergy set the foundation for the next phase of the concert.

    "Not Fade Away"

Emerging from the rhythmic depths, this rendition was unique with an interesting intro led by the drummers. The energy was infectious, and the band's cohesion was evident as they navigated through the classic.

    "Black Peter"

A poignant choice post-drums, Garcia's vocals carried a raw vulnerability. The solo was soulful, backed by Brent's evocative organ fills. The emotional weight of the song resonated deeply, offering a moment of reflection amidst the high-energy numbers.

    "Sugar Magnolia"

Injecting a dose of sunshine, the band delivered a spirited performance. The jams were tight, and the crowd responded with enthusiastic dancing. Garcia's guitar work was particularly notable, meshing perfectly with the venue's acoustics.

Encore: "One More Saturday Night"

Weir closed out the show with this rock-and-roll staple. The band gave it their all, ensuring the audience left on a high note, energized by the night's musical journey.

The December 1, 1979, show at the Stanley Theatre stands out as a remarkable snapshot of the Grateful Dead's evolution. Brent Mydland's integration into the band was more pronounced, his keyboard and vocal contributions adding new textures and revitalizing older tunes. The first set, while having moments of restraint, featured exceptional performances like the extended "Sugaree" and the fiery "The Music Never Stopped."

The second set is where the show truly soared. The sequence from "He's Gone" into the "Gloria Jam" and "C.C. Rider" exemplified the band's improvisational excellence. Moments of "X-factor" magic were achieved, where the synergy between members transcended the ordinary. Brent's influence was particularly felt during these jams, pushing the band into uncharted territories.

Garcia's vocals, though occasionally strained, added an authentic ruggedness to the performance, especially on heartfelt numbers like "Loser" and "Black Peter." The sound quality of the venue complemented the band's dynamics, with the acoustics highlighting the nuances of each instrument.

While not without its imperfections—a few lyrical missteps and moments where energy dipped—the overall groove of the show kept any distractions minimal. The band's willingness to take risks paid off, resulting in a concert that balanced structured songs with adventurous jams.

For enthusiasts of the Brent Mydland era, this show highlights his growing role and the fresh directions the band explored during this period. The Stanley Theatre performance remains a vibrant example of the Grateful Dead's enduring ability to blend emotion, improvisation, and musical craftsmanship into an unforgettable experience.