This past summer, Dead & Company, an American rock band formed in 2015 to preserve the infamous legacy of the Grateful Dead, commemorated the Grateful Dead’s 60th anniversary at a three-night concert series in San Francisco. Dead & Co. has gained traction among the newer generation of “Deadheads” through their residency at the ostentatious Las Vegas Sphere. 

The Grateful Dead officially disbanded in 1995 after its lead guitarist, Jerry Garcia, passed away. Garcia was instrumental to the soul of the band. While he was never known for his fast playing, his playing channeled a unique and otherworldly method. 

His improvisational style added an unpredictable energy, which was reciprocated by his bandmates. And while Garcia’s playing was often erratic, his relaxed, warm, and fluid composure was emblematic of the Dead’s appeal—a philosophical and graceful approach to life. 

In Dead & Company, singer-songwriter and guitarist John Mayer takes on Garcia’s former role as lead guitarist. Mayer is widely known for his drab hits “Your Body Is a Wonderland” and “You’re Gonna Live Forever in Me.” While sweet, his songs lack depth. 

But Mayer’s immense commitment to the band is undeniable—it is obvious that he has done his homework. Part of Garcia’s captivating tone was attributed to built-in preamps and effect loops that were custom-made for his Doug Irwin “Wolf” and “Tiger” guitars. Mayer decided to make his own “super cool” intricate guitar weapon that follows suit: the Super Eagle II. Unfortunately, Mayer does not wield his custom guitar with the same gusto that Garcia did with his. 

For Garcia, his musical talent didn’t need probing or fine-tuning—it seemed to effortlessly flow from his fingertips. His playing was hypnotic, inspired, and, most of all, a reflection of his subconscious. He used melodies as a framework, but veered away from playing a song the same way twice, leaving a lasting impression on each song he touched. 

Mayer has truly tried to fill this beatific presence in Dead & Co., attempting to incorporate his own style while also being mindful of songs’ original forms. While this is no easy task, and Mayer certainly does a good job of it, his presence in Dead & Co. feels inauthentic. His performances feel like those of a Garcia impersonator—they lack true Dead spirit.

Mayer’s matriculation into Dead & Co. seems like a moment of career experimentation for him. Mayer stumbled upon the Grateful Dead in 2011 while listening to random suggestions on Pandora. This kick started a hyperfixation on experimenting with folk music and incorporating jamming into his solo music. As Mayer put it in a 2016 SiriusXM Radio interview, “I’m naturally obsessive anyway, so it suited my way of life.”

Mayer’s current role in Dead & Co. is like a teenager dying their hair—it’s just a phase. He’s hesitantly dipping his toes in the water and waiting to see if American psychedelic rock is captivating enough for him. That disconnect and lack of zeal is conveyed in the music—his playing is bluesy, slow, and clunky. 

This new, disingenuous feel of Dead & Co. cannot be attributed to the presence of  Mayer alone. The group’s inauthentic feel is also a result of their choice of venue: the gaudy Las Vegas Sphere. The Sphere demands incredibly high ticket prices, which are inflated when the band misleadingly and repeatedly labels its tours as “farewell.”

The Dead & Co.’s residency at the Sphere and adoption of Mayer as lead guitarist are symbolic of the theatrics and pursuit of profit that have taken the soul out of rock and roll. Dead & Co. is a cash grab, not a genuine, shared love for the music. 

While I think it is admirable that Dead & Co. attempts to preserve the Grateful Dead’s legacy, it has lost track of the Dead’s original message. For a band once revered for its counterculture and off-the-beaten-path nature, its commemorative band is certainly playing for the mainstream.

In a press conference from 1987, the band was already aware of heading in the wrong direction commercially. 

“Has success ruined the Grateful Dead?” Garcia asked. “Yeah.”