Since Bob Weir formed his collaboration with the Wolf Bros in 2018, they have played over two hundred concerts and created two albums over the course of seven years. In 2021 the band played at four locations across the state of Colorado. Of the four, two of these locations were recorded and made into two double record albums. The albums are known as the “Live in Colorado Collection.”  

 “Live in Colorado Vol. 1” was recorded at Red Rocks Amphitheatre in Morrison, Colorado on June 8-9 and “Live in Colorado Vol. 2” was recorded at Gerald R. Ford Amphitheatre in Vail, Colorado on June 11-12. These venues converted the natural surrounding area into an open-air amphitheater. This created a unique, but immersive atmosphere. The natural beauty surrounding the venue adds a stunning visual, which enriches the overall ambiance. Not only does nature elevate music, it also makes each performance feel more organic and memorable. The album “Live in Colorado Vol. 2” proved to tackle the connection between music and nature perfectly.

Live in Colorado Vol. 2 is widely considered as a statement of artistic reinvention and a celebration of Bobs career as a song writer and musician. This album perfectly blends rock, country, folk, and psychedelic influences into a well-connected and appealing sound. With the release of Volume 2 the band wasn't just redefining themselves as a band, but their music too. Each track feels alive in its own way, but they are still tied together by an easy flow that feels completely unforced. Theres a looseness in the playing, the kind of energy one would get when one has played with one’s bandmates for many years. What makes this album so special isn't the music itself, but the way it captures Bob Weir on stage. He sounds fully alive on each track, leaning into them with a calm assurance that one would only get from decades of onstage experience.

“Mama Tried” opens Live in Colorado Vol. 2 with an upbeat rendition of the typical country song. With Greg Leisz on a steel pedal guitar, it gives the Merle Haggard’s song a distinct ballad-like feel that pushes closer to the classic outlaw sound. Rather than the typical Grateful Dead psychedelic rock and roll music tune. This significantly changes the entire vibe of the entire album, creating an unusual, but interesting set song to start with.

Bob Weir’s voice is different; it doesn’t sound like it did sixty years ago. It has a weathered down feel, which creates a perfect fit for the song. He sings about letting his mama down, rather than sounding like a borrowed song, he makes it sound like an actual memory from the past.

The next song in the album is “Eyes of the world/what’s going on,” and this is where the band shows you what they are all about. They turn the typical bouncy Grateful Dead tempo of “Eyes of the world” and slow it down. Creating a more relaxed and focused version of the song. This extra space makes room for the addition of horns and strings. Turning the smooth tune into a jam, that not only allows for a great transition, but an array of perfectly layered sound.

About halfway through, a cover of Marvin Gaye’s “What’s Going On” hits your ears. A classic that surprisingly fits well. The relaxed tempo makes the transition feel very natural, even though the songs come from two different distinct genres. Bob Weir has a unique take on vocals where he talks his way through the lyrics, while the band carries the emotional weight underneath. Before the song ends, they slide back into “Eyes of The World,” creating a masterpiece.

“Terrapin Station Suite” is an amazing track, not just musically, but lyrically as well. At a little more than twenty minutes this track twists and turns through all the different sections of the suite. The arrangement of instruments helps keep the original structure of the song intact while at the same time changing the texture. With the addition of strings, horns and the pedal steel. It adds new layers that take the familiar piece and turn it into a truly cinematic classic.  

In this particular track you can hear that Bob Weir’s voice sounds a little rough around the edges. Typicaly this feature does not go well with most songs, but it actually fits this song perfectly. “Terrapin Station Suite” is all about risk, destiny, and the mysteries of life, so an older, weathered voice makes the story feel more believable. It ends up sounding like less nostalgia and more of classic tale being retold.

Compared to the other tracks, “The Other One” feels different. Not lyrically or musically, but more like this song carries a special emotional weight for Bob Weir. For being Bob Weir’s first major contribution to the Grateful Dead catalog, it shares a significant moment in Bob’s life. With Weir’s slashing guitar, Don Was’s double bass groove, and Jay Lane’s sharp drumming, the band creates an energy like no other. The end result of “The Other One” feels both wild and controlled, like a glimpse into the primal days of the Grateful Dead with an older, yet more experienced lens.

“Brokendown Palace” shows up on the back half of the album. The band plays this track slow and gentle, letting each chord ring in your ear before moving along. The arrangement is simple, but the strings, pedal steel and piano keys add a unique touch giving the track a special feeling. Nothing in this song feels overdone, it’s the laid-back approach that gives it character. This version feels like catching up with an old friend and slipping back into an old conversation. It also sets the mood for the next two songs that follow in the album.

“Days Between” has to be the heaviest song in the entire album. Not because of the emotional weight, the loud drums, or the guitar attacks. It’s heavy because of how the band portrays the song; it is slow and patient, and the band forces you to listen to each chord, change in tempo and every verse. There is so much tension in this song that it comes from both the lyrics, and the Wolf Bros added strings and horns. By the time the song ends, it feels like the band shared a moment with the crowd.

“Ripple” is the perfect closer; it feels like it should be a necessity in any Dead concert or album. This song has been a staple in the Grateful Dead’s catalog for many moons. It stays close to the original, but with the presence of the Wolf Bros and the Red Rocks Amphitheatre, it feels different. The band keeps the song simple, with no grand exits or surprise shifts; it's just a warm melody that lets the message shine.

The performance given in this album was absolutely amazing, from the first track till the very end. Bobby Weir and the Wolf Bros made each song feel familiar, but renewed proving that they can expand sound without it losing its core identity. Rather than overplaying or stretching their tunes too far, they kept the melodies restrained and didn’t overdo it. This kept the emotional weight of each song land more effectively. From the clear vocals from Bobby Weir, the audience in the background singing along, and the classic Grateful Dead style of improvision, they created an album that is perfect. An ideal, go-to favorite for Deadheads that love grooving in a dreamy yet fuzzy haze.