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GALLERY: Experience Hendrix 2010 Performances
The Milwaukee stop on the Experience Hendrix tour, featuring performances by Hubert Sumlin, Eric Johnson, Billy Cox, Kenny Wayne Shepherd, Jonny Lang, Susan Tedeschi, Robert Randolph and more.
Chris Kies has degrees in Journalism and History from the University of Iowa and has been with PG dating back to his days as an intern in 2007. He's now the multimedia manager maintaining the website and social media accounts, coordinating Rig Rundown shoots (also hosting and/or filming them) and occasionally writing an artist feature. Other than that, he enjoys non-guitar-related hobbies.
"Living Colourуs bassist Doug Wimbish rocking out hard with his Fender Jazz Bass during the Band of Gypsys tune, рPower of Soul.с Wimbish had the biggest pedalboard housing over 20 pieces."
DSM/Humboldt Electronics has announced the introduction of its new Dumblifier Overdrive Special delivering the experience of playing a D-Style amp as it really feels.
For decades, guitarists around the world have dreamed of capturing the magic of the mythical Dumble Overdrive Special. Until now, the only way to approximate this experience has been through digital modeling — solutions that may reproduce the sound but always fall short of replicating what truly makes these amps legendary: the feel under your fingers.
The Dumblifier Overdrive Special breaks that barrier. By using their proven analog amplifier modeling technology, DSM/Humboldt has not only recreated the tone but also the unique compression and touch response that makes every note bloom, sustain, and sing — just like on the original amps.
The Dumblifier offers the following benefits:
Analog accuracy: Unlike digital processors, the Dumblifier responds organically to your playing dynamics, delivering the unmistakable “punchy compression” and smooth sustain that Dumbles are known for.
Beyond boutique limitations: Until now, the few available alternatives were extremely expensive and produced only in limited, made-to-order quantities, never intended for mass availability.
True versatility: Other so-called “Dumble-style” pedals are meant to run in front of amplifiers, so the final tone depends mostly on the amp itself. The Dumblifier, however, goes further — it can operate as a complete analog amp replacement with cab-sim and stereo features, or as a two-channel overdrive pedal in front of any rig. Its TRS outputs with cab-sim bypass make it extraordinarily flexible.
All-in-one solution: With stereo FX loop, stereo reverb, cabinet simulation, and DI outputs, the Dumblifier is equally at home on stage, in the studio, or in your practice setup.
The Dumblifier is the first true analog solution that captures both the sound and the feel of a Dumble. Packed into a pedal format, it offers all the features gigging and recording musicians demand — without the cost or fragility of a boutique tube amp.
Guitarists everywhere crave the legendary Dumble sound. By making it accessible, reliable, and portable, the Dumblifier unlocks that dream for players worldwide.
Dumblifier is available at an MSRP or $599 ($549 MAP). More information is available at: https://www.dsmhumboldt.com.
Acclaimed guitarist and composer Pat Metheny has announced the launch of his new record label, Uniquity Music, alongside the release of his first major studio album in six years, Side-Eye III+. The record marks the first title on the new label, created in partnership with Primary Wave, the parent company of Green Hill Music under the Sun Label Group umbrella, which will also serve as home to reissues of Metheny's entire catalog since 1984 and all future releases.
"My dream for years has been to have a place where all of my work, past and future, could live under a single umbrella - a label of my own," says Metheny. "With the creation of Uniquity Music, that dream has now become a reality. In many ways, I feel like I am just beginning, and I expect the next period to represent the best of where music has led me so far. The new label will feature re-releases of every record I have made since Song X in 1984."
Along with the label's debut comes the February 27th release of Side-Eye III+, the latest evolution of Metheny's Side-Eye project - a concept he first introduced to showcase the next generation of exceptional young musicians who have come onto his radar in recent years. The album features Metheny alongside Chris Fishman on keyboards and Joe Dyson on drums, the trio at the heart of the Side-Eye ensemble that has toured extensively worldwide.
Metheny explains, "Once I got in the studio with the guys, I realized that while the trio concept was perfect for us as a live ensemble, the music I had written was asking for something bigger. That is where the '+' in Side-Eye III+ comes in. I ended up adding fifteen other musicians to the trio — expanding the sonic world of the record far beyond what we had done before."
Recorded in the studio, Side-Eye III+ brings together an additional cast of musicians including bassist Daryl Johns, harpist Brandee Younger, percussionist Luis Conte, and a vocal ensemble led by Mark Kibble of Take 6, creating a richly layered and expansive musical landscape.
“He brought in an incredible group of singers,” Metheny said of Kibble, “and together, we found a sound that has a relationship to the Gospel tradition but I think most people will hear the kinds of harmonies and melodies that identify it as mine right away.”
Photo credit: Jimmy Katz
“Being part of the launch of Uniquity Music while helping usher in SIDE-EYE III+ makes this a special moment for Green Hill,” said Blake Davis, General Manager, Green Hill. “The album showcases Pat’s commitment to collaboration and discovery, and it reflects exactly the kind of thoughtful artistry we’re proud to support. Uniquity creates a home for that spirit to thrive, and we’re thrilled to begin this journey with him.”
Metheny adds, "Musicians often say their new record is their best, and I will take that risk here — this is one of the best records I have ever made.
"Metheny and the Side-Eye III+ band will embark on an extensive world tour throughout 2026.
"There is almost no way to replicate exactly what is on the record with just the trio, nor will that be the explicit goal on this next round,” Metheny says. “But the material on the record can be played a lot of different ways, which is always a good sign. I am already thinking ahead to the next stage of the Side-Eye thing, and the broader palette of this record plus my thoughts about what’s next gave me the idea of bringing in an incredible young bassist from California, Jermaine Paul, and the percussionist and vocalist Leonard Patton, who is a musician I have wanted to include in my thing for years. But the core of the band will remain Chris, Joe, and me — continuing what we have been working on together on the bandstand and in the studio during this really interesting musical time we have shared together."
PAT METHENY: SIDE-EYE III+ WORLDWIDE TOUR DATES
3/2–3 – Jackson, MS – Duling Hall
3/5 – San Antonio, TX – The Charline McCombs Empire Theatre
3/6 – Austin, TX – The Paramount Theatre
3/7 – Houston, TX – Lillie and Roy Cullen Theater at Wortham Theater Center
3/8 – New Orleans, LA – Orpheum Theatre
3/10 – Orlando, FL – The Plaza Live
3/12-13 – Fort Lauderdale, FL – The Parker Playhouse
3/14 – Stuart, FL – The Lyric Theatre
3/15 – Naples, FL – Artis—Naples
3/16 – Clearwater, FL – The Capitol Theatre
3/17 – Jacksonville, FL – Florida Theatre
3/19 – Charlottesville, VA – The Paramount Theater
3/20 – Richmond, VA – The National
3/22 – Nashville, TN – Ryman Auditorium
3/23 – Atlanta, GA – Atlanta Symphony Hall
3/24 – Charlotte, NC – Blumenthal Performing Arts Knight Theater
3/25 – Lexington, KY – Lexington Opera House
3/26 – Knoxville, TN – Big Ears Festival @ Tennessee Theatre
3/27 – Savannah, GA – Savannah Music Festival @ Lucas Theatre
3/29 – Memphis, TN – Minglewood Hall
3/30 – Little Rock, AR – Robinson Center
3/31 – Tulsa, OK – Tulsa Performing Arts Center
4/1 – Dallas, TX – The Majestic Theatre
4/3 – St. Louis, MO – The Sheldon Concert Hall
4/4 – Kansas City, MO – Kauffman Center for the Performing Arts
4/7 – Boulder, CO – Boulder Theater
4/8 – Omaha, NE – Kiewit Concert Hall
4/9 – Madison, WI – Wisconsin Union Theater
4/10 – Indianapolis, IN – Clowes Memorial Hall of Butler University
4/11 – Cincinnati, OH – Taft Theatre
4/12 – Milwaukee, WI – Pabst Theater
4/14 – Royal Oak, MI – Royal Oak Music Theatre
4/15 – Newark, OH – Midland Theatre
4/16 – Columbia, MO – Missouri Theatre
4/17 – Chicago, IL – Symphony Center
4/18–19 – Minneapolis, MN – Dakota
4/21 – Ketchum, ID – Argyros Performing Arts Center
4/23–26 – Seattle, WA – Dimitriou’s Jazz Alley
4/27 – Vancouver, BC, Canada – The Centre in Vancouver For Performing Arts
4/28 – Portland, OR – Newmark Theater
4/29 – Eugene, OR – The John G. Shedd Institute For The Arts
5/1 – San Francisco, CA – The Masonic
5/2 – Sacramento, CA – Crest Theatre
5/3 – Santa Cruz, CA – Rio Theatre
5/4 – Los Angeles, CA – Walt Disney Concert Hall
5/5 – Santa Barbara, CA – Lobero Theatre
5/7 – Irvine, CA – Irvine Barclay Theatre
5/8 – San Diego, CA – Humphrey’s Concerts By The Bay
In addition to studio work, McFarlane is still active in Muscle Shoals’ live music scene and tours, primarily in the South, with Jimmy Hall and the band Big Shoes.
courtesy of Will McFarlane
If the Grammys had a Best Supporting Player category, Will McFarlane would have a collection of little gold icons on his mantle. For more than 40 years, the lean, lanky 6-stringer has been an essential part of the Muscle Shoals recording scene, carrying the torch lit by the famed group of session players called the Swampers, who recorded classics with Aretha Franklin, the Rolling Stones, the Staple Singers, Bob Seger, Cher, Wilson Pickett, and Paul Simon, and set the die for the sound of many of the greatest American-flavored roots-based hits and albums of the ’60s and ’70s.
McFarlane has been a primary author of the chapters that followed. “After arriving and becoming embedded in the scene, Will became the central lead guitarist for the Muscle Shoals sound,” attests music historian and journalist Rob Bowman, whose Land of a Thousand Sessions: The Complete Muscle Shoals Story 1951–1985 has just been published. And so, McFarlane has recorded and played live with such legends as Bob Dylan, Bobby “Blue” Bland, Pops Staples, Little Milton, Candi Staton, Etta James, Johnny Taylor, and even Toby Keith. His work at the area’s tracking houses for the Jackson, Mississippi-based Malaco label helped define the sound of Southern-tradition-based blues, soul, r&b, and gospel from the ’80s to the early 2000s. And today, among the 6-string cognoscenti, McFarlane is a legend himself.
McFarlane’s days in the Shoals began after he met famed Swampers guitarist Jimmy Johnson at the Troubadour in West Hollywood. He recalls, “A friend, Duncan Cameron, who’d just done an album that Jimmy produced in Muscle Shoals with the Amazing Rhythm Aces, introduced us, and we were in Jimmy’s hotel room. Jimmy said, ‘Well, play me something.’ I had brought a guitar and I played a song I’d written called ‘A Secret Side of You,’ and then he said, ‘Play me something I don’t like.’ We hit it right off, and he asked me if he could fly me to Muscle Shoals to demo that song in a couple weeks.”
The band Johnson assembled for the session was essentially a subset of the Swampers that included bassist David Hood, drummer Roger Hawkins, and keyboardist Clayton Ivey. McFarlane continues, “I played the song for Clayton, and he did a quick numbers chart, which I had never seen, but I totally got it. We played it down quick, Jimmy hit the red light, and we played it through. Afterwards, Jimmy asked, ‘Any confessions?’ I turned to David and said, ‘Do y’all keep first takes around here?’ And he said, ‘All the time.’”
Will McFarlane keeps a Deluxe Memory Man in line with a Princeton—his rig for noodling on the couch at home.Ted Drozdowski
As luck had it, Roger McGuinn and Chris Hillman were making an album in the next studio at Cypress Moon, one of Muscle Shoals’ three historic studios along with Muscle Shoal Sound and FAME (and yes, you can tour all three). They heard the tune and cut it for the LP they were working on, 1980’s McGuinn-Hillman.
“I thought, ‘Wow, this is easy,’” McFarlane says. “I’d worked with [producer] Paul Rothschild on Bonnie Raitt records. Paul was into splicing tape. So we’d take 20 takes of a song sometimes. And I’d come back the next morning and there’d be a pile of two-inch tape on the floor. I went back to LA and I gave everybody notice.”
“I turned to David Hood and said, ‘Do y’all keep first takes around here?’ And he said, ’All the time.’”
Relocating to Muscle Shoals ended McFarlane’s 1974-to-1980 stint in Raitt’s band, but the route he traveled began earlier—perhaps even at birth, in 1952, on a Naval base in Coronado, California. “My mom, who died when I was 5, had perfect pitch and studied music at the University of Texas,” he says. “Apparently, she could turn her back on a piano and if you hit a chord she could tell you all the notes in the chord. So, she left the DNA with me.”
McFarlane comes from a family of military men, but like many musicians of his age, his destiny was changed by the Beatles’ first appearance on The Ed Sullivan Show. His first guitar was a plywood Regal acoustic, which was soon replaced by a Teisco-style electric, with light-switch pickup selectors, gold-foils, and a baseball-bat neck. The need to upgrade was compelling when he began playing in a band.
McFarlane is onstage with Bonnie Raitt and Lowell George in this vintage photo. “When I was with Bonnie, Lowell would invite me out every now and then to sit in on the encore,” he says. “It was frightening. He’d get a Y-cord and plug me into his rig, and that was the first time I played with compression and delay and a Dumble.”
courtesy of Will McFarlane
“There was an ad in the paper that just said, ‘Gibson guitar and amp, $150.’ I begged my dad to please, please get me this guitar. So we went out to a poacher's cabin in the woods, in the swamp. There were beer cans all over, and alligator jaws. He had a white SG with three gold humbuckers, a teak bridge, and mother-of-pearl inlays, and it said Les Paul Anniversary on the truss rod cover. The amp was a Gibson Falcon.” Unfortunately the Falcon could not compete with drums, so after his father was reassigned to New York, McFarlane eventually replaced it with a black-panel piggyback Bassman.
His chops developed around his love for r&b and Motown, and then blues and soul. And he joined an ambitious band that chased their collective dreams to the West Coast, Colorado, D.C., and Cambridge, Massachusetts. That where’s Dick Waterman, who managed Raitt as well as Son House, John Hurt, Buddy Guy and Junior Wells, Fred McDowell, Skip James, and other blues legends, discovered McFarlane playing a small club called Jack’s on Massachusetts Avenue.
“It’s amazing! You’re making 10 bucks a night and all the beer you can drink, and the next thing you know you’re on a sound stage in L.A. with Jackson Brown and David Lindley, and Linda Ronstadt is stopping by to say ‘hi.’”
McFarlane knew who Waterman was and had spotted him sitting at the back of the room over a string of his band’s weekly gigs. One night, Waterman brought Bonnie Raitt along and sat at a front table. By closing time, McFarlane was hired. “It’s amazing,” he recalls. “You’re making 10 bucks a night and all the beer you can drink, and the next thing you know you’re on a sound stage in L.A. with Jackson Brown and David Lindley, and Linda Ronstadt is stopping by to say ‘hi.’”
McFarlane poses with his mentor, Jimmy Johnson, who introduced him to Muscle Shoals and ushered him into the region’s studio session community.
courtesy of Will McFarlane
With the experience of recording and touring with Raitt, and the influence of his heroes Cornell Dupree, Reggie Young, Jessie Ed Davis, and Steve Cropper deep in his trick bag, McFarlane was a snug fit for the Muscle Shoals scene, where that intangible yet palpable quality called “soul” is as central to the region’s music and culture as the Tennessee River.
Just sitting on a couch in his home as we talk, the buttery midrange of the’54 Strat he’s fiddling with sings with a blend of clarity and light hair, emitting a poem of elegant notes that comes effortlessly. It’s this seemingly innate, almost telekinetic ability paired with intention, expertise, and warm positivity that’s made him an MVP.
“After I got here, Jimmy Johnson started to include me in everything,” says McFarlane, who describes himself as a stream-of-consciousness player. “Normally, you can’t just move in and get a lot of work, but Jimmy really was just great. Even when the Swampers were inducted into the Musicians Hall of Fame, Jimmy said, ‘We couldn’t have done it without our friends.’” So McFarlane was included in the induction, along with keyboardists Spooner Oldham and Clayton Ivey, and guitarist Pete Carr.
“Once, I was asked to do a guide vocal for Little Milton. That was intimidating.”
In particular, McFarlane became a favorite of the old-school blues, soul, and gospel performers signed to Malaco Records, an indie-label powerhouse that sold millions of albums—mostly to a middle-aged-and-up Black audience—in the ’80s and ’90s. Bobby Bland, Little Milton, Denise LaSalle, Shirley Brown, Johnnie Taylor, and many others “greeted me with their arms wide open,” says McFarlane. “I have so many great memories, from making music to shooting pool with Milton and Bobby. Bobby would turn to me before a take and say, ‘Give me those love licks!’ I’m always up for anything in the studio. Once, I was asked to do a guide vocal for Little Milton. That was intimidating.”
McFarlane acquired this refinished 1954 Stratocaster when he was with Bonnie Raitt.
Ted Drozdowski
The caliber of those artists and their recordings should never be underestimated. “Cutting ‘Last Two Dollars’ with Johnnie Taylor, I thought I was just going to play a rhythm track, but I was the only guitar player when they went, ‘kick us off,’” McFarlane recounts. “I only had my Telecaster plugged straight into the amp, so I flipped it to the front pickup. When you listen to the track, where there’s a rhythm part going, there’s no fills, and no fills where there’s rhythm. It was just one pass, because you could tell when Johnnie was singing that ‘this is the take.’”
He continues, “Listening to Johnnie Taylor in headphones was like listening to Sam Cooke. I don’t think he ever punched in a vocal. Matter of fact, at one point, he got to a session late. We’d already cut three tracks for him. And the producer went, ‘Hey, Johnny, would you go out there and give me a scratch vocal?’” McFarlane laughs. “He just turned around and goes, ‘I don't do scratch vocals.’”
While the pace of recording in Muscle Shoals has slowed today, the legacy of the music made there and of the people who made it remains undimmed. Nashville’s Country Music Hall of Fame and Museum has just inaugurated the comprehensive exhibit Muscle Shoals: Low Rhythm Rising, devoted to the art that emerged from what might otherwise be considered an Alabama backwater, compared to other recording capitals. In addition to the sonic results that came from the Shoals, it’s also important to remember that the studios’ foundational work was done in the face of segregation, and, like Stax and Motown recordings and artists, this played an important role in breaking down racial barriers. (You can visit theCountry Music Hall of Fame website to eyeball some of Low Rhythm Rising’s artifacts, including Duane Allman’s 1964 Strat and Pop Staples’ 1970 Tele, which he played in the Band’s historic concert film, The Last Waltz.)
McFarlane was the music director for a Nashville concert celebrating the three-year-long exhibit’s debut in November. The show found him onstage with the great soul songwriter Dan Penn (“Do Right Woman, Do Right Man,” “I’m Your Puppet’), Spooner Oldham, Bettye LaVette, Candi Staton, Jimmy Hall, John Paul White, and his old friend Clayton Ivey, among others.
McFarlane regularly performs with Hall, the frontman of ’70s soul-rock hitmakers Wet Willie and a touring vocalist with Jeff Beck. The guitarist also co-leadsBig Shoes, a Little Feat-inspired band. And he’s recorded about a dozen faith-based albums and singles under his own name. Of course, more sessions are always on the table.
“At this point, I don’t have any delusions of stardom,” McFarlane observes. “But I do have a life full of camaraderie and making great music that I love with my friends and heroes, and being in a rhythm section. I’m grateful for all that.”
Take a Deep Dive into the Shoals
For a definitive look at the formative history of the Muscle Shoals Studio scene and its defining music, look to Rob Bowman’s new book, Land of a Thousand Sessions: The Complete Muscle Shoals Story 1951-1985. At 750 pages, the six-time-Grammy-nominated music journalist and historian spares no details.
The book was a six-year passion project for Bowman, and is buoyed by interviews with nearly 100 key figures, including Jimmy Johnson and Mick Jagger. He also dives into what most would consider the off-brand sessions that happened in the 10 studios covered in the volume’s 34-year span, from prog rock to psychedelic blues. And, of course, the racial climate in which Black and white musicians united in harmony to make some of the finest recordings of all time.
The constant drumbeat of AI reporting, of which this column is ironically a part, vacillates between heaven and hell, utopia and dystopia, and everything in between. For those guitarists and songwriters who choose to ignore this important subject, I recommend watching Rick Beato’s YouTube video titled “I'm Sorry...This New Artist Completely Sucks” for a quick overview on where things stand in this last quarter of 2025. While the current state-of-the-art capabilities are advancing at an incredible pace, I can’t help but look backwards for clues as to how instructive or destructive this whole thing might be. The question at hand is not only whether this technology will bury us in crap music, but what it means to be a musician or a songwriter.
The most knee-jerk fear is that AI music will eliminate the need for musicians and instruments—or, for that matter, recording studios as we know them. Naysayers point to the growing percentage of computer generated music now flooding streaming platforms and predict that this content will eventually drown out practicing musicians. It’s already hard enough to get your music noticed, and even harder to generate a living wage by monetizing your output. This isn’t a new trend for bands, who have seen recording sales drop. At the same time, streaming income is so low that live gigs and merch are their biggest sources of revenue. The worry is that AI supercharges this slide into bankruptcy by creating a flooded zone of music that propagates at a magnitude beyond what “real” musicians can offer. In this scenario, a rising tide doesn’t float all boats.
Alongside my romantic relationship with the past, I have long embraced technology in a lot of areas of my life and work. I don’t see that CNC woodworking equipment can’t exist peacefully right beside my chisels and gouges. I enjoy my FLAC files as much as my vinyl. A digital device allows me to program bass and drums accompaniments on the fly to play along with. Guitarists that I admire for their creativity and sound routinely employ emulation electronics to provide an enormous palette of vintage and modern tones. Their music doesn’t suffer for bypassing the tweed Harvard and properly placed ribbon mic. So, in a way, I see the AI music tools as progeny to my first fuzz pedal, or digital recording software.
“What if music became so easy to make—and so ubiquitous—that most people lost interest in creating it?”
Still, this new frontier feels different. No knowledge of music or poetic word-craft is in order. Barely a reason to express human emotion or thought need be involved—only prompts. If musicians alone had access to this new software for making music, we might not fear the reaper. The difference now is that the democratization of creation is the Trojan horse in our musical Troy.
So what are the next steps? Despite the fact that huge crowds are content to pay money to be bombarded with sound generated by a DJ with a laptop, live gigs are still a viable outlet for musicians. Although it’s hard to break even, let alone profit, on ticket sales for small- and medium-sized gigs, the connection to a fanbase along with merch sales is still essential. It will be some time before AI generated “artists” can routinely be holograms on a concert stage, but I see this as a possibility. If you think that audience acceptance of this is fantasy, read up on the current rise of AI romantic relationships—weird stuff.
The thought occurred that maybe a reset is in order, and this is the cycle at work. What if music became so easy to make—and so ubiquitous—that most people lost interest in creating it? If you can’t make money or become famous due to the sheer enormity of competing content, what would be the incentive? Would people dabbling with AI music move on to the next influencer fad and leave the playing field barren? Could we return to a place where only those of us who have to play music are left? Or are we doomed to be engulfed in a kind of algorithmic elevator music dressed up as the next big thing?
My hope is that musicians who are compelled to create art will survive because it’s in their blood, and real music will triumph in the end. The visceral feeling of a guitar vibrating against your body will endure. Maybe this is all wishful thinking from an irrelevant geezer guitarist, but at least we can dream—which is the whole point, isn’t it?
Weir onstage with Dead & Company at Dodger Stadium, June 11, 2022
Debi Del Grande
Bob Weir, the guitarist and singer who co-founded the Grateful Dead and spent more than half a century carrying forward the band's improvisational spirit, died Saturday after battling cancer and underlying lung issues. He was 78.
Weir's family confirmed his death in a statement posted to social media, revealing that he had been diagnosed with cancer in July and began treatment just weeks before Dead & Company performed three nights at San Francisco's Golden Gate Park—shows that marked 60 years since the Grateful Dead's formation and became Weir's final performances.
"He transitioned peacefully, surrounded by loved ones, after courageously beating cancer as only Bobby could," the statement read. "Unfortunately, he succumbed to underlying lung issues."
Born in San Francisco in 1947, Weir crossed paths with banjo player Jerry Garcia as a teenager at Dana Morgan's Music Store, an encounter that led to the formation of the Grateful Dead. For three decades, his rhythm guitar work and songwriting helped define the band's sound and improvisational approach. After Garcia's death in 1995, Weir kept the Dead's legacy alive through groups including the Other Ones, Furthur, and Dead & Company, the latter featuring guitarist John Mayer.
Weir remained an evolving artist to the end. When I spoke with him last year just prior to Dead & Company's second Sphere residency, he described himself as perpetually changing. "I always do that," he said. "I wake up in the morning and I'm kind of different. You take all those mornings that I woke up kind of different and you add 'em together, and after a while, you start amounting to a different guy."
For the same story, Mayer, reflecting on a decade of performing alongside Weir, spoke of the profound impact of his musical approach. "The thing I've learned from Bob is to let it breathe," he said. "And that's changed my playing a lot."
"Bobby's final months reflected the same spirit that defined his life," his family wrote on social media. "Those [Golden Gate Park] performances, emotional, soulful, and full of light, were not farewells, but gifts. Another act of resilience."