The tuning before the second-set opener is one of the more provocative the Dead provided, though we would love to read in the comments some other folks’ favorite tunings (an understudied area of Dead lore, it seems). The Picasso Moon that finally comes forth is as good as it gets with Bobby’s verve shaping the trajectory of the playing. The tune eventually melds into Fire on the Mountain, an unsual, but totally welcome transition. The Fire does not grab you as much as it works its way into your inner psyche; three minutes in, and you suddenly realize you are completely absorbed in the music. By seven minutes, you have given yourself over to the song completely, entranced by the sounds coming from the drummers, the luxuriant bombs coming from Phil, and the interplay between Jerry, who is smoking the tune, and Bobby, who is throwing in his own ferocious rhythm-heavy licks. The Wave to the Wind that follows is fairly rich. As someone on the internet noted, it “benefits from the momentum gathered beforehand.” Regardless, it is one of the best versions of the tune and finally gives way to a delicious, misty Cassidy that heads out into a very spacey jam before finding Uncle John’s. The UJB eventually heads off into some distant territory itself, though it never completely loses the theme, coming back around for a final chorus. Then, the boys really do leave the song behind, reconnecting with Cassidy and spectacularly finishing the latter tune off after a luscious jam. Drums and Space make it all the way to the far reaches of the universe, as only 90s versions of these could. And with that distance, it takes a long time for them to come back, honing in on The Other One from millions of miles away and providing a thrilling ride the entire way. The version that they finally connect with is stellar, followed by an outstanding Wharf Rat, and a rocking Sugar Mags. But the real standout of post-Space is the purposeful, high energy Gloria.