At their conception, the Grateful Dead were leading the counter-cultural movement of the 1960s with their free-spirited, experimental psych-rock. Their entire identity and live performance were based on a lack of rules, structure, and, at times, messiness. The same can be said for their generations of devoted fans.

Now 60 years later, the music of the Grateful Dead has been studied, reinterpreted, and been given new light by so many artists and musicians. Indie rockers like the National honored their music with a comprehensive double album with different artists on each track giving their own spin on the classic tunes. To artists like DJ LP Giobbi, who recreated Jerry Garcia’s classic album Garcia. I truly believe 100 years from now, we will still be listening to some iteration of the Dead, expanding their music past the original members, the genre, and sounds they created.

As one of those deeply dedicated fans of the Dead, I will say I never expected to see their music paired with the structured grandiose sounds of an orchestra. However, that is exactly what fans got to experience Wednesday evening at Cincinnati Music Hall. Bob Weir & Wolf Bros, Weir’s solo touring band, performed with the Cincinnati Pops Orchestra, to highlight some of the Dead’s most famous tunes.

Before I get to the performance itself, I will say I don’t think Cincinnati Music Hall has had many experiences like they had last night. It almost felt like a gathering of hippies invaded the otherwise “high-society,” experience of seeing an orchestra. It was very funny at times, to see spinners in the aisles of Music Hall dancing to “Playin’ In The Band.” Instead of maybe the smell of too much cologne and wine, there was a clear cloud of smoke throughout the lobby coming from the outside steps with the ever present smell of weed and incense.

At intermission, I walked through Music Hall looking at the portraits of incredibly talented past conductors of the Cincinnati Orchestras and couldn’t help but laugh to myself about the idea of what these men would’ve thought about the Grateful Dead 50 years ago.

Although, having listened to the Dead since I was a kid and having seen plenty of live iterations of the band like Dead & Co. I wasn’t sure what to expect from an orchestral rendition of their music. I assumed they would be playing the hits, as they are the most accessible tunes that other musicians could play, however I was wrong. This was a proper Dead setlist with elements of improvisation throughout.

The show began with an Overture introducing the band. For fans of Dead & Company, many familiar faces took the stage with pianist Jeff Chimenti, drummer Jay Lane, and Wolf Bros bassist Don Was. As they got settled in they began with an iconic opener for the Dead, “Jack Straw.” A Bob Weir and John Perry Barlow written tune that is one of Weir’s many American Folklore tunes. This would be a theme throughout the setlist.

When you really think about the Dead’s music, they are easily translated to an orchestra, as the song's storytelling elements and atmospheric sounds pair very well with that of an orchestra like the Cincinnati Pops. Often they are asked to tell a story through their compositions, and to me there is no better storytelling than the American folk tales of the Dead.

After that they led into “Lost Sailor,” and “Saint of Circumstance,” two beautiful somber tunes that served as great vehicles for the orchestra to make larger than I had ever imagined the song could be.

It was at this point I began running through the band’s catalog in my head trying to imagine what other songs would pair well with the orchestra and then that perfect song came. “Dark Star,” originally a Jerry Garcia and Robert Hunter written song, the way the song was written it was almost meant to be seen and heard on a stage like this.

As the first set came to a close they left off with “Truckin,’” maybe Bob’s most iconic tune. This one I did expect to hear, with the added element of horns and strings in the background it did give this interesting juxtaposition again between the idea of freedom that “Truckin’” encapsulates and the very structured orchestra. However, I was very impressed with Bob Weir & Wolf Bros ability to find moments to add improvisation and work within the confines of this massive backing orchestra.

Once intermission ended, fans were treated with a very unique version of “Shakedown Street.” From the more disco-funk era of the Dead’s run, the string section took what was once this grooving funk track into this almost menacing sound.

From there the band went into two songs that normally serve as these big jam vehicles for the Dead, “Playin’ In the Band,” and “Uncle John’s Band.” Two staples of the Dead’s catalog that felt theatrical now with the orchestra. Like the moment you see a Broadway Show and you know the words, but instead of trying not to sing along the entire crowd belted out the lyrics to the tunes.

My favorite moments came during the last few songs. First, during “The Other One,” the first song Bob Weir wrote for the Dead and in some ways has become an anthem for Bob Weir’s career. “The Other One,” the other singer-songwriter of the Dead, who was often forgotten when talking about the band, as he stood in the immense shadow of his partner Jerry Garcia. Now the song that cemented his role in the band has been reinvented for a new generation of fans to see.

“Days Between,” one of the many beautiful ballads that Jerry Garcia would play, has taken on a new life with Bob Weir singing this tune with Dead & Co. I have always liked the tune and actually found a new appreciation for it while at the Vegas Sphere run this summer. However, to hear it with the orchestra playing behind them it brought this more somber tone to it and would make any fan feel emotional.

As the encore in very orchestral fashion, they finished by playing a medley of reprises from “Dark Star,” into “Uncle John’s Band,” finishing with “Playin’ in the Band.” A very fitting end to the incredibly special evening.

For most fans of the Dead, you’re always chasing. Chasing the best version, the smallest difference in that show, the newest element, however, with this incredibly unique rendition of these songs, fans were able to see and hear these songs with a completely new lens. Something that they’ll be able to take home and say you will never see something like that again. You will never see the Cincinnati Music Hall look like “Shakedown Street,” ever again, and you may never see Weir do this again and that is something fans can keep in their memories forever.