grateful dead tour by tour 1978

Bob Dylan fans hoping for live performances of songs he 'still hates' on upcoming tour

Bob Dylan is set to tour yet again with shows slated for July and August, but fans are hoping to hear some new material from the legendary songwriter - or the return of tracks he 'still hates'

• 12:48, 21 Jun 2024

Bob Dylan fans remain hopeful of the legendary musician performing songs he "still hates" on his upcoming tour.

The Nobel Prize winner will head on tour later this year with fellow acclaimed musician Willie Nelson and some are hopeful of rare song appearances. Dylan, who toured his 2020 album Rough and Rowdy Ways from 2021 to 2024, rarely changed the line-up of songs from night to night, bar an occasional cover of other works from the likes of the Grateful Dead and Johnny Cash .

But fans remain hopeful of changes to the setlist on the latest tour following an alleged leak of the playing order - which includes a song from one of Dylan's lesser-loved albums.

A recent feature had Dylan fans talking of omissions to his live work, particularly the forgotten gem Street-Legal. Songs from the 1978 release have rarely, if ever, been played live and fans believe he "still hates" the album. A clipping read: "With the exception of 'Señor' and a single one-off instance of 'We Better Talk This Over,' he would never again perform any songs from the record after 1978.

Dylan fans took to Twitter /X and discussed the hate of his underrated 1978 album, with one writing: "this is how much Bob Dylan hated (still hates?) Street-Legal." Another added: "I mean I knew that but that's still an insane thing to read. You think about all the songs that came and went over decades of the Never Ending Tour."

Hopes of hearing Street-Legal tracks are bubbling once more for Dylan's upcoming show in Alpharetta. Other tracks like Joey, which has been played just 69 times since 1988 and was last played in 2012, were hoped for too.

But not everyone seemed keen to hear the elusive track. One user, replying to a bogus setlist reveal, wrote: "If Dylan played Joey I think half the crowd would take a toilet break." The song released on 1976's Desire, but many of the tracks from said album are rarely featured in The Never Ending Tour. Dylan has toured every year since 1986, except for 2020 during the Coronavirus pandemic.

MORE ON Bob Dylan Willie Nelson Grateful Dead Johnny Cash

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Lost Live Dead

Identifying and illuminating live Grateful Dead shows (and shows by band members) that are unknown or poorly documented.

Saturday, February 5, 2011

October 26, 1978 paramount theater, portland, or: jerry garcia band/bob weir band.

• Bob Weir -guitar, vocals
• Bobby Cochran -lead guitar, vocals
• Brent Mydland -Hammond organ, electric piano, harmony vocals
• Rick Carlos -bass
• John Mauceri -drums

• October 26, 1978 : Paramount Theater, Portland, OR
• October 27, 1978 : Special Events Pavilion , Eastern Washington University, Cheney, WA
• October 28, 1978 : Paramount Theater NW, Seattle, WA (early and late show)

32 comments:

Bob Weir: "Keith didn't really like it here. He was bored with life in general, and he would freely tell anybody that. The darkness came upon him, and it pretty much took control." Blair Jackson notes that by mid-'78 Keith was completely wasted most of the time - onstage he barely played, and offstage he was surly & dour. Mountain Girl: "That was one of his goals - to get messed up. He really liked to get trashed." Richard Loren: "Keith was just strung out, nodding, wrecking hotel rooms, and being really crazed." Lesh tells a story in his book of how Keith set a hotel room on fire with his lighter while looking for a bottle of pills he'd dropped on the floor... Lesh: "Keith's playing had degenerated to the point that most of us were simply trying to lose him onstage... Never a paragon of self-esteem, Keith's increasing drug & alcohol use had put him in an almost vegetative state. His musical timing was suffering, and he had developed some annoying habits onstage, notably slavish imitation of Jerry's lead lines, a tic that began to irritate Jerry no end." By the end of '78, Keith & Donna were quite miserable - as Donna said, "The Grateful Dead is not benign... We realized that if we did not make a serious change soon, that it was not going to turn out well. We were physically, spiritually, and emotionally wasted... We knew we had to make a change, [but] neither one of us are quitters - we talked for weeks about how to make a change." Donna: "The tour before we finally left, Keith's and my personal life was so horrible, and in the band as a whole the feeling was that 'the music stinks, every concert stinks.' It just got progressively worse. [In Jan '79 she left the tour early, telling the tour manager, "I can't handle this, I'm going home." So she went home, skipping the last two shows in Buffalo & Detroit.] Then Keith and I did one more tour, discussing all the way how we could get out of it." Donna recalls that the band in general had become quite nasty by this stage. "After every show, one clique would be getting together to bad-mouth another clique...every week somebody was getting fired. I said to myself, 'This is hell.'" She remembers the band being unhappy "after almost every concert. Most of the time it was the blame game, depending on who was in the room. The adrenaline's still there, and the atmosphere is so charged that you need some kind of closure, and unfortunately with the Grateful Dead it was hardly ever there...everyone was judging the evening based on something different, so that made for some complicated scrutinies." It's also worth mentioning that Keith & Donna had become quite violent. Once they smashed into each other's cars repeatedly at a GD rehearsal, wrecking both cars; Donna also had a habit of destroying hotel rooms. Donna: "I never went a day without getting drunk...I punched out limo drivers...I would never be able to count the hotel rooms that I completely destroyed...If they didn't have my cleaning back in time at the hotel, I would just freak out and tear everything up... Keith was in a sling from where I'd broken a chair over his arm. I would have my eyes black from where he'd hit me. Once I did half a tour with a tooth missing that he'd knocked out." According to McNally: "Garcia would simply moan, 'Oh fuck'... It was painful to watch them, and it would get worse when they tried to get the rest of the band to take sides. As Hart put it, 'The music became secondary to the soap opera.'"

CONTINUED... So - before the Feb '79 tour, "Keith and I decided we wanted to get out and start our own group or something else - anything else. So we played that benefit concert at Oakland [2/17/79], and then a few days later there was a meeting at our house and it was brought up whether we should stay in the band anymore...and we mutually decided we'd leave." It's interesting that even though that last Feb show is pretty good (as are a number of shows on that tour) and features several newly revived songs, the band hadn't actually decided yet that K&D were out...though everybody must've seen the writing on the wall long before that. But at least per Donna's memory, there was no band meeting before Feb 17. Now as for the JGB - John Kahn suggested that the JGB folded in Nov '78 because Garcia had had it with Keith. He said that in late '78, "Jerry caught Keith stealing something inside his briefcase; his drugs or something. He was inside Jerry's briefcase and then he was gone right after that. I'm sure he would have been gone anyway; it was in the works that they were going to split up. He made Jerry mad...Keith would burn me and Jerry out of drugs all the time." I don't know if Kahn's memory is accurate here (I had assumed it was just scheduling reasons that the JGB stopped in Nov '78, because the Dead had a heavy tour schedule from then til mid-February), but it is another piece of the puzzle to consider. I don't know just how early the Dead started thinking of dropping Keith. (Weir started playing slide guitar in April/May '78, I think - haven't pinpointed the first show.) It seems to have been a gradual decline on Keith's part - he experimented a little bit with organ/electric piano sounds occasionally in early '77, but that side of his palette disappeared by '78. And personal behavior that might have been annoying at first became unendurable over the course of '78. It's interesting to me that from all accounts it was GARCIA'S suggestion that Brent could be the next keyboard player...considering Brent was in Weir's band, and Weir would have been more familiar with him earlier on. (Maybe Weir initially thought Brent was 'off-limits' for the Dead?) Lesh: "Jerry asked Bob to contact Brent, ask him if he was interested, and send him some tapes so he could learn some of our stuff." Brent: "Bob gave me a call one night out of the blue and said, 'Would you be interested in being in the Dead? It's not for sure, but Keith & Donna might be leaving soon, so you ought to check out some of this stuff,' and he gave me a list of some tunes to listen to." No one ascribes a date to this, but it sounds like it was some time before K&D left...so apparently the rest of the band was planning to spring a coup on K&D! (And perhaps waiting for a rehearsal break.)

I had always heard that the "briefcase incident" was the deciding factor. What I'm more curious about now is when that was and whether, and if so how many shows were played afterwards? or was it at the end of or between tours?

CONTINUED... It's hard to understand why the band clung onto K&D for so long, without even asking them to take a break or anything (that we know of). But, after all, this is a band that already had a lot of experience with self-destructive drug abusers within its ranks; Phil suggests they mainly just ignored it. Inertia carried the band along (as it often did), and of course none of them wanted to be "cops". Better to sweep things under the rug & hope they cleared up over time. Rational, sober discussion & decision-making was not the band's strong-point! (They had dropped Pigpen and TC in the past, so dropping Keith would not have been a radical step, and they were virtually playing without him anyway...but I'm sure nobody wanted to confront the issue.) Donna later tried to explain her behavior: "It wasn't the Grateful Dead. It's what success does to your self-image, what it does to the human spirit. It's destructive, and some people can handle it and some can't. The point is, you're out there so long before people who adore you...and you realize you can't live up to their image, so you're in a very strange position. And I'm not even Jerry... And I know the effect it had on him." But Keith & Donna did stay together, and apparently had a happy life after they left the Dead. She said Keith became healthy from being an absolute wreck, and they played in another band together during his last year. It seems that back in a smaller-scale environment, they became more peaceful & reconciled. As she said, "In a way though, we did pretty well: after ten years we were still in love and still married." So, they had a relatively happy ending, except that he died.

LIA, thanks for all the great quotes. I guess things with Keith and Donna were grimmer than I realized at the end. It sounds like everybody in the Dead, including the Godchauxs, knew that the February tour would be the last, even though it wasn't discussed until afterward. Presumably Weir had already talked to Brent by that time. It's also interesting to hear about Garcia giving up on Keith as a member of JGB. I would have to guess that Kahn started hatching Reconstruction just after that. For Garcia, going back to working with Merl sounds like it would have been a relief.

Yeah - reading more above that there were K&D shows in early 79, i really do wonder when the briefcase incident was and just curious and interesting if they played after that. But until now I had forgotten about a factor that must have added to the band's acceptance and indulgence of Keith's decline and associated behavior: he must have been crushed and humiliated by the very "public" affair that developed between Donna and Bobby... so even if the briefcase thing was earlier I could see Garcia deciding that was that but having the understanding and compassion to let Keith finish out the scheduled shows. although one wonders if it played a role in the cancellation of the Nov/Dec dead dates. anyway they were a great addition to the band and played on some of my favorite shows, although I totally disagree with the comments that the band "sounded better" with grand piano only... my opinion but also that of many others, particularly Jerry who's main interest in Brent was his B3... and obviously it was a sort of "love at first sight" thing too, the vibe between JG and Brent was pure affection very different from how Garcia interacted with other band members even at his most ebullient...

In a recent episode of the Good Ol Grateful Deadcast, Donna categorically denies that she and Bobby had any romantic involvement at all, FWIW.

Very interesting, saw the JGB often and always felt their sound was enhanced solely due to the great Grand Piano sound without the noise I often associated with the Midi, synth sound that came out of the Dead in the '80s. Less was more, all those early mid '70 Dead shows with Piano front and center made it a more enjoyable pleasurable listening experience imho. save

I don't listen to the Grateful Dead, but Keith was playing very, very well in October '78 with the JGB. It's a little non-linearity in the overall story, I think. And, indeed, the story behind the November 3, 1978 JGB tape (the soundboard portion of the show at which they play "So What") was allegedly that it was one of Jerry's favorites, and he made a copy for someone.

I think artists in general and the Grateful Dead in particular are often poor judges of their own performances. Musicians often remember the experience of playing--the sound was bad, your stomach hurt, you were mad at the piano player--but the experience of listening is often quite different. The same thing happens, in a more mundane fashion, if you teach a class or give a presentation to a group. You might feel you achieved none of your intended goals, but the audience still might have been quite impressed. The Dead had problems with Keith and Donna, and vice versa, but that doesn't mean there wasn't some great music by both the GD and JGB in 1978.

From reflecting on my own post and all the great comments, I now think that Keith and Donna remained in the Dead throughout 1978 because of Jerry Garcia. Even LIA's great research doesn't seem able to find a quote where Garcia criticized Keith's playing, and note that Kahn only said that Jerry got fed up with Keith's behavior, not his playing. Weir and Lesh seem full of complaints about Keith's playing, but I have to guess that Garcia either implicitly defended Keith (probably by silence) or that the others felt unable to broach the subject. That's why it's significant that Garcia suggested to Weir that Brent might work out--Weir and Lesh were waiting for Garcia to concede that Keith wasn't workable anymore. Garcia had an economic stake in Keith's presence that was different than the others, and there had to be at least a whiff that Jerry might choose JGB over the Dead. This is not to suggest that Garcia would have "broken up" the Dead over the JGB, but by 1978 he could tour profitably without the Dead, and he could have chosen to do more JGB tours and fewer Dead ones. Don't think that the other Dead members didn't consider this. To JGMF's comment, it seems that Garcia was happy with Keith's playing right up until the end, but too many other issues intruded. Based on the chronology we have determined, I wonder if Phil Lesh had either met Brent Mydland or heard him play before his tryout with the Dead...my guess is "no." I think Phil was so happy for a change, he took Jerry and Bob at their word, which was ultimately justified musically.

Great conversation all around, thank you all!

An audience review of the 10/28/78 JGB show on the jerrysite is ecstatic about Keith's playing that night. Personally I always felt that late '78 was a real low-point for the Dead's shows, a lot of very sludgy playing... The lack of enthusiasm could be mine (I haven't revisited those shows lately), but the tapes from that time were mostly very dispiriting. Lacking more info, I'd be hesitant about taking the position that Garcia 'defended' Keith in the Dead in any way, except perhaps through non-discussion. (And Donna suggests there were a lot of post-show discussions.) We have Lesh's viewpoint that Garcia was irritated by Keith's playing; we also have the fact that Garcia basically asked Weir for his keyboard player shortly after those Oct '78 shows. That doesn't sound like a strong defense! I agree that Keith being in two Garcia bands would have been a complicating factor that might've kept the rest of the Dead from complaining too loudly, deferring to their non-leader... (And remember, the Dead only played a few isolated runs between early July '78 and mid-Nov '78.) But it would no longer have been an issue after Nov 3 '78 - which coincidentally or not, is right after Garcia first heard Brent. From Donna's report, it sounds like the next 3 months of Dead touring was the nail in the coffin. The band may simply have felt like they had to wait til their next long tour break in Feb before they could really hash it out/break in a replacement. Actually, I can't remember seeing any interviews where Garcia talks about Keith at all...there must be one. Though there is a Gans interview from April '81 where Garcia says that Brent "is an excellent musician, and a great choice for the band... What we always wanted was somebody that would produce color. The thing of having another percussion instrument in an all-percussion band was really too much of the same thing. The effect the piano had on the ensemble was something we could accomplish with guitars, so we were really looking for that sustain - you know, we were all hungry for color." Although, in the same interview, he also praises the Cats Under the Stars-era JGB: "I've kept having new versions of my band that I wasn't quite satisfied with... My band was good during that period of time. I was really comfortable with the way that band was going... We had some real beautiful things going, nice things. [He mentions their Moonlight Mile and Let Me Roll It as being especially good with Donna's harmonies.] I'm just waiting for the band to evolve to the place where I can take it in those directions again. I may get some singers in the band." So from the perspective of '81, he seems quite nostalgic for the Keith-era JGB, at least the harmonies!

First off, thanks to LIA for the great research and post. I don't know if there's anything to this but if one watches the dvd of the Closing of Winterland (12-31-78), at one point during the middle of a jam, Garcia walks up to Keith and says something to him. That always puzzled me because what in the world would Garcia say to Keith in the middle of a jam? After reading above about Garcia being pissed about Keith copying his licks (which I had read about before somewhere), it's possible though admittedly doubtful, that Garcia said something to Keith to the effect of "can you stop copying my licks?" I realize this is probably not the reason he said something to Keith during that jam (apologies for not knowing what song it was but it was on the first dvd so probably the first set or beginning of the second) but I was always baffled that during the middle of a jam, he would walk up to Keith to say something to him. At the very least, I assume it would have been hard for Keith to catch what he was saying. One final note. I've been listening lately to some January and Feb, '78 Dead shows and the level of playing during that time period blows me away. It's really a continuation of the energy they had in late '77. Now I can't say that I've done any thorough comparison of that period with late '78 / early '79 but my gut instinct tells me the energy level and creativity level of the end of '78 didn't match that of the beginning of '78. If this is so, it could have been due to drugs (Garcia getting more into Persian and Keith getting more out there and Lesh possibly drinking more), wear and tear of being on the road for almost another year (they had only been on the road for 1.5 years by end of '77), or a combo of things but I just don't remember being blown away by anything I've heard from late '78 / early '79 to nearly the level I've been compared to the ridiculously great playing of early '78 (the well-known 1-22-78, Eugene, OR being a typ example). The one I heard very recently from that period and is an aud recording of Feb 4, 1978 (Milwaukee) and thus freely available at archive.org (get it here: http://www.archive.org/details/gd78-02-04.aud.vernon.12199.sbeok.shnf ). It's a great aud recording with excellent versions of Ten Jed, Dancin, Playin, Black Peter > Around & Around. This night is between the two nights that make up DP 18 (Feb 3 & 5, 1978). Anyway, thanks again for the good & entertaining post (interesting to read about Dee Murray, who's name I remembered from Elton John's big albums, playing with Weir - he died at the age of 45 from skin cancer according to Wikipedia).

Corry did the post, I just did the comments! It wasn't uncommon for the Dead to talk to each other mid-song...I think there's an instance in the GD '74 Winterland movie as well, where Jerry has a joke with Donna while Weir's singing in the middle of a song - of course, now I can't remember which one. I agree that late '78 is a big drop from early '78 - to me those February Dick's Picks shows are as good as the year gets; and the spring tour has some highly regarded, but repetitive shows (though I prefer '77). They were very hot (or coked-up, if you will) in some summer shows like 6/4, 6/25, 9/2, some in early July. They had problems in Egypt...the October Winterland run has its moments...but the Nov/Dec tour to me sounded like a real slog, aside from a few standouts like 11/20 and 12/16. They seem to have perked up in Jan/Feb '79; at least many of those shows sounded a lot more energetic to me. But Keith-wise, in the Dead his playing had been on a slide since '76, which is the last year where we get real jazzy piano improv in the jams. Whether it was a change in the Dead's approach (fewer 'outside' jams; more rock and less jazz) or a change in Keith's interest, by '77 he's sticking much more to chordal backing, and often never leaves the chords. Which I think is the cause of Jerry's comment that he was just playing what the guitars were already playing. Someone else would have to detail how Keith's playing progressed through the JGB in those years, but it seems he was much more of a contributor to late-'78 JGB than late-'78 Dead. It's my guess that in the Dead, the personal problems with Donna didn't become disastrous until the last few months (the Dead weren't on the road that much in mid-'78).

Sorry Corry for snubbing you accidentally. Thanks for the great post! Great stuff! (and thanks LIA for letting me know)

Bill, I never took it as a snub. One of the great things about blogging is the collective nature of it. LIA's research on all the quotes was so great that I periodically forgot it was my post, too, since it added so much to the discourse. I, too, had always wondered what the Dead said to each other onstage. Back in the 70s, they use to tune a lot, and I would see Garcia and Weir talking while they tuned up between songs. What were they talking about? Even if they were talking about the next song, which I mostly doubt, what were they saying? Most of these interludes were edited out of tapes, much less of videos, so they are mostly forgotten, but there was often extensive private chitchat between songs.

I'm not much of a banter-seeker in those years, but there's at least one episode from this period that must be pointed out: http://www.archive.org/details/gd1978-11-18.sbd.miller.81131.sbeok.flac16 In the last 30 seconds of the From the Heart of Me track, the band starts cursing each other out like middle-schoolers as they get ready for the next song. It's pretty hilarious...if you ever wondered what they were saying to each other between songs... (The rest of the show is pretty strong, by the way, with a rare Ollin Arrageed jam.) Anyway, synchronicity struck with this post, as I had actually written part of a post on the end of Keith & Donna, when Corry beat me to it. After some soul-searching, I decided to use the material in the comments here rather than do a duplicate post on my blog. After all, I'm devoted to the *early* Dead, and if I suddenly posted about 1978, readers might wonder if they were in the right blog!

The funniest part is that I originally conceived this post as being about The Bob Weir Band, and an excuse to mention the fact that Dee Murray played with them for a few dates in the Fall. I ended up writing more about Keith and Donna than I expected, and then LIA's research made the whole thing take off.

These things do tend to take on a life of their own ...

One of the most baffling comment scenes to me is the following. On the 3-28-81 Rockpalast video broadcast of the show in Germany, Pete Townsend comes out and plays with the Dead on NFA > Wharf Rat > Around & Around > Good Lovin. Right after they go into Good Lovin (last song of the second set), Garcia walks up to Townsend, says something to him, and Townsend then walks off stage. There's nothing that indicates any animosity between the two (Garcia’s all smiles) but I've always wondered what that was about. I figured it was along the lines of, "Pete, we're gonna finish the set with this one and I'll talk to you after the show." You can see it for yourself here on youtube: http://www.youtube.com/watch?v=Fc7npDaySok (Good show by the way and excellent camera work - my fave Dead vid by far. It's a shame the Dead don't officially release it.)

I found a comment about the Bob Weir Band from bassist Rick Carlos, on the Wolfgang's Vault page for the BWB show at the Old Waldorf on Mar 25 '78, here http://www.wolfgangsvault.com/bob-weir-band/concerts/old-waldorf-march-25-1978.html Wow ! Nice to find this. I have no photos or recordings of my days with Bob. The bass was recorded "line direct" so the sound is rather dry compared to what was coming from my amp but I'm happy just to hear this stuff again. I recommended Brent for this gig even though he was always hard to work with . We had played in bands together since high school. John Mauceri is back to his original name "John White". After the Weir gig John went on to play with Danny O'keefe , Jackson Brown and Etta James. Great memories ! Rick Carlos.

Brent Mydland was a perfect fit with the Dead from the first show. I was listening to his debut performance from Spartan Stadium, San Jose 1979 and he really does a great job. By the way that show will make a great vault release. David Lemieux, the archivist mentioned to me it's one of his favorites, especially the terrific "Scarlet/Fire" and "Estimated>He's Gone."

Reposted from a different thread: You asked, "does anyone know when Weir 'debuted' as a slide player with the Dead?" When I reheard Warren Zevon's studio version of Werewolves of London and the slide work on that, I theorized that when the Dead learned that tune is when Bobby had the impetus to play slide guitar live. First GD performance of the song on April 19, 1978, did Bobby play slide prior to that date?

As far as I know, spring '78 is when Weir started playing slide; so Werewolves may well have been the impetus. That was also the tour where they started doing the realllly long drum breaks. The Dead sound very energetic & excited on some shows that spring...perhaps overly so.

Weir played Slide on Werewolves of London 4/19/78 - for sure. Listen to it here: http://archive.org/details/gd1978-04-19.fob.sonyECM250.walker-scotton.miller.94494.sbeok.flac16

There's a recent interview with Ozzie Ahlers - http://www.jakefeinbergshow.com/2013/03/jfs-110-the-ozzie-ahlers-interview/ In early '78, Ahlers was playing keyboards in Robert Hunter's band Comfort, and they opened for the JGB a number of times. Ahlers says that at two of these shows when Keith "wasn't feeling well," he sat in for Keith in the JGB! (He isn't sure of the cities.) So Ahlers would've had some JGB experience long before he actually joined the band in '79...it makes sense that Garcia would call on him. In a parallel GD universe though, imagine if Garcia had invited Ahlers to join the Dead & Mydland to join the JGB?....

Interesting. In my opinion Garcia and Weir were just wrong about the keyboard sound. From the audience both JGB and the dead were best with the open percussive sound of the acoustic piano. You could track each instrument in the weave. The organ and synths cread a mid- range mush that swallowed Bobby and sometimes Phil.

many disagree

Btw, I was at the 78 Portland JGB show. It was one of my all-time favorites, along with the 78 Dead at Mac Court and the Keith and Donna's finale at Oakland in 79

I always thought this was the scoop March 10, 1979 SF Examiner Tom Campbell column says GD lost Kieth and Donna. In the Pink March 11, 1979 SF Examiner Joel Selvin says GD announced the departure of Keith and Donna. Looks like Tom got the scoop BUT I found Jon Bream Minneapolis Star writer had this in his March 7, 1979 column and Ernie Santosuosso in the Boston Globe March 9. Hmmmmm

This comment has been removed by the author.

George Strait breaks record for largest ticketed concert in US with nearly 111K in attendance

Everything is bigger in Texas. Just ask George Strait .

The country music icon made history with his concert at Kyle Field in College Station on Saturday night, playing to a record-breaking 110,905 fans . The show set the U.S. record for a ticketed concert, previously held by The Grateful Dead with its 1977 concert at Raceway Park in New Jersey.

"We got some Aggies out there? Oh yeah!" Strait said at the concert, per Chron , referencing the Texas A&M University team. "I’m ashamed to say this, but this is my first time to ever be in Kyle Field. Damn! Just invite me back!"

George Strait on the road: Every song country icon played on his 2023 tour

The concert also broke the record for the most attended single event at Kyle Field, even beating the Aggies football team. The record for a football game was set on Oct. 11, 2014, with 110,663 fans in attendance for a Texas A&M 35-20 loss to SEC West rival Ole Miss. Strait also broke his own Texas record on June 7, 2014, when he performed for 104,793 at Arlington's AT&T Stadium.

Need a break? Play the USA TODAY Daily Crossword Puzzle.

Strait's current tour has four remaining dates. The next concert is set for June 29 at Rice-Eccles Stadium in Salt Lake City.

More concert news: Madonna attracts 1.6M fans for free concert in Brazil to wrap up her Celebration tour

Among the attendees at Saturday's concert were new Texas A&M football coach Mike Elko and Sen. Ted Cruz . Elko shared a photo of his seats from the venue when asked whether he was taking in a show of another kind: Texas A&M baseball's College World Series opener vs. Florida in Omaha, Nebraska. The game was heavily delayed by weather, causing a conflict for the Aggies coach.

"Enjoying The King at Kyle Field," Elko wrote. "But I’ll be there supporting @AggieBaseball when we’re done."

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Grateful Dead Live at Winterland Arena on 1978-10-20

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George Strait Breaks Record for Largest Ticketed Concert in U.S. History with Over 110,000 People in Attendance

S trait's gig at Texas A&M’s Kyle Field in College Station surpassed the legendary 1977 Grateful Dead show that took place in front of 107,019 fans

The King of Country might just be the king of live shows, too.

As of this weekend, George Strait has broken the record for the largest single ticketed concert in U.S. history — as his Saturday, June 15 gig at Texas A&M’s Kyle Field in College Station saw a whopping 110,905 fans in attendance, per a release.

The attendance numbers helped straight break a record long held by the Grateful Dead — when the band jammed for 107,019 attendees during a 1977 concert at Raceway Park in Englishtown, N.J., per NPR .

Related: Who Is George Strait's Wife? All About Norma Strait

According to the release, Strait's George Strait: The King at Kyle Field show featured special guests in Parker McCollum and Catie Offerman. Promoting his forthcoming September LP Cowboys and Dreamers , the 72-year-old country star's setlist included hits such as “Here for a Good Time,” “Check Yes or No,” “Amarillo by Morning,” and “Take Me to Texas” — as well as some material off the new project.

Strait has four more shows scheduled for the calendar year, including June 29 at Rice-Eccles Stadium in Salt Lake City; July 13 at Ford Field in Detroit; July 20 at Soldier Field in Chicago; and Dec. 9 at Allegiant Stadium in Las Vegas.

“We got a lot of songs to play for y'all today/tonight. What a beautiful night, too, right? We got some new stuff that we're gonna do also, we got a new album ... out in September called Cowboys and Dreamers,  so we got some stuff from that we're gonna play from that for you also and we got a really special thing we're gonna do for you, so alright, what are we here for?!,” Strait said during the gig, before performing 2011 hit “Here for a Good Time.”

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Related: George Strait's Children: All About the Country Legend’s Son and Late Daughter

Per a release, fans filled in every hotel, Airbnb and bed and breakfast within a "40-mile radius." Halfway through the set, Strait honored Sgt. Tiffany Baker, via the  Military Warriors Support Foundation’s Homes 4 Wounded Heroes  Program.

While Strait's latest show marked the largest ticketed musical performance, multiple free concerts and festival events have came out with larger crowds — including an 800,000-person-attended 1986 performance by the New York Philharmonic in Central Park, per NPR.

Strait's release notes that his latest show was also the biggest crowd at Kyle, surpassing a 2014 Texas A&M game that brought out 110,633 people.

Strait's new album Cowboys and Dreamers arrives on Sept. 6 via MCA Records.

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I never much cared for the late 70's dancin..., peggy o was great and i was so drunk, this show smokes.

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