The Grateful Dead's performance at Family Dog at the Great Highway in San Francisco on March 1, 1970, stands as one of the quintessential early Dead shows. The venue was a small, intimate setting that brought the band even closer to their audience. This was a time when the Dead were still finding their sound in the studio, but their live shows were already filled with unique improvisations and infectious energy. The setlist from this show, which blends rock, blues, and deep improvisational jams, reflects the band's transition from the folk-rock and psychedelia of their earlier years to a more expansive, jam-oriented style that would become their trademark.

First Set:

The show opens with New Speedway Boogie, a song about the political unrest and the counterculture, with its laid-back groove and poignant lyrics about the chaos of the times. It sets a serious yet mellow tone to the performance, but the mood quickly shifts with Casey Jones, a rockabilly-infused favorite that’s high-energy and a crowd-pleaser. The Dead’s rendition of this classic is sharp, filled with Garcia’s guitar leads and Pigpen’s soulful organ riffs.

Next up, the Dead dive into Big Boy Pete, a rollicking and bluesy tune that had been part of their repertoire for a while. The tune gives the band a chance to get loose, with a fun, bouncy rhythm section and energetic vocal delivery from Jerry. It’s a great mid-set number, keeping the energy flowing before they drop into the haunting Morning Dew, a gorgeous and melancholic ballad that has become a hallmark of their live performances. This version features delicate guitar lines and haunting harmonies, with Jerry’s voice delivering the heartbreaking lyrics about a world in decay.

The band picks up the tempo with Hard to Handle, one of the few songs originally recorded by Otis Redding that the Dead often performed with full force. It’s an upbeat, funky number, with Pigpen’s deep, gritty vocals setting the tone for a fun, loose jam. That energy flows directly into Me and My Uncle, a traditional song with a lively, Western flair. The Dead had already begun making it their own by this point, with a rock-infused version that kept the audience clapping along.

The band then transitions into one of their more adventurous jams with Cryptical Envelopment > Drums > The Other One > Cryptical Envelopment > Black Peter, a highly experimental sequence that takes the audience through shifting musical landscapes. Cryptical Envelopment begins with a slow, atmospheric groove before flowing into a heavy, improvisational segment — Drums — which provides an opportunity for Mickey Hart and Bill Kreutzmann to explore percussive space. From there, The Other One launches into one of the band’s most beloved extended jams, with a pounding rhythm section and soaring guitar solos, showcasing the band's penchant for weaving together rock and avant-garde improvisation.

After the band circles back into Cryptical Envelopment to bring the jam to a close, the transition into Black Peter is seamless, with Jerry’s vocals and guitar conveying deep emotion. This poignant song feels like a quiet respite from the chaos of the previous jam sequences, offering a moment of reflection and sincerity. The energy picks back up as the band charges into Beat It On Down the Line, a straight-ahead rock song that keeps the momentum rolling.

Dire Wolf comes next, a folk-inspired tune with cryptic lyrics that tell a strange, apocalyptic tale. It’s a perfect vehicle for the band's harmony singing and acoustic-inspired vibe. They continue this journey through Americana with Good Lovin' > Drums > Good Lovin', where Pigpen once again takes center stage. His vocal performance on Good Lovin' is raw and commanding, drawing the crowd into the groove as the band slips back into the primal rhythms of Drums before returning to a triumphant reprise of Good Lovin'.

Second Set:

Cumberland Blues offers a more straightforward, bluegrass-inspired track with its energetic, quick tempo and bright melodies. The rhythm section locks in tightly, creating a propulsive energy that carries through to the next track, I'm A King Bee, a blues number originally by Slim Harpo, where Pigpen delivers a deep, swaying performance.

Next, the band drops into China Cat Sunflower > I Know You Rider, one of their most iconic pairings. The transition between these two tracks is seamless, with the band riffing on the melody and Garcia’s guitar soloing beautifully through the jam. China Cat Sunflower flows with its upbeat and jazzy groove, leading into the more traditional folk-rock of I Know You Rider, which creates an infectious, sing-along moment with the crowd.

Encore:

To close out the night, the band plays Uncle John’s Band, an anthem of the late 60s and early 70s, rich with harmony and hope. It’s a perfect way to end the show, with the crowd singing along to its uplifting message. But the night’s energy isn’t quite over yet — the encore continues with a cover of Dancin' in the Street, a call for celebration and community. This version of the song is full of joyful rhythm and spirited vocals, leading into the closing song, It's All Over Now, Baby Blue, a Bob Dylan classic that offers a bittersweet and reflective end to the evening.

The show at Family Dog at the Great Highway on March 1, 1970, is a stunning snapshot of the Grateful Dead in their early years, showcasing their ability to blend genres and experiment with form while still staying grounded in the rock, folk, and blues traditions. The setlist moves through various moods and textures, from deep jams to poignant ballads, and features some of the best live renditions of the songs that would define their legacy. Fans of this era of the Dead will no doubt find this show to be a standout, filled with energy, soul, and deep improvisational brilliance.