By the spring of 1987, the Grateful Dead had settled into what was unmistakably their arena-era groove — a well-oiled, if occasionally combustible, machine touring on the momentum of *In the Dark*, their commercial comeback album that would drop later that summer. Brent Mydland was now eight years into his tenure as keyboardist and had fully claimed his place in the band, bringing a bluesy urgency and soulful grittiness that contrasted nicely with Garcia's ever-mercurial lead work. The rhythm section of Mickey Hart and Bill Kreutzmann was locked in, and Phil Lesh, despite some health concerns that would deepen in the years ahead, was still capable of those low-end seismic events that made a good room shake. This was a band that could coast on any given night, but could also suddenly ignite into something extraordinary — and the spring '87 run had some of both. The Frost Amphitheatre at Stanford University is one of those beloved Bay Area venues that carries a particular weight for Deadheads. Nestled on the Stanford campus in Palo Alto, the outdoor setting gave shows there a loose, festival-like atmosphere — the smell of eucalyptus in the evening air, a crowd that skewed toward the knowledgeable and local, and an intimacy that the band seemed to respond to. Playing essentially in their own backyard had a way of shaking the Dead loose from autopilot, and Frost shows were often more adventurous than a mid-tour arena night in, say, Indianapolis. The one song we have catalogued from this show is "West L.A.
Fadeaway," which by 1987 was a relatively recent addition to the rotation, having appeared on *In the Dark*. It's a Garcia-Hunter piece with a rolling, funky feel — sort of a Highway 61-era Dylan gone California cool — and it gave Brent room to shine with its bluesy chord changes. A strong version of this tune has Garcia leaning into the storytelling, his voice worn and knowing, the band locking into a mid-tempo pocket that never quite resolves where you expect it to. Listen for the interplay between Brent's organ voicings and Garcia's guitar tone; on a good night, those two found a conversation that was quietly gorgeous. Recording information for this date is limited in our database, but Frost shows from this era frequently circulated in solid audience recordings given the devoted local taper community. Whatever you're hearing, the open-air venue gives it a natural warmth that suits the music. Put it on and let the evening come to you.