By the summer of 1987, the Grateful Dead had fully embraced their unlikely second act as arena-rock institution. Brent Mydland, now eight years into his tenure as keyboardist, had grown from nervous newcomer into a fiercely committed bandmate whose bluesy Hammond work and rough-edged vocals gave the group a harder, more muscular quality than the gentler Godchaux years. Garcia's playing remained fluid and searching, and the rhythm section of Weir, Lesh, Hart, and Kreutzmann was as tight as it had been in years. The In the Dark album, released just days before this show, had propelled "Touch of Grey" into genuine MTV rotation and Top 40 airplay — an almost surreal development for a band that had spent two decades as rock's most devoted cult. The Dead were suddenly everywhere, drawing fans who had never seen a show before alongside the faithful who had followed them for decades. The energy around the band that summer was electric and a little vertiginous. Giants Stadium in the Meadowlands was the kind of place that tested a band's ability to fill space. Massive, concrete, and unapologetically soulless in the way only 1970s sports complexes can be, it nonetheless became a reliable Dead stronghold during the arena era — a place where the tri-state faithful turned out in enormous numbers and created something tribal in that vast bowl of a room. New Jersey shows had their own character: loud, enthusiastic crowds who pushed the band and got pushed back in return.
The one song we have confirmed from this date is "Hell in a Bucket," which by '87 had become one of Weir's most reliable opening gambits. Originally debuted in 1983, the song is a winking piece of rock swagger — Weir's cocky narrator heading cheerfully to damnation — and it suited the stadium-era Dead perfectly. It opens with a confident riff and tends to set a loose, grinning tone for the night. A strong "Hell in a Bucket" in the first slot usually meant the band was relaxed and ready to play, which bodes well for whatever followed. Recording quality at Giants Stadium shows from this era varies — audience tapes from these massive outdoor venues can range from crisp and immersive to distant and echo-y depending on where the taper was sitting, so manage expectations accordingly. But the energy of a July 1987 crowd riding the wave of In the Dark's release is itself worth hearing. This was the Dead at peak cultural moment, playing big and playing for keeps. Worth a listen.