Indianapolis, IN. – Six-time Grammy-winning musician, producer, and composer Don Was brought depth, history, and groove to the Vogue Theatre on Tuesday, January 20, leading his Pan-Detroit Ensemble in a performance that felt as much like a cultural statement as a concert. The evening served a dual purpose: celebrating the release of the ensemble’s debut album, Groove in the Face of Adversity (out now via Mack Avenue Records), and honoring the 50th anniversary of the Grateful Dead’s Blues for Allah. From the outset, it was clear this would be a night rooted in reflection, resilience, and the connective power of music.
Don Was opened the show not with an instrument, but with words. Standing center stage, he delivered a heartfelt recitation of “Jerry’s Gone”, a poem originally written by Ram Dass following the death of Jerry Garcia in 1995, but Was used the poem to share his feelings on the recent loss of Bob Weir, a founding member of the Grateful Dead. The tribute honored Was’s longtime friend and collaborator with quiet reverence, immediately establishing an intimate and reflective atmosphere. The moment was deeply personal, setting a contemplative tone that underscored the evening’s themes of legacy and loss. I was fortunate enough to capture both Bobby and Don playing together in Bobby Weir & the Wolf Brothers (featuring the Wolkpak) at Farm Aid 2023. Rather than leaning on nostalgia, the recitation framed the music to come as part of an ongoing continuum—one that respects the past while remaining firmly engaged with the present.
So now Jerry has dropped his body…
And here we are… still.
Through him and his mythic playmates came the sound that
Connected us to our deeper selves…
This was our spiritual practice…
our doorway…
Genuinely ours… and it worked…
Now Jerry isn’t
And we are…still.
Ram Dass – ‘”Jerry’s Gone”
As the Pan-Detroit Ensemble took full shape onstage, the breadth of Detroit’s musical lineage came into focus. Anchored by Don Was on bass, the group moved fluidly between jazz, funk, soul, and improvisational rock. Saxophonist Dave McMurray brought sharp, expressive lines that cut through the arrangements, while keyboardist Luis Resto provided harmonic richness and textural nuance. Trombonist Vincent Chandler and trumpeter John Douglas added muscular brass textures, evoking both classic Motown and forward-leaning jazz traditions.
The rhythm section was particularly compelling. Drummer Jeff Canaday and percussionist Mahindi Masai locked into deep, elastic grooves that powered the ensemble without ever overwhelming it. Guitarist Wayne Gerard added grit and color, weaving in blues-inflected phrases and atmospheric flourishes, while vocalist Steffanie Christi’an delivered a soulful, commanding performance that elevated the material with both emotional weight and technical finesse. Together, the ensemble functioned as a true collective—each player distinct, yet fully attuned to the group’s dynamic.
“There’s a unique sound and feel to Detroit that permeates the music in a way that resonates all over the globe,” says Don Was. “There’s a rawness, a lack of pretension, and an unmistakable underlying groove that reflects the people and culture of the entire city.”
Material from Groove in the Face of Adversity translated seamlessly to the live setting, resonating as both timely and timeless. The album’s themes—perseverance, community, and creative resistance—felt especially potent in this context, reinforced by the band’s chemistry and the audience’s engaged response. The songs of Blues for Allah (played in full album order) were handled with respect and imagination, capturing the exploratory spirit of the Grateful Dead without imitation, and reinforcing Was’s long-standing connection to Weir and that era of musical openness.
By the close of the night, Don Was & the Pan-Detroit Ensemble had delivered more than a celebratory performance; they offered a reminder of music’s capacity to honor history while carving new paths forward. At the Vogue Theatre, the ensemble affirmed that groove, when rooted in purpose and collaboration, remains a powerful force—especially in the face of adversity.
SETLIST: INDIANAPOLIS
- HELLO OPERATOR (Was Not Was Cover)
- YOU ASKED, I CAME (Don Was Cover)
- ELVIS’ ROLLS ROYCE (Was Not Was Cover)
- I AIN’T GOT NOTHIN BUT TIME (Hank Williams Cover)
BLUES FOR ALLAH
- HELP ON THE WAY (Grateful Dead cover)
- SLIPKNOT! (Grateful Dead cover)
- FRANKLIN’S TOWER (Grateful Dead cover)
- KING SOLOMON’S MARBLES (Grateful Dead cover)
- THE MUSIC NEVER STOPPED (Grateful Dead cover)
- CRAZY FINGERS (Grateful Dead cover)
- SAGE & SPIRIT (Grateful Dead cover)
- BLUES FOR ALLAH (Grateful Dead cover)
- LOSER (Jerry Garcia cover)
- MIDNIGHT MARAAUDERS (Fat Freddie’s Drop cover)
- DRUMS & PERCUSSION
- INSANE (Cameo cover)
- WHEEL ME OUT (Was Not Was cover)
- SHAKEDOWN STREET (Grateful Dead cover)
- THIS IS MY COUNTRY (The Impressions cover)
DON WAS & THE PAN-DETROIT ENSEMBLE:
Show Date: 01.20.26
