Unlimited Devotion Unites George Porter Jr., Daniel Donato, Steve Kimock, More For Grateful Dead Tribute [Photos/Videos]

Unlimited Devotion returned to Ardmore Music Hall over the weekend for a star-studded, two-night celebration of the Grateful Dead’s enduring legacy, blending themed musical tributes with a spirit of community and charity. Now in its eighth year, the annual event founded by Wavy Gravy served as a fundraiser for the Rex Foundation and Wavy Gravy’s Camp Winnarainbow, drawing Deadheads and philanthropic music lovers alike for a pair of one-of-a-kind performances.

Each night began with a brief livestreamed introduction from OG Merry Prankster Wavy Gravy, beaming in from the West Coast to set the tone. Friday night’s first set opened with a restrained but compelling performance from a stripped-down quartet. Kicking things off, a lineup dubbed Dupree’s Diamond 3 featured guitarist John Kadlecik (Furthur) on lead guitar alongside his former Dark Star Orchestra bandmate Rob Eaton on acoustic guitar and current DSO bassist Skip Vangelas, with Jason Hann of The String Cheese Incident joining in on drums. Their set featured some of the Dead’s best cowboy tunes, including a cover of Marty Robbins’ “El Paso”.

Dupree’s Diamond 3 – “The Race Is On”, “Deep Ellum Blues”, “Just Like Tom Thumb’s Blues” – 5/9/25

Vocalist Kanika Moore joined in toward the end of the set for a sultry rendition of The Manhattans’ “Shining Star”, notable for its understated, smoldering intensity. The set breezed by like a warm summer wind, closing on a high note with Moore handling lead vocals on “Uncle John’s Band”. With little time to linger, the musicians played a quick encore before clearing the stage for the weekend’s first highly anticipated superjam.

A Dead-ly collection of players performing under the moniker The Wavy Gravy All-Stars featured George Porter Jr. (The Meters) on bass, Steve Kimock and Nashville’s rising Cosmic Country star Daniel Donato on guitar, with The Disco Biscuits’ Aron Magner on keys and Hann remaining behind the drum kit. This unique, intergenerational lineup gelled surprisingly well. Porter kicked things off with his beloved scratchy vocals on Wilson Pickett‘s “In The Midnight Hour”. Donato and Kimock traded some crisp and clean lines while Magner let loose on the organ and Hann shed much of the restraint he had showed in the first set in favor of a more unleashed, energetic attack.

Donato and Kimock showcased their chops on a cover of Eric Clapton‘s “Lay Down Sally”. Then, riding the momentum, Kimock and Porter dug deep for a searing rendition of Howlin’ Wolf’s “Smokestack Lightning” before Kanika Moore returned for a smooth, laid-back cover of Smokey Robinson’s “I Second That Emotion”.

Hann’s drumming mirrored the joy on his face, growing increasingly expressive as the set progressed. By Moore’s second song at the mic—an expansive, heavenly rendition of Sarah McLachlan’s “Angel”—he was dropping intricate fills, seemingly swept up in the emotion of the moment. Moore’s heartfelt delivery earned a wave of well-deserved applause as she exited the stage, leaving the instrumentalists to get down and dirty.

Magner elevated the energy with his electric piano playing on a funky rendition of Lee Dorsey’s “Get Out of My Life, Woman”, which featured Porter on lead vocals. Meanwhile, Kimock and Donato seemed to be having their own instrumental debate, each pushing the other to new expressive heights.

Moore briefly returned to back up George Porter Jr. on the Meters classic “Hey Pocky A-Way”. Magner’s vibrant organ and electric piano riffs paid homage to Art Neville’s iconic keyboard work. Fifty years after first recording the tune, Porter could probably play it in his sleep, but on this night, fully engaged and in excellent voice, he was a joy to behold.

As the crowd’s cheers peaked and subsided, Magner stepped to the mic to thank the audience, introduce the band, and remind fans that all the musicians on stage would be back in some form or configuration the following night. He also offered a lighthearted apology for any signs of fatigue, noting that many of the players were fresh off performances at the New Orleans Jazz & Heritage Festival. The set then closed with a joyful rendition of Stevie Wonder’s “Boogie On Reggae Woman”.

Local Grateful Dead tribute band Splintered Sunlight kept the music going with a late-night set that featured special guest sit-ins from Donato and Moore. The band played long and late into the night, demonstrating why they’ve become a staple of the Northeastern club scene.

Feels Like A Stranger – “Help On The Way” – 5/10/25

Night two began with a lineup of players dubbed Feels Like A Stranger and a set Dead-icated to honoring the memory of the late Grateful Dead bassist Phil Lesh. Returning performers Steve Kimock, Daniel Donato, and Jason Hann—this time shifting to his familiar role of percussionist—were joined by Reed Mathis on bass, Holly Bowling on electric piano, and Jeff Franca (Thievery Corporation) on drums. Donato and Kimock formed the frontline, while Mathis faced the tall task of handling Lesh’s parts throughout the tribute. Luckily, he is not only a seasoned veteran of the jam scene but also a master of the Grateful Dead songbook, having played with Bill Kreutzmann in Billy & the Kids, and a bit of a musical chameleon.

Up next was LaMP, the only all-original project of the weekend, featuring Scott Mettzger (Joe Russo’s Almost Dead) on guitar alongside Trey Anastasio Band‘s Ray Paczkowski on the organ and clavinet and Russ Lawton on the drums. The funky jazz trio had a lot of moments that certainly recalled the instrumental sequences of the Dead, but are also clearly descendants of the jazzier wings of the jam lineage—inspired by artists like Herbie Hancock and Medeski Martin and Wood. Their set worked perfectly as an instrumental palette cleanser and had the crowd in boogie mode almost instantaneously.

Finally, the evening wrapped with Dead Can Dance, a clear-the-benches-for-a-dance-party configuration that had returning jammers Reed Mathis (who slid over to guitar), Daniel Donato, Aron Magner, Jason Hann, and Kanika Moore, plus late arrivals Jon Colman on bass and Russ Lawton on drums. Mathis got things going with a very loose take on the Jerry Garcia Band classic “Cats Out Under The Stars”. Other highlights included an aggressively funky “Feels Like A Stranger” led by Magner.

Mathis’ chugging, nearly reggae rendition of the Jerry Garcia Band favorite “Reuben and Cherise” might not have been what folks were expecting, but that spirit of rule-breaking felt central to the evening’s mission. Every tune kept the crowd dancing, fully engaged. Donato, for his part, played in full-on revelation mode throughout the entire set.

Bob Dylan’s “Tangled Up In Blue” was in solid hands with a vocal duet from Donato and Mathis, punctuated by a mid-song instrumental break that stretched far beyond anything the Minnesota-born troubadour ever considered. Moore turned in another fabulous vocal performance as the night wore down and was, in turn, clearly blown away by Donato’s fiery fret work on JGB-inspired take on Roy Rodgers & Norton Buffalo’s “Ain’t No Bread In The Breadbox”.

The night ended on a high note with a rousing rendition of the Grateful Dead’s go-to closer, Buddy Holly’s “Not Fade Away”—a crowd-pleasing, call-and-response anthem that had the entire room singing and clapping along. That spirit of joyful participation, and the enduring goodwill the Grateful Dead continue to inspire, permeated every moment of the weekend’s celebration. What more could any band hope to leave behind?

Check out photos from Unlimited Devotion and click below to view a collections of fan-shot video highlights. Both nights are available to stream via nugs.

Unlimited Devotion – Ardmore Music Hall – Ardmore, PA – 5/9/25–5/10/25 [Video Playlist]

[Videos: Daniel Marino]