Watching Umphrey’s McGee live, you never know what form the night will take. On March 8 at the Riverside Theater, those expectations didn’t just get met—they got redefined. Graceful jams mysteriously erupting from familiar songs, surprise covers, and a playful energy threaded through every note: this show felt like a 2,000-seat improvisational sandbox. It clearly wasn’t just another stop on a tour—it was a milestone, a reminder of what makes this band a genre-bending force.
Full Setlist
Set One
-
Plunger →
-
13 Days
-
The Bottom Half
-
Jesus, Etc. (Wilco cover – first time played)
-
Wappy Sprayberry →
-
Space Funk Booty →
-
40’s Theme
Set Two
-
All in Time →
-
Concessions
-
Layla (Derek and the Dominos cover)
-
1348 →
-
Rock and Roll Part 2 →
-
Slacker →
-
1348 (reprise)
Encore
-
Partyin’ Peeps →
-
All in Time
The Energy: Kinetic and Magnetic
From the very first note of “Plunger,” the room crackled with upbeat propulsion. That classic Umphrey’s groove rolled in—tight, confident, rich in texture—before effortlessly segueing into “13 Days.” Suddenly, it felt less like a concert and more like being immersed in a living, breathing jam machine.
“The Bottom Half” deepened the tone, keeping the narrative going with thoughtful shifts and stretching out into those emotive peaks. Then came the surprise of the night: “Jesus, Etc.”, a Wilco cover never before performed live by the band. That revelation exploded into an emotional wave, melodic and lyrical beauty reframed by Umphrey’s signature fluidity.
From there, “Wappy Sprayberry” jolted the energy back up with playful bluster, segueing into the funk-laced “Space Funk Booty,” which teased in big-name riffs like it was daring the crowd to stay still. By the time “40’s Theme” wrapped up the first set, it felt like a full sensory journey—a landscape of improvisation that held tight to every twist and turn.
Highlights & Crowd Moments
There were standout moments galore:
-
“Jesus, Etc.” wasn’t just a rare cover—it felt like a moment of shared gratitude between band and audience, a hushed awe that only live music can ignite.
-
“Space Funk Booty” teased in House of Pain’s “Jump Around,” turning the theater into a pulsating dancefloor—no one resisted.
-
Early in Set Two, “All in Time” came in smooth and deliberate, as though the band was reminding the audience they were in musical hands that could do anything.
-
“Layla” blasted through with gritty reverence, the band’s dynamic translating that classic guitar riff into something both nostalgic and brand new.
-
The 1348 sandwich—“1348” → “Rock and Roll Part 2” → “Slacker” → back to “1348”—was pure alchemy. Teasing in classics like Rush and Styx during the mid-sections, the jam turned playful before snapping back to its hypnotic origin.
-
The encore was joyful chaos: “Partyin’ Peeps” rolled into “All in Time” once more, closing with shared chants, smiles, and arms around strangers dancing.
The Vibe: Diaphanous & Electric
The Riverside Theater never felt more alive. This wasn’t a “show” in the predictable sense—it was a conversation in sound. Bass rumbled with clarity, keys shimmered, drums texturized, and every guitarist riff wove into the tapestry with purpose. The energy never flagged; it soared in waves.
The band’s stage presence was calm yet commanding. They didn’t hype fans—they led them, inviting them through improvisational portals, revealing new corners of songs you’d thought you knew. The excitement was mutual: you could hear the band smiling through the keys, the guitar, the percussive breaks.
Visually, subtle lighting shifts accentuated transitions—warm tones during jazzy moments, stark contrasts when the band hit funkier grooves, spotlighting solos in ways that felt cinematic rather than theatrical.
Tiny Quibbles
-
A few transitions—particularly going into “Concessions”—lagged in pace, like atmospheric fog that slowed things momentarily. Still, in the context of expansive jamming, it felt more like a breath than a misstep.
-
Occasionally, the legendary Riverside acoustics turned punchy bass into a slightly blurred mid-range. A touch more crispness in the mix could’ve sharpened some of the nuanced licks, but not enough to diminish the overall experience.
Final Thoughts
Umphrey’s McGee at Riverside wasn’t just another live show—it was a demonstration of why fans follow them from city to city. They strike this rare balance: honoring structure while celebrating chaos. Mystery and melody. Familiar themes and daring new detours.
Through the rare cover, the sprawling jams, the unmistakable energy, they reminded us: this is a band that improvises with intention, plays with heart, and invites us all in—fully.
If you walked in knowing just a few songs, you walked out knowing you’d seen something special. Something improvised and real. And when “All in Time” echoed for the final time, it felt like a promise: with Umphrey’s, time stretches, music expands, and you’re right there in the middle of it.