Umphrey’s at dusk ©Jay Blakesberg

“We like getting you early—nice and fresh,” guitarist Brendan Bayliss said, addressing the LOCKN’ crowd during Umphrey’s McGee’s first of two sets on Thursday evening.

Basking in the glowing smiles of thousands of fans who had a full weekend of music ahead of them, Bayliss and his band, which has made a habit of helping LOCKN’ open up its festivities in the past years, became one of a few groups this weekend who will be making their fifth appearance at the festival. Umphrey’s also reprised their role as one half of the Thursday-night two-set tradeoff, this time teaming up with funk powerhouse Lettuce to offer a total of four back-to-back segments, including one unique collaboration that could really only happen at LOCKN’—but more on that later.

In light of last weekend’s storm-related festival cancellation that certainly affected a fair number of music fans who came to Arrington this weekend—and likely led some of them to travel here—Thursday’s weather couldn’t have been more perfect. Blue skies and wisps of clouds welcomed festivalgoers as the gates to the grounds officially opened around four o’clock, with main-stage music kicking off in typical LOCKN’ fashion, with a classic live version of the Grateful Dead’s “Help On the Way” ringing out around Infinity Downs as part of the weekend-opening Jerry Dance Party DJ set, courtesy of DJ Jerrbrother.

Appropriately, some of the more savvy fans—or obsessed, perhaps, depending on your opinion—planned very far in advance for the next round of Dead music, as multiple groupings hastily made their way to the front of the Relix stage to stake their claim to prime real estate for Joe Russo’s Almost Dead’s late-night performance, which was to take place a mere seven hours later.

Back on the main stage, however, LOCKN’ 2018 received a proper kick-off with the first group of the weekend, Lynchburg, VA’s Firecracker Jam, who earned their slot via the ROCKN’ to LOCKN’ battle of the bands and closed out their opening-day set with a playful, crowd-pleasing cover of Phish’s “Sparkle.”

While Erin & The Wildfire then delivered a soulful performance in the late-afternoon sun, I had the pleasure of meeting a new friend (a not uncommon experience at LOCKN’). Mary Ann, an elementary school teacher from New York City, spoke of teaching storytelling to her students, informing them of the importance of oral traditions in cultures around the world and throughout history.

Late night with JRAD ©John Patrick Gatta

As the music continued into the evening, it became clear to me that genuine storytelling is not always about the words. Especially with many of the acts that appeared on Thursday, the story is not so much in lyrics, but in the journey on which the musicians take the crowd. With or without words, there is a tale to tell, to be passed from storyteller to listener. Of course, certain artists like the Grateful Dead have been able to connect on both levels.

The next story that unfolded on the main stage was that of another Virginia outfit, Richmond’s Butcher Brown. Their quick, half-hour set showcased the group’s smooth brand of effortless-yet-virtuosic, jazz-infused funk and featured friend and special guest Nigel Hall, who joined on some auxiliary percussion for one tune.

As LOCKN’s signature rotating stage began to signal a change in performers, the members of Butcher Brown took a moment to punctuate their performance with a few choice dance moves, reacting to the initial notes of Lettuce, who appeared as the stage flipped once again.

The New York funkers used their first of two sets to stretch their legs a bit, opting for a few spaced-out jams and riff-fueled tunes and closing with their staple and hometown tribute, “Madison Square.”

As evidenced by the many shirts and hats bearing their name, Umphrey’s McGee seemed to be the most anticipated act of Thursday night, and the group didn’t disappoint, diving into “There’s No Crying in Mexico” and a raging “Higgins” as the sun began to dip behind the trees.

Brendan Bayliss then took a moment to acknowledge his fortunate surroundings, dedicating the following tune, “Seasons,” to “the weather gods.” Continuing the dedication theme, Bayliss then name-checked one of LOCKN’s co-founders, saying, “We’d like to dedicate this next song to Peter Shapiro—he just took a shower, so he’s ready to go,” before jumping into an energetic “Hurt Bird Bath.”

After Umphrey’s brought the heat, a chill began to grow in the evening air, as Lettuce once again took the stage, continuing their unique mixture of exploratory jazz with undeniable funk-rock, including the slinky “Phyllis” and a quick-paced rendition of their staple “Lettsanity.” Following a surprise sit-in from members of Butcher Brown on “Do It Like You Do,” the main stage began to turn, even as the six members of Lettuce were grooving on their version of Herbie Hancock’s “Hang Up Your Hangups.”

To the crowd’s surprise, the stage halted halfway through the turn, allowing Lettuce and Umphrey’s McGee to jam together, separated by a wall, ending with members of Lettuce joining Umphrey’s on their side of the stage. The Lettuce horn section of saxophonist Ryan Zoidis—who celebrated his birthday yesterday—and trumpeter Eric “Benny” Bloom remained with UM for a bit, promoting Bayliss to say, “Gotta love it when a plan works out.” The rest of the group’s headlining set featured a healthy dose of Bayliss, along with guitarist Jake Cinninger and company, who fused into a rapid-fire, well-oiled machine of riffs and blistering solos.

Just as Umphrey’s closed out their headlining slot, Joe Russo and his Almost Dead bandmates opened up the Relix stage with the first late-night set of the weekend, delivering some low-key Grateful Dead cuts like “Row Jimmy” and “Estimated Prophet,” plus staples like “Dancing in the Street,” along with an appearance from guest vocalist and guitarist Chris Harford on a cover of Neil Young’s “Hippie Dream” (Harford will also lead his Band of Changes, featuring Almost Dead’s Russo, Scott Metzger and Dave Dreiwitz, on the main stage at 3 PM today).

On a day that began and ended with the songs of the Grateful Dead, Thursday’s musical offerings ran the gamut from emotional to straight-up rocking, with dozens of stories to be gleaned not just from the lyrics that were sung, but also the notes that were played. Heading into day two of what promises to be a bright and sunny weekend, I’ll echo the words of Bayliss as he faced the festival crowd last night: “LOCKN’, you look beautiful from here.”