"Yes, Pluton, actually, in the play. And I play him in my most stentorian voice"
About this Quote
There’s a sly kind of charm in the way Phil Lesh answers like he’s half in conversation and half already on stage. “Yes” lands first, brisk and corrective, as if he’s responding to a fan’s fuzzy memory or a bandmate’s teasing question. Then comes the oddly specific “Pluton” - not Pluto, not “the villain,” but the proper name, a little classical and theatrical, the sort of reference that quietly advertises: we’re not just noodling around, we’re building worlds.
The phrase “actually, in the play” carries the subtext of a musician insisting on craft. Lesh spent his career in a scene that’s often caricatured as loose, psychedelic happenstance; this line nudges back. There’s a script, a role, an internal logic. Even improvisation has staging. He’s pointing to performance as composition, not accident.
“And I play him in my most stentorian voice” is where the self-awareness kicks in. “Stentorian” is a deliciously overqualified word for “loud,” the kind of diction that suggests a guy who hears music structurally and hears language the same way. It’s also a wink at rock theatrics: the bassist, traditionally the background architect, claiming a huge voice and a named character. In Grateful Dead orbit, that’s the whole ethic in miniature - mythology without pretension, seriousness without solemnity. Lesh is admitting that even in a band famed for dissolving boundaries, sometimes you put on a mask, project, and let the drama carry the sound.
The phrase “actually, in the play” carries the subtext of a musician insisting on craft. Lesh spent his career in a scene that’s often caricatured as loose, psychedelic happenstance; this line nudges back. There’s a script, a role, an internal logic. Even improvisation has staging. He’s pointing to performance as composition, not accident.
“And I play him in my most stentorian voice” is where the self-awareness kicks in. “Stentorian” is a deliciously overqualified word for “loud,” the kind of diction that suggests a guy who hears music structurally and hears language the same way. It’s also a wink at rock theatrics: the bassist, traditionally the background architect, claiming a huge voice and a named character. In Grateful Dead orbit, that’s the whole ethic in miniature - mythology without pretension, seriousness without solemnity. Lesh is admitting that even in a band famed for dissolving boundaries, sometimes you put on a mask, project, and let the drama carry the sound.
Quote Details
| Topic | Art |
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