It’s been nearly four years since the pop star released his 2022 album, ‘Harry’s House’

The guitarist helped form the experimental rock band in London in 2017

From 46-minute jams to MTV video hits, here are the freedom-loving Dead guitarist and singer’s finest songs about ‘rainbows of sound’ and ‘enjoying the ride’

• Bob Weir, co-founder of rock group the Grateful Dead, dies at age 78
• Alexis Petridis: ‘Bob Weir was the chief custodian of the Dead’s legacy’
• Aaron Dessner: ‘I’ll never forget playing with him’

The Dead’s love for the road is in evidence on this segment from That’s It for the Other One, the four-part opening track of their second LP, Anthem of the Sun. A rare Bob Weir-penned lyric details the Dead’s youngest member being busted by the cops “for smiling on a cloudy day” – referencing a real-life incident when Weir pelted police with water balloons as they conducted what he took to be illegal searches outside the group’s Haight-Ashbury hangout. It then connects with the band’s spiritual forebears the Merry Pranksters by referencing Neal Cassady, driver of “a bus to never-ever land”. The song later evolved into The Other One, one of the Dead’s most played tunes and a launchpad for their exploratory jams – as in this languid, brilliant version at San Francisco’s Winterland in 1974.

Lewis wrote about the pooch in the 2021 song ‘Puppy and a Truck’

An outstanding critical voice, his deep knowledge and love of music was evident in everything he wrote

The Guardian’s long-serving and much admired classical music critic Andrew Clements died on Sunday aged 75 after a period of illness.

Clements joined the Guardian arts team in August 1993, succeeding Edward Greenfield as the paper’s chief music critic. His appointment was clinched by a personal recommendation to the editor from the late Alfred Brendel, who argued for Clements to get the job on account of his deep understanding of contemporary music. For the next 32 years, Clements ranged across all fields of classical music in his writing for the Guardian, and often beyond.

The Dave Matthews Band frontman said, ‘I don’t like these monsters that are running the show right now’

Stars from Bob Dylan to Brandi Carlile remember rock band co-founder as ‘beautiful human’ after his death at 78

The death of Bob Weir, the Grateful Dead co-founder, rhythm guitarist, vocalist and writer of much of the legendary psychedelic rock band’s songs, drew a chorus of tributes from fellow musicians and fans who described him as a “musical guru” and “the last actual hippie”.

Weir recently survived cancer but died from “underlying lung issues”, according to a statement posted on Saturday on Instagram.

One of the founding members of the Grateful Dead, brilliant guitarist and writer of many of the group’s key songs

Though perhaps not as instantly recognisable as the band’s guru-like lead guitarist Jerry Garcia, Bob Weir, who has died from cancer aged 78, was an indispensable pillar of the Grateful Dead as guitarist, singer and songwriter.

Weir, Garcia and their bandmates first came together in San Francisco in 1965, and would become integral players in the psychedelia boom and the city’s summer of love in 1967, fuelled by the mind-expanding drug LSD.

Moon composed the music for Nickelodeon shows like ‘Fairly OddParents’ and ‘Danny Phantom’ as well as movies like ‘Fight Club’ and ‘Minority Report’

‘The Kid’s jazz-influenced rhythm guitar made him utterly integral to the Dead and his later collaborations solidified the band’s influence over latter-day alt-rock

• Bob Weir, co-founder of rock group the Grateful Dead, dies at age 78
• Bob Weir: a life in pictures
• Aaron Dessner: ‘Bob Weir remained completely in touch with the Grateful Dead’s wild wonder. I’ll never forget playing with him’

For most of their career, the other members of the Grateful Dead referred to Bob Weir as “the Kid”. You can understand why. He was only 16 when the band that would ultimately become the Grateful Dead was founded. Moreover, Weir was implausibly fresh-faced and boyishly handsome, particularly compared to some of his bandmates. Jerry Garcia’s photo was used in one of Richard Nixon’s campaign broadcasts, a symbol of all that was wrong with US youth. Keyboard player Ron “Pigpen” McKernan, by all accounts sweet-natured, nevertheless gave off the air of a man who would strangle you with his bare hands as soon as look at you. Weir, on the other hand, somehow managed to look like the kind of charming young man a mother would be happy for her daughter to bring home, even in the famous 1967 photo of him leaving the band’s Haight-Ashbury residence in handcuffs after being busted for drug possession. His relationship with Garcia and bass player Phil Lesh – five and seven years older than him, respectively – is regularly characterised as that of a junior sibling: at one juncture in 1968, the pair contrived to have Weir dismissed from the band on the grounds that his playing wasn’t good enough.

It never happened – Weir simply kept turning up to gigs and the matter was eventually dropped – but it’s hard to see how the Grateful Dead would have worked without him. For one thing, the band’s famed ability to improvise on stage was rooted in a kind of uncanny psychic bond between the key members – “an intwined sense of intuition”, as Weir described it – that they usually claimed was forged while playing together on LSD as the house band at Ken Kesey’s infamous acid test events of 1965 and 1966. For another, whether Garcia and Lesh thought it was up to snuff in 1968, Weir’s rhythm guitar style was an essential component of their sound. It was less obviously striking than Garcia’s fluid soloing or Lesh’s extraordinary approach to the bass – inspired by his grounding in classical music, he played countermelodies rather than basslines – but no less unique, a mass of alternate chords, harmonic pairings and bursts of contrapuntal lead lines that he said were influenced by the playing of jazz pianist McCoy Tyner. More practically, Weir had huge hands, which enabled him to play chords others physically couldn’t.

Lewis wrote about the pooch in the 2021 song ‘Puppy and a Truck’

As I sobbed to U2, she would hug me tighter as we swayed to the music

• Read more in the kindness of strangers series

My father died when I was 19, after a short and sharp fight with cancer. Unsure of what to do or how to proceed with life, I took a year off university and went backpacking through Europe. The other side of the world seemed like a good place to be.

I ended up at the music festival Glastonbury in 2011. It was a great lineup that year but there was one act on the bill that really caught my eye: U2. They were my dad’s favourite band, so it seemed only right that I should go and see them. Of course, U2 aren’t exactly a massive draw for people my age, so I ended up alone in the massive crowd at the main stage while my friends saw other bands.

While playing with nine-figure Hollywood budgets, the Kill List and Meg 2 director has become a prolific music producer. Next up is his experimental film, Bulk

Dave Welder may just be the most prolific musician you’ve never heard of. In a little more than a year, he has released a staggering 26 records spanning electronica, dub, ambient, kosmische and drone. One of these albums, Thunderdrone, is more than four hours long. Based in Brighton and Hove and described as “a rotating group of musicians and artists”, in reality “Dave Welder” is largely the work of one man who, until now, has been operating in secret: film director Ben Wheatley.

“I’ve always wanted to make music,” says Wheatley, whose films include the independent movies High-Rise, Kill List and Sightseers, along with big-budget Hollywood flicks such as the shark thriller Meg 2: The Trench. “I wanted to do it for my films but there was a dissonance. Of all the art forms, I couldn’t really understand it. I would dream that I could play, but then it was like, no, I can’t.”

Rock icon died in July at the age of 76