The history of the Grateful Dead's album releases (13 studio albums and 77 live albums) further reinforces the band's emphasis on concerts.  More live albums are released regularly as high quality recordings of good performances are discovered in the Grateful Dead concert archive. For the band and for the fans, the performances of the Grateful Dead were all about diversity in the live music experience. In any given show, the concert set list, the improvisations, and the mood of the band all varied. In concert, all of these factors came together to create a unique experience for their fans each and every time.

Perhaps even more astounding than their prolific concert performances is the dedication that their fans (known as ``deadheads'') had to their music \cite{deadheads:grushkin1983,adams:deadhead1998,sardiello:deadhead, deadhead:pattacini}. The typical deadhead was not a passive consumer of recorded studio albums, but an active concert goer that traveled with the band from concert to concert, city to city, and country to country. Some 10 years after the Grateful Dead disbanded, the band's music is still heavily listened to as evinced by statistics gathered from the popular online music service known as last.fm.\footnote{last.fm is available at: \texttt{http://www.last.fm/}} The last.fm ``audioscrobbler'' plug-in is recommendation software that works with popular computer music players such as iTunes or Winamp.  Whenever a song is played using, say, iTunes, the plug-in reports this activity to the last.fm server where it is aggregated. From August 2005 to October 2007, there were over 2.5 million Grateful Dead song usages recorded by last.fm. With 72\% of the users of last.fm under the age of 35\footnote{Source: last.fm internal web statistics, courtesy Anil Bawa-Cavia.}, the popularity of the Grateful Dead, a generation of fans later and 10 years after the band's dissolution, is still very strong.

This article presents an analysis of the Grateful Dead's concert behavior and exposes a relationship between the concert song patterns from 1972 to 1995 and the last.fm listening statistics of the band's songs from August 2005 to October 2007. First the available set list data is summarized and presented with an analysis of the concert behavior of the band. Next the usage data from last.fm is presented with an analysis of the listening behavior of last.fm members. Finally, a comparative analysis of the concert and listening behavior of the Grateful Dead is presented.