Review: Saratoga Springs, NY – 07/07/2013

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Saratoga Performing Arts Center – Saratoga Springs, NY – 07/07/2013

Set I: AC/DC Bag> Back On The Train> The Divided Sky, Free> It’s Ice> Mound, Maze, Limb By Limb> Walls Of The Cave

Set II: Down With Disease&> Ghost# -> Piper## -> Wading In The Velvet Sea> Run Like An Antelope$> Meatstick$$> You Enjoy Myself

Encore: Loving Cup

& “Down With Disease” was unfinished

# “Ghost” contained “Jumpin’ Jack Flash” teases

## “Piper” contained a “Dave’s Energy Guide” tease from Trey

$ Lyrics changed to “Run Like A Meatsick Outta Control!”

$$ “Meatstick” contained Japanese Lyrics

——–

It’s almost stupid to to even try to write a review after a show like that.

Phish was just on.

For the entire night, the band crafted a fluid, thematic and overtly old-school show that goes down as the most complete offering we’ve heard from them thus far this summer.

If the whole goal of Phish – and, live music in general; specifically live improvisational music – is that of communal connection and energy, then shows like 07/07/2013 are the epitome of why we travel/listen to/and analyze Phish like we do.

Packed to the brim with a phenomenal setlist, masterful playing and execution of their songs, and enough surprises and intrigue to keep the show interesting and playful, there’s nothing you can really say bad about a show like this.

I mean, I guess if you really wanted to be critical you could say that the “Down With Disease> Ghost -> Piper” section left a bit on the table. (It did) But in the end, does that really matter? It was clear that the “DWD” had reached something of a dead zone by the time they segued into “Ghost,” and for whatever could have happened in the “Ghost” when Trey discovered the major key following a mesmerizing plinko-jam, little was lost by the segue into “Piper.” Moreover, the more contained approach to these three jam vehicles just fit the old-school feel of the show more than any lengthy jam could have.

This was pure Phish at their best. This was the kind of show the band has been working towards and perfecting ever since they returned in March 2009.

——–

Kicking things off with the opening combo of “AC/DC Bag” and “Back On The Train” was as sure a sign as any what kind of show we were in for. Whereas the first three nights of tour, the band has somewhat eased into their shows, 07/07 was straight energy from the onset.

“Bag” displayed how locked-in Trey was, as he sounded incredibly clean, and just on-point throughout the solo. In the next song, the band entered the “BOTT” jam much quieter than normal, allowing themselves the time and patience to explore the subtle rhythms that drive the song forward, before building it to a resounding peak. It’s only further proof that the Type-II “BOTT” on 12/30/2009 ushered in an era of consistently great versions that the band is only continuing to push forward. Following with a perfectly placed “The Divided Sky,” along with a trio of “Free> It’s Ice> Mound” their song selections only helped to keep the energy at a max level.

(One of my initial struggles with writing these pieces has been overcoming this notion that one can’t get a show unless they’re there. While I fully understand the power and immediacy of being present at a Phish show, I’ve always argued that if the band just wanted us to experience their music live, in a venue, they wouldn’t offer so many opportunities for connection to those who aren’t there. From embracing the taper culture, to the vast library of SBD-quality archival music they’ve released, to LivePhish.com which makes their shows immediately available to all their fans once a show concludes, to the audio and video streams they now regularly offer; it’s clear the band knows their music has lasting power beyond just the singular medium of a one-time live event. To argue that one can’t get a show because they weren’t there is both shortsighted, and missing the overall point of Phish’s music. How else can you explain the fact that I’ve felt a pure spiritual connection to the 09/14/1999 “AC/DC Bag,” or the entirety of 12/30/1993 – shows I never saw – or that the first time I heard 11/17/1994 – also the first time I heard Phish – I felt like I’d just experienced a moment with a higher power, or, that just this morning, when the band began their rising solo in “Divided Sky,” I felt that feeling I get every time I’ve heard “Divided Sky,” live, or in the privacy of my room/car? Further, if music is as powerful a force we all claim it to be, doesn’t it make sense then that it’s transferrable across space and time, and that its power is both accessible and understood by those not immediately present at its creation? I digress… All’s I know is I felt like I was there this morning even though I technically wasn’t there.)

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Continuing a masterful first set, Phish closed things out with an agressive take on “Maze” that featured both excellent interplay between Trey and Page, and a weird little reggae breakdown in the middle that just added to the overall feel of the night. That it didn’t lead to any full-on reggae jam, but instead, just colored the jam, felt proper in a show that featured such playful playing, and SO much energy.

“Limb By Limb” continued the flawless setlist, providing the first breather of the set, while also being a beautiful and emotive version in its own right. Hinting at taking the song on another jam (ala, 08/28/2012) the song ultimately remained contained, but not before making its mark. “Walls Of The Cave” brought us home in Set I, taking the honor as the youngest song played in a set filled with classics. Reminiscent of 11/24/2009, 01/01/2011, 08/19/2012, 08/28/2012, and 12/30/2012, this was the kind of Set I that receives unanimous adulation and love. The kind of set where it matters little what song is played, for the band’s just nailing everything regardless.

——–

Is there any song in the Phish canon that would have been more fitting to open that second set than “Down With Disease?” It’s one of the classic Set II openers for a reason, and 07/07 just had “DWD” marked as the second set opener by midway through the first set. A version that tore out of the song on a mission before fading to a beautiful space of nothingness, the jam ultimately touched on a prodding rock jam while channeling some serious Floyd and Zeppelin. (Yes, it did) Opening itself up to a spacious segment of music, Trey played with a soulful drive, willing the jam forward. It wasn’t to be however. On a night like this, where energy reigned supreme, when in the first moment the band found themselves lost in the jam, they immediately abandoned it for “Ghost.”

Like I said above, no harm no foul with this move in “DWD,” or later in “Ghost” after that jam found itself deep in plinko-land before being ripcorded just as it reached a rousing melodic jam. When the band is playing with the kind of fire, emotion, and humor as they were on 07/07, jams tend to matter less. Perhaps the defining moment of the “Ghost” jam – aside from the plinko madness that made one wonder how in the hell this band has managed to find so many musical avenues to explore inside a song that’s essentially just an Am-G groove – came when Trey egged Page to mess around with his voicebox in between the second and third versus. Clearly unprepared, the off-handedness, and back-and-forth between the two only added to the anything-goes, playful spirit of the show.

“Piper” featured some of Trey’s best playing all night, (which really is saying something) and was notable for being the third straight “Ghost -> Piper” segment (09/02/2012, 12/31/2012). The jam built to the evening’s biggest peak, and for close to nine minutes the band just peaked and peaked and peaked in celebratory fashion, before fading beautifully to a baby grand solo from Page, wherein which you felt the first breather of the night approaching in “Wading In The Velvet Sea.” Like every other song of the show, “Wading” just felt perfect at the time, and was delivered with thoughtful precision, and patient soloing from Trey.

At this point – as in many a 3.0 shows – we found outselves at something of a crossroads seeing as song selection – which had made this show so memorable thus far – is clearly still of the utmost importance in 3.0.

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Thus, when they burst into a rare mid-set “Run Like An Antelope” it was all the more clear that the band was just as high on this show as everyone at SPAC, and all those watching from home. A high-octane version that never quite reached – nor really attempted to – the intricate and chromatic jamming of the 07/03 “Antelope,” this one instead was here solely to pack a massive punch and deliver yet another dose of humor.

One of the most brilliant aspects of Phish’s humor is how spectacularly lame it is, and yet how it rarely fails to arouse 20,000 people. Simply replacing the word “Antelope” with the word “Meatstick” only added another layer to a show already full of them, while guaranteeing a late-set “Meatstick.” A song that embodies the root of Phish’s humor – complete with dancing and Japanese lyrics – it fit the vibe of the show like everything else before it, and kept the energy high for the fade into the now-expected “You Enjoy Myself.”

I mean, could anything else have capped this set/show??? Like the Set II “Down With Disease” Opener, “You Enjoy Myself” closed out the set in perfect fashion, and that’s not even considering the sparse, rhythmic and plinko-style jam that emerged within the song’s jam segment. A fresh and original version of “You Enjoy Myself” to close out easily the best show Phish has offered us in 2013 ended the night on a distinct high. And when they emerged for the encore, the “Loving Cup” that followed felt both preordained, and ideal.

Oh, what a beautiful buzz indeed…

——–

An absolutely brilliant display of energy, flow, crisp playing, and whole-band communication, 07/07/2013 immediately raises the bar on this young Phish tour. That the band is already able to toss out an old school show chock-full of highlights only displays what kind of tour we’re currently experiencing.

What’s more is that this show suddenly puts the three shows that preceded it in perspective. As I’ve argued over the last few days, the first three shows in many ways felt like groundwork and foundation being laid for a massive tour. While obviously there were numerous highlights throughout, none of the first three shows clicked for me as complete shows.

Perhaps this is due to my absence from them.

Perhaps it’s due to my personal taste.

Perhaps I’m onto something and the band was treating them more as a way to ease into the tour, rather than come out immediately on a high.

Whatever way you look at it, it’s clear that each of the first three shows of the tour led in someway to the brilliance that occurred last night in Saratoga Springs, NY. From the old school setlist that dotted 07/03, to the fluid and thematic Set II from 07/05, to the expansionist playing in “Split Open & Melt,” and “Carini” in 07/06, each of these shows added another layer to the foundation that ultimately resulted in a near-perfect outing from Phish on 07/07.

Where we go from here is anyone’s guess. All’s I know is last night the band played a show that displayed them at their best, at yet another peak in what’s seemed like a litany of them over the past calendar year. Since 08/06/2010 we’ve watched Phish consistently get better as their tours progress, adding more and more to a constantly evolving live show. The idea that they could continue to compile better shows than one’s like last night, or better sets than 07/05’s second, or better jams than 07/06’s “Carini” is a bit perplexing. Yet we’ve watched them do just that over the past three years. Can they continue this hot streak?

As Page once said to a delirious crowd of 70,000 in Northern Maine: “Stick Around…”

———-

Thanks to Phish.Net (www.phish.net) and The Mockingbird Foundation (www.mbird.org) for organizational assistance and sourcing of setlists!

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