The Best Of Phish – 2013 – Part I

1376985_10151642180686290_587081184_nOn 31 December 2012 Phish opened their final show of the year with a cover of Ricky Nelson’s 1972 hit “Garden Party.” A song Nelson had originally written after being booed off that same Madison Square Garden stage during the 1971 Rock ‘n Roll Revival Show, it was a fitting nod to the place Phish found themselves in both musically, artistically, and personally at the onset of their 30th year. Highlighted by the line, “You can’t please everyone, so you’ve got to please yourself,” the song would not only serve as a tongue-in-cheek jab at some of the more impatient members of Phish’s sprawling fan base, but would become something of a rallying cry for the band as they embarked upon their 30th year together as a collective unit.

Throughout 2013, the message of “Garden Party” felt ever-present, as the band sought to craft a six-month-long celebration of everything that had come to define Phish since 1983. In the summer, they emerged from hibernation with an overtly old school, foundational-setting run of shows from 07/03 – 07/21. Beaming with confidence, they went on to poke fun at their more obsessive fans in Chicago’s, ‘Poster Nutbag, the right way’“Harpua,” before crafting one of their seminal pieces of extended improve in the “Tahoe Tweezer” just ten days later. Friday night at Dick’s was once again devoted to gimmickry, this time as the band informed us that Most Shows Spell Something (Backwards). The Fall Tour that followed was a non-stop dance party with a signature throwback feel. And on Halloween the band debuted their new album – tentatively titled Wingsuit – in a move that has had the entire Phish community buzzing with thoughts and analysis ever since. Closing out the year with one more celebratory gag, Phish played an entirely coverless NYE Run, honoring the songs that had brought them so much acclaim throughout the years. Without question, 2013 was defined in large part by Phish’s desire to “please themselves” – without any regrets – in commemoration of everything they’d built (and rebuilt) since their college days.

What’s more though, was how “Garden Party” worked as a premonition for a band seeking to do more than simply garnish their 30th year with a nostalgic hue. Rather, 2013 saw Phish acutely pivot towards the next phase of their career. For, as much as 2013 was indeed about celebrating the essence of Phish – and their legacy – it was in many ways, more so about what’s next for a band that has systematically rebuilt itself from near-death, and now, at the onset of their 31st year, is in the midst of their most substantial peak period since the halcyon days of 1993-1998.

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Let’s pause for a moment, and take a step back to July 2010. At that point Phish had been back together for 17 months. Throughout they’d compiled four 10-15 show tours, alongside three, smaller, holiday-based/reunion runs. There’d been nights where they’d felt like Phish again. Nights where everything clicked: where they told jokes, where they pulled oft-forgotten songs out of nowhere, where their setlists flowed with precision, determination, and ease, and where they hooked up for extended pieces of forward-thinking, emotive, and ultimately revealing improv. But for all of the positivity that surrounded the 70 shows that had thus far made up Phish 3.0, there was a prevailing fear throughout much of their fan base that, perhaps, the band simply didn’t have it anymore. Too often they’d follow a breakthrough show with a run of unfocused and disconnected duds. Too many jams either followed a strict formula of assaulting rock -> rhythmic breakdown -> ambient fade, or would be cut off prematurely by Trey’s insistence on keeping the show moving. Too many shows featured a band that, simply put, appeared a shell of its former self. During the month-long break in Summer 2010, many openly wondered what would become of Phish 3.0?

Would they follow the same trajectory of their haunting and ultimately unsustainable 2.0 era; fading unfulfilled, full of regret, bemused with far more questions than answers?

Had Phish become (gasp) a nostalgia act?

Could they reestablish the unspoken communication that had led them to so many musical and artistic heights throughout their heyday?

Would they ever again evolve with the kind of abstract precision and focused experimentation that saw them transform from a psychedelically-infused speed-jazz quartet in 1993 to a spacious, patient, rhythmic juggernaut just five years later?

Could they do it again?

From the vantage point of January 2014 we know what happened. Barring a few setbacks along the way – parts of June 2011 and NYE 2011, most notably – when Phish reemerged for the second leg of their 2010 Summer Tour, they were a fundamentally different band. Since then they’ve been on a consistent upward trajectory, evolving with patient determination, overcoming many of the challenges set in front of them in 2009, and undoubtably blowing away even the headiest expectations any of us could have had for them when they announced their reunion back on 1 October 2008.

Beginning in earnest with the infusion of Trey’s Ocedoc – a move that systematically rounded-out his tone, resulting in him taking a more deliberate approach to building simple melodic lines, while also focusing more on rhythm – Phish has evolved with stunning speed over these past four years. Stylistically morphing – from the melodic jams of late-2010 to August 2011’s dive into the storage shed, to the cubist approach of 2012 – and further deepening their communication, they have consistently driven forward from the moment the Greek “Cities” dropped into its infectious whole-band groove-jam. A reflection of their own musical maturity and craftsmanship – and also the experience they’d gained from 25-years of friendship and collaboration – from August 2010 onwards, each tour has provided crucial reference points to Phish’s current peak. Be it the improvisational boon of August 2010; the self-referential gimmickry and humor of Fall 2010; June 2011’s experimentation & embrace of potential failure over conservatism; “The Storage Jam” and the darkness that engulfed many of their subsequent jams throughout August and September 2011; the 200-song challenge of June 2012; the fully-realized, multi-layered jams of August 2012; or the masterful run of creativity and exploration that was Dick’s and MSG 2012; there’s no denying the fact that following their initial – and necessary – 18-month rebuilding project, the Phish of late-2010-2013 in many ways mirrors the same band that rose from irrelevancy in the early-1990’s to become one of the largest, and most influential, creative forces in the country.

The only difference now: they are clearly wizened by their years. Trials & errors, fights, audits, drugs, failures, fuck-ups, youthful bliss, et al, behind them, the Phish of today is both healthy, happy, and inspired. Whereas in 2009 many wondered if such a “family-friendly” version Phish could muster up the kind of psychedelic expansionism and unadulterated experimentation that had drawn so many to them in the first place, it’s clear now that this version of Phish may not only match the creative ingenuity of their initial peak, but could in fact surpass their former selves in both musical discovery, and artistic sustainability.

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All of which brings us to 2013.

Beginning the year with a three-week foundational setting period, Phish toured the East Coast, fairing off torrential rains, all the while focusing on a tight rotation of songs which emphasized the original artistic statements of their career. Determined to perfect the whole-show-craftsmanship that had reemerged in Fall 2010, Phish used their first night at SPAC to send a message that 2013 would be more about patiently crafting complete shows rather than simply expanding upon big jams. Resulting in thematic concert experiences, the tour required noticeably more patience, reflection, and insight from their fans than the overtly jam-heavy August 2011, or bustout-driven June 2012 tours had. From 07/10’s “Maria” set, to 07/12’s “practicing safe music,” to Merriweather Post’s old-school affair, to 07/16’s “Heartbreaker” set to the existential masterpiece of 07/21’s second set, this first leg of the tour saw the band further advance their artistic intentions, while still infusing more than enough highlights to satisfy everyone in their fan base.

Following a five-day break, they reemerged at the Gorge intent on celebrating every aspect of their musical past, while systematically using each previous peak as a building block towards their next era. The rain behind them, comfortable enough to expand upond the strict rotation that had marked their entire East Coast run, rarities returned, jams popped, and the band played with an ease that could only result from the kind of foundational setting they’d initiated. From 07/26’s explosion of howlin’ energy, to 07/27’s album-like fluidity, to 07/30’s dance-party, to the methodical brilliance of the Tahoe “Tweezer,” to 08/02 and 08/04’s schizophrenic mind-fuck, by summer’s end Phish left no doubt in anyone’s mind that they’d not only coursed out their 30th year exactly as they’d intended to, but that they knew the “right way” forward for their creative evolution.

At Dick’s they keyed us in once more to their goals for the year by noting on 08/30 that “Most Shows Spell Something.” That they unveiled the gag backwards only lent itself more to their playful spirit and the multitude of angles with which one could approach understanding their music.

And then, as with 2010, Phish scheduled a two-week Fall Tour through some of the most historic – and smallest – venues within their home base of the Northeast. Needing no time to reacquire their bearings, it was clear from the jubilant jam that emerged from “Carini” on the tour’s opening night, that Phish had, once again, reached yet another level of unspoken communication and refined musicianship. Be it jams – “Carini,” “Ghost,” “Tweezer,” “Golden Age,” “Down With Disease,” “Twenty Years Later,” “Drowned,” “Light,” “Twist,” each built into fully-formed, innovative, and memorable excursions – or shows – 10/20, 10/23, 10/25, 10/26, 10/27, and 11/01 are some of the strongest complete shows the band has played since the 90’s – the band was completely locked-in throughout the Fall, and consistently able to tap into an vast wealth of creativity. At times one wished the band would simply have an off night to give fans re-listening, and avidly discussing, a chance to catch-up and breathe.

On Halloween the band once again repelled against expectations. Whereas traditionally they’d used the holiday to don a musical costume of one of their forbearers, here, in their 30th year, they instead used the moment to debut 12 new originals. Loosely dubbed Wingsuit, the second set of 10/31 represented yet another leap forward for this 3.0 incarnation of Phish. Like the Greek Run in 2010, the Storage Jam, and FUCK YOUR FACE before it, Wingsuit is a clear break between one era and another. Cultivated from various jams over the past two years, and containing some of the most advanced and deeply personal lyrics of the band’s career, the songs – and the symbolic nature behind their unveiling – provide the band with the necessary material and inspiration to enter the next phase of their remarkable career.

Closing out the year, once again, with four shows at Madison Square Garden in New York City the band honored their 30th Anniversary by focusing on the singular element that birthed their existence: their songs. Opting to only play originals, the four shows took on much of the same vibe that had marked the entire year. Nostalgically rich, yet full of forward-thinking jams in “Steam,” “Down With Disease -> Carini,” “Chalk Dust Torture,” and “Light,” the 2013 NYE Run both celebrated everything that has made Phish such a unique force in modern pop culture, and pointed the way towards their next thirty years.

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As with 2009 (Part I & Part II), 2010, 2011, & 2012 I’ve assembled a list of ten shows and jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. These are not simply shows/jams 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are assembled chronologically, thus reserving the title “Best Ever” as a subjective accolade. Hope everyone had a wonderful holiday season! Happy New Year! Can’t wait to see what 2014 brings to the world of Phish!

The Best Of Phish 2013

Honorable Jams

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“Down With Disease -> 2001” – Toronto, ON – 07/22/2013

After kicking off the summer with three fairly contained versions of one of their most cherished Set II Openers, Phish finally broke through in Toronto with a jam that built off of their pivotal second set on 07/21,  thus pointing the way westward. Featuring patiently built melodic and rhythmic riffs from Trey throughout, the jam ultimately settled on a remarkably pleasant platitude, which felt entirely composed. A direct prelude to jams like the 10/23 “Twist,” 10/26 “Drowned,” 10/27 “Tweezer,” and 11/01 “Twist,” this “DWD” is not only one of the key, foundational jams of 2013, but it is also the kind of jam one could listen to on repeat without ever growing tired.

In short, this is simply one of the most enjoyable, and pleasing jams of the entire year. A section of wholly deliberate, rising melodic playing followed the Trey/Page melodic peak, ultimately giving way to a full-on tease of “Sea Of Love” from The National. Further proof of how much musical insight Trey has gained from his time spent listening to – and playing with – those in the indie rock world. Building towards a truly patient segue into “2001” rounded off one of the most subtly diverse jams of the year, one that clearly helped to initiate the band’s massive peak over the next four months. While this jam has become significantly overshadowed in the past four months, its influence on the stylistic evolution of 2013 cannot go unnoticed.

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“Harry Hood” – Hollywood, CA – 08/05/2013

There’s that moment in every single jam where everyone – band and audience alike – collectively realizes we’re suddenly in wide open, untapped, and unknown terrain. It may come via a reliable Set II opening vehicle, or in a totally unexpected song/slot in the show. Wherever and whenever it comes, the moment is ultimately defined by an immediate percolating of the senses, and a rush of euphoria, as the stakes of a show suddenly take upon unknown – in many ways, indefinable – potential. This moment is, for many, the entire reason why we see Phish. When that moment happens to come in a song steeped in as much historical lore as “Harry Hood” is, however, it raises a show to an entirely different level of excitement, sentiment, and lasting resonance.

While it’s clear here that Trey’s dedicating much of his energy to painting a backdrop of sound throughout the initial post-“Thank you, Mr. Hood…” section, we’re essentially still in typical “Hood-ville” until 9:37. From that point on, however, the jam enters completely unknown territory like it hadn’t since 07/31/03. A rock-based jam ensues, sounding in many ways like a leftover from the previous night’s “Runaway Jim,” before building into a full-on call-and-respond woo segment. Then, when it seems as though the band could momentarily snake back into “Hood,” they instead move into a more rhythmically-oriented realm, crafting a mosaic, where one member’s leads are effortlessly supplanted by another’s. Ambient-based jamming enters the fray, and suddenly the jam has become blissful. Abstract-cubism is the order, and, for a while, between 15ish and 17ish minutes, it feels as though we’re back in Dick’s 2012. Connecting on a dreamlike, plinko-esque jam that sounds like the denouement of a soon-to-be-unfinished jam, Trey plucks the “Hood” theme out of thin air, and the band rebuilds back to a subdued peak.

A creative palette of themes and varying musical passages, this jam harkened back to the band’s most prolific exploration within “Hood” from 07/25/03. A clear statement to the band’s M.O. moving forward in 2013, this “Harry Hood” opened the doors even further to what was possible in the coming Fall, here, coming on the last night of Summer Tour proper.

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“Carini” – Hampton, VA – 10/18/2013

On the opening night of Fall Tour, in the midst of a risky & self-conscious show, in their first performance back in the mothership since their reunion weekend in March 2009, “Carini” emerged mid-way through the second set and ultimately set the course of the entire tour. Rooted in the kind of bluesy, melodic, and celebratory rhythmic jams that had defined the best parts of the summer, what separated this “Carini” from the jams that had preceded it, was how simple and how overtly groove-oriented it was.

A bulbous and infectious dive into a rock-based, dance foray, this was the kind of jamming that would ultimately define Phish’s two-week Fall Tour. A fusion between the sparse, rhythmic jams of their 1997 peak with the rootsy, rock-oriented jamming that emerged in 2009 and 2010, further shaped by the cubist approach of 2012, and finished with the celebratory rhythmic style of the summer, this “Carini” felt like an ode to the nostalgically-rich, yet forward-thinking engine that was Phish 2013. Fading into their 3.0 hymnal, “Backwards Down The Number Line” was an entirely appropriate move for a band that had just shouted from the mountaintop their intentions for the proceeding Fall Tour.

The Top Ten Jams Of 2013

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“Split Open & Melt” – Saratoga Springs, NY – 07/06/2013

Wow. What a statement. What a glorified mess. A conscious experimental push into the unknown as anything heard from Phish 3.0. This jam covers so much terrain in its 18-minutes, it’s really quite exhausting.

Abstract, gorgeous, uneven, risqué, unpolished, raw, emotive, completely human; an absolute pure example of a band seeking out the elusive hook-up. It’s also perhaps the loosest, and unfocused Phish has allowed itself to be throughout the past five years.

For every jam that has either foreshadowed or reflected the various thematic terrains of 2013, there’s really no other jam produced this year that sounds anything like this “Split Open & Melt.” This might be the most important pre-Tahoe “Tweezer” jam played in the entire summer. One just has to hear the vocal inflection and laugh from Page at the end when he says, “We’ll be right back…” following their sloppy re-entry to “Melt” to understand how unexpectedly deep the band went, and how gloriously lost they became. If any jam in 2013 could symbolize a much-needed trust-fall for Phish, it’s this. Just, wow.

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“Carini -> Architect” – Saratoga Springs, NY – 07/06/2013

The first of four versions for Señor Lumpy Head on this list, this one pops immediately with an incredibly focused, highly expansive, delicate, interwoven and intricate piece of music that has continually resided in the upper echelons of Phish’s 2013 output since the moment it concluded. Reminiscent of the 08/31/12 “Undermind” and “Chalk Dust,” this is one of those democratic/full-band conversations we’ve now come to expect in 2012-2013 Phish.

In many ways though, this jam is all about Trey, as he plays with a determined and deliberate precision that would go on to define many of Phish’s best moments in 2013. An example of foundational setting leading to deliberate playing from Trey, this jam sounds like a direct prelude to Fall Tour more than most of the jams played throughout the summer.

Oh, and this jam also segues flawlessly into a debut. So much so, that, for a moment, “Architect” felt like it was simply just another part of the “Carini” jam.

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“Crosseyed & Painless> Harry Hood” – Holmdel, NJ – 07/10/2013

Two crucial things happen from 9:20 – 15:01 in this “Crosseyed,” which sets the foundation for literally every moment of fully-connected Phish in 2013.

1.) First, Mike creates an exorbitant amount of space through his melodic and atmospheric playing – something he’d been incorporating into Phish’s improv since mid-2011 – thus slowing down the jam’s typically galloping pace, and allowing more textural space for each member to communicate with each other.

2.) As a result of this, Trey recedes into the shadows and further incorporates his rhythmic playing that had been so evident during the Bangor “Golden Age,” building the jam to a unified peak based in large part around the familiar theme from the 02/16/2003 “Piper.”

Whether or not they were conscious of it, that they were jamming on a specific theme from one of their peak moments in the early stages of 2.0 was yet another of those unexplainable moments of pure musical magic that seem to find their way into the best Phish shows and jams. Fading some two minutes later into “Harry Hood,” which built upon the beauty of Bangor’s encore, was a clear nod to the brilliance of this “Crosseyed.”

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“Tweezer” – Stateline, NV – 07/31/2013

A moment of profound unity between both band and audience, as each rediscovered once again what was truly possible in the medium of a Phish show.

Listening back, there are just so many raw moments that harken back to the halcyon days of 1993 – 1998 when the band and audience engaged in the kinds of extended, abstract, absurdist, and inside-joke experiments that were both only possible at a Phish show, and made this whole cultural experiment feel that much smaller, and that much more unified and connected, even as it simultaneously widened as the word of the circus spread throughout upper-middle-class, white America.

A Few Examples:

10:20 – 13:30 — when Trey and Mike are both clearly so desperate to extend what, at this point, is just a standard 3.0, “Tweezer-themed-Tweezer-jam”, that they push atmospheric melodies outwards, building towards Trey’s rhythmic in-and-out fades, which – once Page catches on – leads to the hard-rock segment that defines the 13:42 – 16:06 section of the entire jam.

22:29 – 26:18 — Trey latches onto a deliberate riff which builds towards a gorgeous hose segment that would have single-handedly made this one of the elite jams of the year had it ended right then and there. No woo’s. No 30-minute barrier broken. No matter. This section of Trey-led riffing is among his most impressive playing of the entire year – in fact it’s a direct predecessor of that gorgeous, Allmans-esque jam that concludes the 10/29 “Down With Disease” – and would have been the single reason why – had the jam ended immediately after, as so many have throughout 3.0 – the “Tahoe Tweezer” would have still, at that point, been the longest jam of 3.0.

26:18 – 26:23 — This is, for all intents and purposes, the moment when the “Tahoe Tweezer” becomes THE Tahoe Tweezer. It’s all thanks to Page McConnell. He’s been following Trey’s lead for the past four minutes, and sensing – correctly – that the current theme is about to wind down, inserts the celebratory melody which, once Trey latches on at 26:24, becomes THE Tahoe Tweezer.

27:29 — The first WOO!

27:53 – 28:19 — Trey plays a riff that’s so driven, so celebratory, so deliberate, yet so thoughtless at the same time, so rooted in his purest feelings and emotions – from so deep in his heart – you can literally feel the shit-eating-grin spilling out across his face through your headphones. You can hear him realize right then and there just how big a deal this jam is. It’s not just the fact that it’s a great “Tweezer” to open a set. It’s not just the fact that this is the new longest jam of 3.0. It’s not just the fact that the band has allowed all their fears of playing deep into the unknown wash away. It’s not just the fact that the band is proving both to themselves and all their fans that they’re so locked in once again that they can play with an unending, limitless abandon, and still produce totally focused, driven, and unquestionably listenable, compositionally-sound music. It’s the fact that all these things were happening at once AND they’d latched onto a melody so contagious, so infectious, so rooted in the essential nature that has made music a communal and spiritual force for the entirety of human existence, that they’d spurred a wholly original conversation with their fans in the process. It’s the fact that if the entire goal of Phish’s entire existence – spontaneous moments of shared energy and musical brilliance resulting from carefully crafted compositions allowed to run wild – were boiled down to one moment in time, this moment would be it. That they discovered this through the peak in a “Tweezer” jam is all the more fitting.

32:46 – 35:07 — The Victory Lap. As if they even needed to keep playing following the woo’s. This is all Rock-Star-Trey here. Based loosely off the jam from “Dear Mr. Fantasy,” the band built towards one more massive peak – complete with Woo’s, because, why the fuck not at this point (???) – before coyly snaking back into “Tweezer.”

35:48 – 35:50 — Woo’s within the “Tweezer-riff” comedown. Fuck. This section is a lot like that loose and sloppy “Psycho Killer” that emerged from “AC/DC Bag: on 12/07/1997 as the denouement commenced upon Fall 1997. It’s so unserious, so ridiculous, so clear that whatever the band’s intentions were as they stepped on the stage for that night’s second set, they weren’t prepared for this. As Wax Banks said, “bag>psycho killer to open, seriously? they’re just dorking around at that point…”

36:09 – 36:47 — The final note. The final Woo. The fade. The band holds out this last note, systematically dementing it and burying it in the ground. It’s as if they don’t want to let it go. And why would they? If they only knew at that moment what this would ultimately build to…

Is it the best jam they’ve ever played? No. But it is the most important piece of music the band has played since the 07/29/1997 “Gumbo” or the 11/17/1997 “Ghost.”

It’s that revolutionary moment where the band is clearly searching for some ambiguous sound, some indefinable goal, and unquestionably uncovers something totally new about themselves in the process. Say what you will about the after-effects of the ‘woo’s,’ what’s clear to everyone involved is that without the “Tahoe Tweezer, “none of the brilliance that emerged with such stunning ease and consistency throughout the Fall would have been possible.

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“Chalk Dust Torture” – Commerce City, Co – 08/31/2013

Just listen to the segment from 10:02 – 12:36 and try – seriously try – to resist boogieing your ass off wherever you may be. Of all the moments of musical connectivity the band found themselves in throughout the entire 2013 Summer Tour, perhaps none felt as effortless, as mechanical, as choreographed, or as pre-planned as the immediate peak jam segment out of the Set II Opening “Chalk Dust Torture” from 08/31. A year to the date after their revolutionary FUCK YOUR FACE show, a night after informing their fans that MOST SHOWS SPELL SOMETHING, Phish connected on an aggressive, set opening jam, that systematically pointed the way towards the Fall.

Listen to the aforementioned segment again. Within it you can hear the first hints of what will become known as “Fuego.” What’s more is how deftly the band is able to hook up through rhythmically induced passages of deliberate playing, the very kind that would come to define all the highs of the looming Fall Tour.

Perhaps we couldn’t fully understand it at the time. Perhaps we weren’t aware that the band really just wanted to use Dick’s 2013 as a weekend-long celebration. But it’s clear now that this “Chalk Dust” was an essential moment that separated summer from fall in the same way the Toronto “Down With Disease” separated the East Coast Run from the West. A supremely confident statement from a band at the height of their powers once again, this “Chalk Dust” proved that all the foundational setting of early Summer were more than worth the patience required. And, just like in 2012, it was “Chalk Dust” that left perhaps the most lasting legacy on another memorable weekend at Dick’s.

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“Tweezer -> Golden Age” – Hampton, VA – 10/20/2013

In 2003 and 2004, Phish regularly dove wildly into the deepest and darkest holes of the musical underworld, drumming up some of the most baroque and macabre jams of their entire career. A result of the personal crises faced by Trey and Page at the time, these jams are, in many ways, singular to perhaps the most harrowing era in the band’s history. Rarely has Phish allowed themselves to even glimpse these seedy and hopeless terrains throughout their overtly-joyful period of rebirth since 2009.

On the final night of their Fall Tour-opening Hampton Run, Phish – and especially Trey – granted themselves a dip back into their darkside, resulting in their most inspired, and passionate improvisational excursion of 2013.

Channeling the guitar-wizardry of Yo La Tengo’s Ira Kaplan, Trey incorporates his effects with caustic shreds of his guitar, cultivating a demented soundscape. There’s a stark nakedness to his playing throughout this jam, a peeling back the layers to his soul, a revealing insight into the darkness that still resides within.

This is the Yin to the “Tahoe Tweezer’s” Yang.

Yet, perhaps what makes this jam so rewarding, and ultimately so influential, is the segment of music that emerges at 19:57. Distantly related to the ethos of “Wingsuit” – a song that would debut some eleven days later, this denouement to the preceding jam segment offered a window into exactly what was possible when the band gave a seemingly fading jam one more look. Reminiscent of comments Page made in the IT DVD regarding the type of music that’s only possible after 18…19…32-minutes of jamming, this final segment would help push the band further, to the moments found in the latter parts of the 10/26 “Drowned,” 10/29 “Down With Disease,” 11/01 “Twist,” and 12/29 “Down With Disease -> Carini.”

In “Golden Age” Phish finally capitalized on the most profound excursions they’d thus far embarked on with the song – 07/02/2011, 07/03/2012, 07/03/2013, 07/30/2013 – pushing it further than it’d ever been before. A fully-realized, groove-based conversation between all four members, this version – along with its accompanying 10/27 version – finally unlocked the code on a song that had evolved in fits and spurts for the band.

A forty-minute segment of music that ultimately transcended everything else the band was capable of accomplishing throughout their brilliant 30th year, one can only imagine how much deeper Phish will now be willing to push their music in 2014.

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“Tweezer” – Hartford, CT – 10/27/2013

If the “Tahoe Tweezer” represented a moment of critical mass in Phish’s grand experiment, and the “Hampton Tweezer” was a marked dive back into the netherworld of their musical souls, then the “Hartford Tweezer” was a pronouncement of the celebratory rhythmic/melodic jamming the band had been busily perfecting all year on an extremely meta level.

We’ve long known that the ultimate key to Phish’s improvisational success is simplicity. A concept that’s often far easier said than done – especially when you factor in each member’s exceptional skill level, and the pressures associated with playing live, improvisational music – this version of “Tweezer” immediately gets to the point of itself, and then patiently rides itself out to its proper conclusion. Proof that less is more. Touching distinctly on the theme from “Weekapaug Groove,” this jam feels deeply rooted in the historical lexicon of Phish. It’s the kind of jam that fundamentally fit the conceptual goals of 2013.

Throughout 2013 Phish’s best moment came when they seemed to stop trying. Akin to 1997’s peak based around minimalist funk grooves, the diversity of their stylistic peaks in 2013 are only matched by the effortlessness it took the band to reach them. A moment when each member latched onto a singular idea and ran with it, the “Hartford Tweezer” is equally one of the most pleasurable, and important pieces of music played all year.

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“Down With Disease -> Taste” – Reading, PA – 10/29/2013

If one were to try and summarize the reasons for Phish’s two-week-long peak tour during October 2013, one could hypothesize over the bulbous and rhythmic interplay of Mike and Fish. Perhaps one would reference the archaic and personally historic venues the band toured through within their home turf. One might look to the impending performance of Wingsuit as inspiration. In their fifth year back following a five-year break-up, the overall health and friendship within the band has certainly led to a lot of possibilities as to why now, in their 30th year of existence, Phish has reached one of the highest peaks they’ve ever been on artistically. Yet, to me, one aspect of Phish’s playing sticks out as the most profound reason why this past Fall Tour was one of the greatest Phish has ever had: Trey’s deliberate approach to playing his guitar.

Nowhere is this approach more fruitful, nor more rewarding, than in the stunning jam that flowed out of “Down With Disease” on 10/29.

What was initially a funk-laced stroll through familiar “DWD” jam-terrain changed at 13:10 when Page began infusing melodic themes into the mix. Immediately latching onto his ideas, and toying with them before copying them, Trey built this initial foundation into an Allman-laced jam that harkened back to his heavily-lauded Hose-era-playing. Akin to the 12/30/1995 “Hood,” the “Went Gin,” the “IT Ghost,” and the “Tahoe Tweezer,” the melodic and spiritually uplifting notes that emanated from Trey’s guitar with such ease, passion, and deliberateness felt like a step back into an earlier time.

Beyond it’s musical brilliance, the “Reading DWD” provided one final twist for the thousands of fans trying to decipher any and all clues from the band about their upcoming Halloween performance. Immediately following this show, and continuing until the Playbills were dispersed two night’s later, the entire community was convinced we were getting Eat A Peach on Halloween. A fusion of Phish gimmickry, with musical ingenuity, along with the emotive thrill that’s associated with their best improvisational moments, the “Reading DWD” is one of those rare jams that repeatedly delivers on the hype.

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“Ghost> Carini” – Atlantic City, NJ – 10/31/2013

On 08/15/2004, following the whole-band collapse in “Glide,” and the emotional breakdown in “Wading In The Velvet Sea,” Trey told the crowd that the band needed to just “blow off some fucking steam…” They then proceeded to dive into a 50-minute firestorm of noise-ladened abstract improv within the limitless confines of “Split Open & Melt” and “Ghost.”

Just over nine years later, following a Halloween set where they debuted twelve completely new originals, Phish responded with this 35-minute segment of blissfully exuberant, and wholly-connected music within the limitless confines of “Ghost” and “Carini.” Without notifying their fans, the symbolic gesture was in many ways related to the necessary move to blow off some emotional steam at Coventry. The difference being the fact that in August 2004 they were a band grasping for their last breaths, whereas in October 2013, they were on the verge of rebirth once more.

The 10/31 “Ghost> Carini” is the sound of a massive weight being lifted off of Phish. For much of 2013 – no one knows exactly how long – the band carried around a secret waiting to be unveiled, live, in front of their fan base: Wingsuit. A burden that must have caused an incredible amount of artistic stress on the band, this jam segment was all the band needed to display how grateful they were for the open-mindedness of their fans to allow them such artistic freedom. Throughout the “Ghost” a sultry and sinister groove builds. The kind of deliberate and simple musical concept that had tracked their best improv of the year, this jam is the confident strut than can only follow a nailed risk. This is DiCaprio dropping the mic after one of his megalomaniacal speeches in “Wolf Of Wall Street.” This is Jordan shrugging after his 6th 3-pointer in the first half of Game 1 of the ’92 Finals. This is Trey’s prowling stomp around the stage during the surprise “Tweezer Reprise” encore on 04/03/1998.

It is, however, the “Carini” that gets all the glory in this segment. A 19-minute excursion that touches on literally all the moments of profound communication throughout the past two years, this jam is up there with the best improv the band has offered throughout the entirety of their career. Led by Trey’s celebratory rhythmic playing, this “Carini” reaches a full-band peak that would be further explored in the following night’s “Twist.” Stylistically reminiscent of the 08/31/2012 “Undermind” and “Chalk Dust,” the 09/01/2012 “Light,” 09/02/2012 “Sand,” 12/28/2012 “Tweezer,” 07/06/2013 “Carini,” and 07/31/2013 “Tweezer,” this is one of those Phish jams that moves effortlessly from one musical passage to another without giving the listener time to lament the conclusion of one before rewarding them with a fully-realized segment of music in the next.

Two songs that just scream All Hallow’s Eve in their musical origins and lyrics, “Ghost> Carini” was a fitting centerpiece for the band to blow-off some steam on a night when they confidently catapulted themselves into their next era.

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“Down With Disease -> Carini” – New York City, NY – 12/29/2013

“Thank you, we wrote that…”

By the end of 2013 Phish was on such an artistic peak, and on such a creative roll, that it became second-nature for them to hook-up and explore passages of musical brilliance. Fully-formed ideas seemed to simply emit from their instruments, and questions over if they’d produce another transcendent jam disappeared. Because of this, there are numerous jams from their recent Fall Tour and NYE Run that were painstakingly left off this list: 10/23 “Twist,” 10/25 “Waves -> Carini,” 10/27 “Drowned> Light,” 10/27 “Golden Age,” 10/29 “Twenty Years Later -> Piper,” 11/01 “Twist,” 12/30 “Chalk Dust Torture,” most notably.

When they stepped to the stage on 12/29, following their most fluid first set of the NYE Run, they unveiled yet another masterpiece of improvisation through two of their most reliable vehicles for musical discovery: “Down With Disease” and “Carini.” Two songs that have been featured extensively on this list, for whatever reason, both of these songs consistently allow the band an ideal passage into the unknown. In “DWD” Phish explored the melodic underbelly of the song’s origins – highlighted by Mike & Trey’s interplay as much as the soundscape crafted by Page – before rebuilding itself into a full-on “DWD Reprise.” A moment of euphoric magic for both band and audience alike, the blissful conclusion that rose naturally from the depths of improv was the kind of unexplainable point of connection that has so often marked the best moments of Phish’s 30-year career. Many claim you could feel the walls of the Garden shaking as the band reached a peak of a musical theme that is the composed sound of euphoric joy within the confines of Phishdom.

A yin to the “AC Carini’s” yang, the 16-minute “MSG Carini” was a demonic beast of minimalist groove. Deliberate, haunting, demented, abstract, insane, unified… the “MSG Carini” built from the Yo La Tengo-esque jam in the “Hampton Tweezer” into a hulking beast all its own. A sure sign that the seedy, under-worldly jams, which defined Phish 2.0, are at least back in part here in 3.0, this “Carini” felt like the unification of two eras. The fact that Phish can so willingly dive deep into the darkness again – during an era of such renowned health and personal well-being, no less – is as clear a sign as any of the artistic peak Phish is on right now.

Just as “Down With Disease” and “Carini” provided both the musical peak of the 2012 NYE Run, while simultaneously pointing the way towards the band’s improvisational future, the two songs once again served this symbolic purpose here in 2013. Who knows exactly what direction(s) the band will take their improv in 2014? One thing however, is certain: if they can in anyway build upon, and expand within the musical accomplishments of their 30th year, we’re all in for an absolutely mind-blowing 31st year of Phish.

——–

Part II coming this week!

Photo Cred: 1 – 10/20 Hampton, VA – Dave Vann; 2 – 07/17 Alpharetta, GA – Dave Vann; 3 – 08/05 Hollywood, CA – Brantley Gutierrez; 4 – 10/18 Hampton, VA – Dave Vann; 5 & 6 – 07/06 Saratoga Springs, NY – Dave Vann; 7 – 07/10 Holmdel, NJ – Dave Vann; 8 – 07/31 Stateline, NV – Dave Vann; 9 – 08/30 Commerce City, CO – Dave Vann; 10 – 10/20 Hampton, VA – Dave Vann; 11 & 12 – 10/29 Reading, PA – Dave Vann; 13 – 11/01 Atlantic City, NJ – Brantley Gutierrez; 14 – 12/29 New York City, NY – Rene Huemer

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The Best Of Phish – 2009 – Part II

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– With Summer 2013 Dates just announced, I felt it appropriate to give 2009 it’s proper due. Here follows is a recap of the first year of 3.0, including picks for Best Jams and Best Shows. Part II today is the Show, click here for Part I. Enjoy! –

The Best Of Phish 2009

Honorable Shows

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Susquehanna Bank Center – Camden, NJ – 06/07/2009

Set I: Chalk Dust Torture, Fee+, Wolfman’s Brother, Guyute, My Sweet One> 46 Days, The Lizards, The Wedge, Strange Design, Tube, First Tube

Set II: Sand, Suzy Greenberg, Limb By Limb, The Horse -> Silent In The Morning, Sugar Shack^, Character Zero> Tweezer

Encore: Joy^, Bouncing Around The Room> Run Like An Antelope> Tweezer Reprise

+ Trey forgot the lyrics halfway through “Fee”

^ “Sugar Shack” and “Joy” made their Phish debuts

Eight shows into their 3.0 comeback, Phish returned to one of their favorite venues, and put on a show still revered today, proving they could transcend the initial limitations set upon themselves. On the last night of the NE-Run of Summer’s First Leg, Phish settled in, played a masterful first set, a contemplative second set – bookended by two of the best jams of the year – and an extended encore, all for some of the most devoted fans they have. Personified by the ambient jam that emerged out of “Fee,” the old-school/new-school combo of “My Sweet One> 46 Days,” and the antics that ended the set with “Tube,” and “First Tube,” the first set was a relaxed affair, devoid of the recital approach that had plagued many of the tour’s other first sets. In Set II, the band opened with a monster jam off of “Sand,” before treating the crowd to a string of old school classics, and blissful numbers, with “Suzy” and “Silent In The Morning,” along with the debut of Mike’s bubbly “Sugar Shack.” The best moment though, might have been the powerful “Tweezer” that ended the set. Coming as a surprise out of the expected “Zero” set closer, the jam built into a monstrous storm led entirely by Trey’s endemic licks. Ending the set on a high note, all’s the band had to do was the standard “Bouncing> Tweeprise” and people would have gone home  happy. Though opting to toss in the debut of “Joy,” along with a raging “Run Like An Antelope,” the encore took on the feel of a third set, reminding everyone just how much the band cherished their home turf. The show of the year to many-a-fan, Camden ’09 is significant in many ways. Perhaps most lasting is the fact that it was the first show since their return in March that could be argued as “show of the year.”

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Red Rocks Amphitheater – Morrison, CO – 08/01/2009

Set I: AC/DC Bag, The Curtain With*, Mound**, Gotta Jibboo, Guyute, Punch You In The Eye, Tube, Alaska> Run Like An Antelope+

Set II: Rock & Roll -> Down With Disease#& -> Free, Esther***, Dirt, Harry Hood##

Encore: Sleeping Monkey, First Tube

* First “The Curtain With” since 15 August 2004

** First “Mound” since 31 December 2002

** First “Esther” since 30 September 2000

+ “Run Like An Antelope” contained the lyrics ‘Been you to have any slush’

# “Down With Disease contained “LA Woman” and “Taste” teases

## “Harry Hood” contained “Dirt” and “Free” teases

& “Down With Disease” was unfinished

A night after playing their best show of 3.0 to that point, Phish returned for the third night of their unprecedented four-night run (by 3.0 standards) at Red Rocks, and put of a nostalgic performance, thus complimenting the innovative playing of the previous show. A nailed and emotive “The Curtain With,” played for the first time since Coventry, was really all anyone needed to know how the band felt about their return, some five months in. Following it with the first “Mound” since 31 December 2002, was icing on the cake, as the band nailed the clearly practice Rift-era rarity. The rest of the first set was a classic mix of summery, first set tunes, highlighted by a pungent jam out of “Tube.” In the second set, the band took “Rock & Roll” and “DWD” on extended journeys, a jam segment that made one of the final cuts for the jams of the year list. Continuing the bust-out theme, “Esther” was played for the first time since Vegas ’00, before closing things out with the introspective “Dirt,” and a notable version of “Harry Hood.” Long revered by fans, the six-song second set became something of an oddity following this show, as the band routinely abandoned multiple jams, in favor of bursts of energy throughout Set II’s. A solid show through and through, 08/01 was the perfect follow-up to 07/31’s torrential onslaught, and reassured fans that their best performances in 3.0 weren’t necessarily one-off affairs. More than anything, this show put an indelible stamp on the ’09 Red Rocks Run that won’t be removed until they decide to revisit the Colorado gem.

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Cumberland County Civic Center – Portland, ME – 11/29/2009

Set I: Possum> Down With Disease, Nellie Kane*, Weigh, When The Circus Comes, Kill Devil Falls, Water In The Sky, Stash, Meat+, Undermind, Mike’s Song -> I Am Hydrogen> Weekapaug Groove

Set II: The Moma Dance> Rock & Roll> Light -> Crimes Of The Mind**> Pebbles & Marbles> 2001> Golgi Apparatus> Cavern> Run Like An Antelope

Encore: Free Bird***, Carini> Waste

* First “Nellie Kane” since 01 July 2000

** First “Crimes Of The Mind” since 28 November 2003

*** First “Free Bird” Since 22 June 2000; First a capella version since 28 December 1998

+ Prior to “Meat” Mike was introduced as “The Artist Formerly Known As Cactus, now The Artist Currently Known As Prince”

Closing out their strongest weekend of the Fall 2009 Tour, Phish threw down a two-set affair, highlighted by a fun-loving first set, and a fully-flowing, jam heavy Set II. Coming out the gates with the one-two-punch of “Possum> DWD,” the band held little back on this night in Maine, gracing the first set with a “Nellie Kane” bustout, and notable versions of “Meat” and “Undermind.” But the second set is where the real magic is at, as the band didn’t take a single break throughout, crafting a particularly memorable jam segment in “Rock & Roll> Light -> Crimes Of The Mind.” The latter – the only time to be played without The Dude of Life on vocals – was not only a massive surprise, but built into a powerful jam before fading into “Pebbles & Marbles.” Closing things out with an energized “2001> Golgi> Antelope” closing trio, the set was a complete thought, devoid of miscalculated ballads, or misplaced fillers. In the encore, the band treated their fans to two rarities in “Free Bird” and “Carini,” and an emotive “Waste,” sending everyone out into a chilly post-Thanksgiving week, and onwards to their MSG return. One of the strongest performances of the Fall Tour, Portland came on the heels of the tour’s most memorable stretch, when the band just destroyed Philly and Albany, proving they still had something in the tank after so many memorable shows.

The Top Ten Shows Of 2009

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Alpine Valley Music Theater – East Troy, WI – 06/21/2009

Set I: Brother+, Wolfman’s Brother, Funky Bitch> The Divided Sky, Joy, Back On The Train, Taste> Poor Heart, The Horse -> Silent In The Morning, The Man Who Stepped Into Yesterday* -> Avenu Malkenu*> The Man Who Stepped Into Yesterday*> Time Turns Elastic

Set II: Crosseyed & Painless# -> Down With Disease##&> Bug> Piper### -> Wading In The Velvet Sea, Boogie On Reggae Woman, Slave To The Traffic Light

Encore: Grind, Frankenstein++

+ During “Brother” each of the band members kids’ came on stage and climbed in a giant bathtub

++ “Frankenstein” feature Trey on a five-neck Guitar, Mike on an Inferno Bass, and Page on a Keytar

* First “The Man Who Stepped Into Yesterday -> Avenu Malkenu> TMWSIY” since 07 July 2003

# “Crosseyed & Painless” contained a “Let It Grow” tease

## “Down With Disease” contained a “Taste” tease

### “Piper” contained a “Can’t You Hear Me Knockin'” tease

& “Down With Disease” was unfinished

On the final night of the First Leg of Phish’s 2009 Summer Tour, the band graced their fans with a memorable show highlighted by the first annual – until 2013, that is – Father’s Day gimmick, a lengthy Set I, and a fully-flowing second set, anchored by two excellent jams. When a crew member brought a bathtub out to center stage about five minutes before show time, a roar generated throughout the crowd, in anticipation of whatever the band had up their sleeves. Opening with the first “Brother” since IT, the band invited each of their kids on stage to climb into the tub, ala the song’s lyrics. Initiating a Father’s Day tradition, the gag sent a joyful message as to just how important sharing their family with the Phish experience was to the band members’ throughout this 3.0 run, while at the same time sent a shout-out to their life-long fans who’ve become father’s of their own in the years since Coventry. The revelry spilled over into a thick “Wolfman’s” a “Funky Bitch,” per request, and a poignant “Divided Sky.” Forty minutes in, it was already the show of the tour. Closing the set out with the notable and old-school combo of “The Man Who Stepped Into Yesterday -> Avenu Malkenu> TMWSIY,” followed by their most recent composition, “Time Turns Elastic” was as symbolic a pairing as any, displaying the compositional roots that the band had been built on. That it was also the most memorable, and powerful version of “TTE” to date, says something as well. In Set II the band simply threw down. Busting out “Crosseyed” for the first time since Deer Creek ’04, they built a peaking jam off the theme that, coupled with the thousands of glowsticks battling about on the lawn, nearly tore the lid off the old shed. Bleeding into “DWD” by way of an ambient jam, the set moved forward with an emotive “Bug,” a percussive “Piper,” and a gorgeous “Slave” to close things out. Encoring with the 3.0 barbershop staple “Grind,” and a raunchy “Frankenstein,” wherein which Trey, Mike, and Page donned gimmicky instruments, the show sent everyone off to Summer 2009’s halftime, bellies full, yet ravenously anticipating Leg II.

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Red Rocks Amphitheater – Morrison, CO – 07/31/2009

Set I: Runaway Jim> Chalk Dust Torture, Bathtub Gin, Time Turns Elastic, Lawn Boy, Water In The Sky, Stealing Time From The Faulty Plan, Split Open & Melt

Set II: Drowned -> Crosseyed & Painless -> Joy, Tweezer> Backwards Down The Number Line> Fluffhead#& -> Piper -> A Day In The Life

Encore: Suzy Greenberg##> Tweezer Reprise

# “Fluffhead” contained a “Dave’s Energy Guide” tease

## “Suzy Greenberg” contained “Drowned,” “Crosseyed & Painless,” and “AC/DC Bag” teases

& “Fluffhead” was unfinished

After spending much of their First Leg awkwardly adjusting to life back on the road, Phish reappeared at Red Rocks – for the first time since 1996, no less – on a mission to reclaim what was theirs. No better is this spirit shown than by the viscerally powerful second set that blew up on the run’s second night. Following a solid first set that included a muddling, yet incendiary “Split Open & Melt,” which battled the torrential downpour, the band reemerged for Set II, and played hands down, their best set of 3.0 – up to that point. Flowing throughout, the set was anchored by a seamless segue from “Drowned -> Crosseyed,” a bubbling and constantly shifting “Tweezer,” a celebratory “Fluffhead,” and a “Piper” that bled right into “A Day In The Life,” by way of Mr. McConnell’s keys. Each jam carried fresh ideas, each song was a welcome surprise, and by the time they reemerged for the encore, they had quieted literally all who were skeptical of their 3.0 abilities – at least for a night. Immediately setting the 3.0 bar a notch higher, 31 July 2009 will forever be remember as the show that inspired the transcendent music created throughout August 2009. Completely themselves again, no show would impact a tour, or the band’s overall sound, quite like it until a year later, on the second night of the equally legendary Greek Run.

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The Gorge Amphitheater – George, WA – 08/07/2009

Set I: Down With Disease, Ocelot, Pebbles & Marbles, Possum, Sleep, Destiny Unbound, Stash, Sneakin’ Sally Thru The Alley -> Cavern

Set II: The Moma Dance> Light -> Taste, Fluffhead, Joy, Bathtub Gin&> Harry Hood

Encore: Slave To The Traffic Light

& “Bathtub Gin” was unfinished

It was the best show of 2009 at the time; and it still is, to this day. Even more, some four years on, it’s still ranks as one of the best overall shows in 3.0 Highlighted by a classic set one, which concluded with one of the jams of the year in “Sneakin’ Sally,” and a top notch set two, that offered two unique jams to this list, it was a monumental show through and through. Kicking things off with a raging, Type-I “DWD,” set I was notable for the 3.0 debut of “Pebbles & Marbles,” and for only the third “Destiny Unbound” since 1991. But it was the “Sneakin’ Sally” jam that concluded the set with a segue into “Cavern” that has hung in the minds of most listeners; to this day it is still one of the most innovative jams of 3.0. Set II is akin to 07/31’s masterpiece in it’s flowing nature, diversity of jams, and re-listenability all these years later. The “Light” and “Gin” jump out as the clear highlights, but the “Fluffhead,” and, the always welcome Gorge version of “Harry Hood,” fill out the set perfectly. Encoring with a patient, Trey-led “Slave” sent everyone out into the Pac-NW night, eagerly anticipating the following night, which would ultimately be a top-to-bottom barn-burner, thus cementing The Gorge as THE run of 2009.

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The Gorge Amphitheater – George, WA – 08/08/2009

Set I: The Mango Song> Chalk Dust Torture, Middle Of The Road^, Tweezer, Driver, Twenty Years Later, Ya Mar, It’s Ice, Wolfman’s Brother> Character Zero> Run Like An Antelope

Set II: Rock & Roll -> Makisupa Policeman+, Alaska, The Wedge, You Enjoy Myself#, Backwards Down The Number Line&> Piper##, Grind

Encore: Good Times Bad Times, Tweezer Reprise

^ “Middle Of The Road” made it’s Phish debut

+ “Makisupa Policeman” featured Mike and Trey switching instruments and contained the keyword: “Did like Bobby Brown. I ate my breakfast, and I laid back down.”

# “You Enjoy Myself” contained a “Hedwig’s Theme” tease

## “Piper” contained “Llama” teases from Fishman

& “Backwards Down The Number Line” was unfinished

After playing their best show of 2009 the night before, Phish wasted no time getting down to business on their second night at the vast and expansive Gorge Amphitheater. Opening with the back-to-back Nectar classics, “The Mango Song> Chalk Dust Torture” set the tone immediately. The First Set was further highlighted midway through by a slowly building “Tweezer,” which picked up many of the Red Rock’s version’s influences, before transferring them into a more rock-based, peaking jam. Closing the set out with the blistering trio of “Wolfman’s Brother> Character Zero> Run Like An Antelope” nearly blew the stage into the Columbia River behind them; you can clearly hear the crowd let out an emphatic, and massive roar of ecstatic approval when “Zero” faded into “Antelope.” A bonus set closer of sorts, it proved to be a thankful nod from the band to their fans for their first three sets of excellent music at The Gorge. In the second set, the band threw down one of their jams of the year in the 23-min, “Rock & Roll.” It built through twenty minutes on improv based almost entirely on the The Velvet Underground theme, before returning to the song proper, and then segueing into a playful “Makisupa.” A punctual “You Enjoy Myself” found itself in the middle of a set for one of the few times in 2009 – quite a rare treat at the time – a sure sign the band was feeling loose. Concluding things with the first hint of experimentation in “Backwards Down The Number Line,” a “Piper” that plowed ahead into the unknown with furious precision before fading away into a “Llama” jam from Fishman, and “Grind,” the set ended in one of the most unique ways of any in 2009. Closing the show and The Run out with “Good Times Bad Times” and “Tweezer Reprise” was really the only way one could, as the two capitalized on the massive energy explosion that’d occurred in the middle of Washington State that weekend. Easily the best weekend of Phish 2009, The Gorge is still talked about with awe by all in attendance, and with envy by all who’ve only heard it on tape.

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The Comcast Theater – Hartford, CT – 08/14/2009

Set I: Punch You In The Eye, AC/DC Bag> NICU, Col. Forbin’s Ascent* -> Fly Famous Mockingbird*, Birds Of A Feather, Lawn Boy, Stash, I Didn’t Know, Middle Of The Road> Character Zero

Set II: Down With Disease%&> Wilson -> Slave To The Traffic Light, Piper## -> Water In The Sky, Ghost -> Psycho Killer** -> Catapult+ -> Icculus***+> You Enjoy Myself%%

Encore: While My Guitar Gently Weeps

* First “Col Forbin’s Ascent” and “Fly Famous Mockingbird” since 30 September 2000

** First “Psycho Killer” since 07 December 1997

*** First “Icculus” since 18 July 1999

% “Down With Disease” contained a jam based on “Reba”

%% “You Enjoy Myself” contained the “Pong” jam from “Catapult”

## “Piper” contained a “Spill The Wine” tease

+ “Catapult” featured a jam inspired by the Atari game, Pong

++ “Icculus” featured narration about technology and kids “reading a fucking book!”

& “Down With Disease” was unfinished

What can you say sometimes? There are those shows where the band’s just feeling it. After making the 30-hr trek from The Gorge to Chicago, where they threw down a lackluster effort, the band played an old-school show in Darien – the last show to be cut from this list, btw – to kick off their four-night run of the NE. The next night, in Hartford, the band waited till well past 8:30 to emerge for a two-set affair, shrouded in darkness, one that would be revered immediately upon conclusion, and long after it was all said and done. Opening with a string of classics, “PYITE, AC/DC Bag> NICU” sent the initial message that the band was feeling it here back on their home turf. But it was the reemergence of “Forbin’s -> Mockingbird,” after almost ten years in hiding, that pushed the show to another level. Without a narration to break the momentum, the band went the old school rout, and let the two Gamehendge rarities speak for themselves. It mattered little what was played the rest of the set, for this bustout was enough to satiate most fans, but it helped for historical purposes – and for those who truly enjoy listening to full shows – that they followed with a scorching “Birds,” a punctual “Stash,” and a raging “Zero” to send everyone into setbreak. In the second set, the band used the first half to craft two indelible jam segments in “DWD> Wilson -> Slave” and “Piper -> Water In The Sky,” the first of which contained a gorgeous “Reba” jam, and the latter which featured the same type of percussive jamming as was seen in the Alpine version, but ended with a fluttering of Page that spilled fluidly into “Water In The Sky.” When they kicked off “Ghost,” one wouldn’t have been too misguided to think we were simply in for another monster jam. But the band had different ideas up their sleeves. Latching onto the gimmickry of Set I’s bustout, they directed “Ghost” into the first “Psycho Killer” in twelve years, before letting it fade into the first “Catapult” of 3.0. Based around a prickly, note-based jam that sounded oddly like the Atari game, Pong, Trey got a bit nostalgic and started strumming a few minored chords. What emerged was the first “Icculus” in ten years, a song based heavily on narration, to which, Trey preached to all the young Phish fans about the pleasures of books, and the evils of iphones and hand-held technology, finally quipping, “When was the last time one of you picked up a fucking book?!?!” Closing out the set with the only appropriate song, the band played an inspired “You Enjoy Myself,” before encoring simply with The Beatles, “While My Guitar Gently Weeps.” One of the best shows of the year. And one of the best shows of 3.0 for that matter. It’d be a long while – until 10/20/2010 to be exact – before the band would play a show steeped in this much humor, gimmickry, and old-fashioned Phish zaniness.

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Empire Polo Club – Indio, CA – 10/31/2009

Set I: Sample In A Jar, The Divided Sky, Lawn Boy, Kill Devil Falls, Bathtub Gin, The Squirming Coil> Runaway Jim> Possum, Run Like An Antelope+

Set II$: Rocks Off*%> Rip This Joint*%, Shake Your Hips*%, Casino Boogie*, Tumbling Dice*%%, Sweet Virginia%%, Torn & Frayed*, Sweet Black Angel*%, Loving Cup%%, Happy*%%, Turd On The Run*%%, Ventilator Blues*%% -> I Just Want To See His Face*%%% -> Let It Loose*%%, All Down The Line*%%, Stop Breaking Down*%%, Shine A Light*%%, Soul Survivor*%%

Set III: Backwards Down The Number Line> Fluffhead, Ghost> When The Circus Comes, You Enjoy Myself

Encore: Suzy Greenberg%%

+ The lyrics in “Run Like An Antelope” were changed to “Been You To Have Any Coil?”

$ The Rolling Stone’s Exile On Main St was the band’s Second Set Musical Costume

* All songs in Set II, with the exception of “Sweet Virginia” and “Loving Cup” made their Phish debut

% Featuring Dave Guy on Trumpet, David Smith on Trombone, and Tony Jarvis on Saxophone

%% Featuring Sharon Jones and Saundra Williams on Backup Vocals; Dave Guy on Trumpet, David Smith on Trombone, and Tony Jarvis on Saxophone

%%% Featuring Sharon Jones and Saundra Williams on Backup Vocals

Their first Halloween show since 1998, and their first festival since the Coventry debacle, Festival 8 peaked on it’s second night with a three-set masterpiece, bookended by classic Phish, and filled out by one of the best cover album’s the band has ever performed. In the first set, the band threw down a string of old-school classics, honoring the magnitude of the event, while matching the near-perfect conditions the California desert provided. Highlighted by a gorgeous “Divided Sky,” a soaring “Bathtub Gin,” a combo right out of the 80’s in “Coil> Jim> Possum,” and a raging “Antelope” to close, it was the kind of set that – “KDF” aside – one could have easily imagined being played in front of about 1000 friends back in Vermont. In Set II they masterfully covered The Rolling Stone’s 1972 classic, Exile On Main Street. Highlights abound, the set, more than anything, sent a clear message about how far the band had come since their low-point in 2004, and how genuinely happy they were to be healthy, playing live music again. At the end of the day, the “Torn & Frayed,” “Ventilator Blues -> I Just Want To See His Face,” “Let It Loose,” “Shine A Light,” and perhaps the greatest “Loving Cup” ever, take the cake as the peak moments of the set. Proving as poignant moment as any in a Phish show, “Shine A Light” felt written for Trey, detailing the struggles of a drug addict overcoming his demons. A song that’s birthed life into 3.0, it’s appearance as an encore always feels like a nod from the heavens for sparing Trey in his darkest days, and giving him a second chance. Set III was akin to the first set, except for it’s emphasis on improv. “Number Line” and “Ghost” both went deep, and “You Enjoy Myself” proved to be the best version of the oft-played song in 2009. Not to mention, one of the top tier versions in all of 3.0. Inviting their back-up band on stage for the “Suzy Greenberg,” they stretched the classic into a 12-min jam that featured funk breakdowns, horn solos, and Sharon Jones’s soulful wails throughout. A celebratory moment for all involved, 10/31/2009 was key to the band’s development throughout 3.0, and a show we can all look back on and simply be thankful was able to occur.

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Wachovia Center – Philadelphia, PA – 11/24/2009

Set I: Chalk Dust Torture, Bathtub Gin, Cities> Camel Walk, The Curtain With, The Wedge, The Moma Dance, Reba, Golgi Apparatus, Stealing Time From The Faulty Plan

Set II: Possum> Down With Disease& -> Twenty Years Later> Harry Hood> The Mango Song> Mike’s Song -> Simple> Slave To The Traffic Light> Weekapaug Groove+

Encore: A Day In The Life

& “Down With Disease” was unfinished

+ Much of the “Weekapaug Groove” jam was played at a slower pace

Easily the best show of the band’s 2009 Fall Tour, the first night of Philly featured a celebratory, holiday-tinged feel, with an old-school setlist and some top notch playing taboot. Akin to 10/31’s First Set, the First Set in Philly reads like something out of the band’s bygone years – sans “Moma” and “Stealing Time.” With a tight, fully loaded jam out of “Gin,” and  blissful and contemplative jams in “The Curtain With” and “Reba,” the set was ripe with highlights, many of the extended variety. Sparked with humor in the Thanksgiving-quoted “Cities,” along with the rare funk of “Camel Walk,” it was as well-rounded as any First Fet during the tour, keeping everyone on their toes in anticipation of set II. Fully flowing throughout, the Second Set was an early masterpiece in the 3.0 era. Featuring a sublime, laid-back jam out of “DWD,” the band got to business early, winding the jam through various passages of musical bliss before landing in “Twenty Years Later.” Bridging the “DWD” and the spectacular “Mike’s Groove” with “Harry Hood> The Mango Song” kept things flowing with ease, and continued the old school feel that had graced the show thus far. In the “Mike’s Groove,” the band combined “Simple” with “Slave” by way of an ambient jam, injecting “Mike’s Groove” with “Slave” for the first time since Alpine ’97. Heading into “Weekapaug” at a torrential pace, the band made humor out of the mistake, referentially shouting throughout, before slowing things down and infusing the jam with some funk grooves. A conceptual set without a moment wasted, it was one of the few totally unified moments throughout the Fall Tour, one that, while surpassed many times over in 3.0, has lived on for the fact that it was just one of those nights in back 2009, where everything felt right again.

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Times Union Center – Albany, NY – 11/27/2009

Set I: AC/DC Bag -> Maze, Driver, My Mind’s Got A Mind Of Its Own, Gumbo, Bouncing Around The Room, It’s Ice, Two Versions Of Me, Timber> Limb By Limb, Cavern -> Light

Set II: My Friend, My Friend* -> Golden Age^> On Your Way Down, Fluffhead> Piper -> Tomorrow’s Song^^, Prince Caspian&> Harry Hood> Suzy Greenberg> The Squirming Coil, I Been Around

Encore: Fire

* First “My Friend, My Friend” Set II Opener since 10 April 1994

^ “Golden Age” (TV On The Radio) made it’s Phish debut

^^ “Tommorow’s Song” made it’s Phish debut

& “Prince Caspian” was unfinished

After throwing down their best show of the tour two nights before Thanksgiving, Phish returned to the road the night after and crafted an all-around excellent show, highlighted by two surprise debuts, and a high-octane set II. Opening with an “AC/DC Bag -> Maze” segment got the show off right, as the two age-old classics fit together with ease, immediately putting the uneventful second night in Philly far in the recesses of every fan’s minds. After dusting a few songs off the shelves for the first time this tour – “Driver,” “My Mind’s Got A Mind of It’s Own,” “Gumbo,” “Timber” – they closed the set with a menacing surprise as “Cavern” faded into the only First Set “Light” they’ve ever played. Pushing the song into the ether, it touched on beat-less ambient themes, dissolving into a noise-based jam that faded as the lights came on for setbreak. Set II brought the first “My Friend” opener since Spring 1994, and the debut of the TV On The Radio hit “Golden Age,” which has gone on to be one of the most revered – and at times frustrating – songs of 3.0. Fading into only the fifth “On Your Way Down” since 1989, the set just kept elevating itself, as the band was clearly feeling it being back in the Northeast corner of the US. After the obligatory “Fluffhead,” they dropped the jam of the night in an explosive “Piper” which turned melodic, before segueing perfectly into the debut of the Undermind-ditty, “Tomorrow’s Song.” Rounding out the set with “Hood> Suzy> Coil,” was a clear message about how much fun the band had on the first night of their quasi-hometown run. Encoring with “Fire” – the third time they’ve played Hendrix on his birthday – was welcomely expected by all fans, as the nod not only honored the guitar-legend, but also bridged the two nights in Albany in ways no other cover could.

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American Airlines Arena – Miami, FL – 12/29/2009

Set I: Golgi Apparatus, Maze, Driver, The Connection, Wolfman’s Brother, Ocelot, Reba, Access Me, The Divided Sky, Cavern

Set II: Kill Devil Falls> Tweezer# -> Prince Caspian> Gotta Jibboo -> Wilson -> Gotta Jibboo -> Heavy Things -> 2001> Slave To The Traffic Light

Encore: Sleeping Monkey> Tweezer Reprise

# “Tweezer” contained a “Dave’s Energy Guide” tease

On paper this show looked like complete and utter shite. A first set comprised of a few classics surrounded by a string of fillers, and a second set that looked like another awkward clunker, defined by a “Jibboo -> Wilson -> Jibboo,” that couldn’t have looked worse on paper. Yet listening to this show for the first time back in 2009, it was clear beyond any questionable doubt that the band was feeling it. Probably the best overall show of the Miami NYE Run, it’s a prime example of the kind of show where what songs the band plays matters little, for they’d crush it all regardless. While those kinds of shows have become commonplace here in 2011 and 2012 – 06/04/2011, 06/11/2011, 08/16/2011, 09/03/2011, 06/08/2012, 06/23/2012, 07/03/2012, 08/28/2012 – back in 2009, they had to play to a killer setlist if they were going to play a killer show. 29 December 2009 broke this mold and then some. Highlighted by a torrid “Maze,” a laid back, funk jam in “Wolfman’s,” and the always welcome pair of classics, “Reba” and “Divided Sky,” the show felt much like the last 12/29 show prior to this one, sans the Miami “Piper,” of course. In set II the band focused on intertwined jamming and segues, taking “Tweezer” to some truly spectacular planes of blissful ambient nothingness, somehow making the “Jibboo -> Wilson -> Jibboo” work, and producing perhaps the best “Heavy Things” we’ve ever heard. The latter’s near-four minute ambient jam that bled right into “2001” was the defining point of the night, proving the band would nail anything they played. An all-around remarkable show, the second night in Miami ignored all the misconceptions about 3.0, shut the setlist nazi’s up – at least for one night – and produced perhaps the single greatest review by a certain Phish writer – the one where he had nothing to say.

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American Airlines Arena – Miami, FL – 12/30/2009

Set I: Soul Shakedown Party*, Runaway Jim, Jesus Just Left Chicago**, Dixie Cannonball^, Stealing Time From The Faulty Plan, Corinna***, What’s The Use?****, Tela*****, Gone^^, Rocky Top******, Chalk Dust Torture, David Bowie

Set II: Sand, The Curtain With> Lifeboy, Back On The Train -> Wading In The Velvet Sea, Hold Your Head Up> Love You%> Hold Your Head Up, Free> Boogie On Reggae Woman -> Run Like An Antelope#%%

Encore: Frankenstein+

* First “Soul Shakedown Party” since 17 April 2004

** First “Jesus Just Left Chicago” since 13 July 2003

*** First “Corinna” since 24 February 2003

**** First “What’s The Use?” since 28 November 2003

***** First “Tela” since 24 November 1998

****** First “Rocky Top” since 19 July 2003

^ “Dixie Cannonball” (Hank Williams) made it’s Phish debut

^^ “Gone” made it’s Phish debut

% “Love You” featured audience member, Rich on stage playing the vacuum cleaner

%% “Run Like An Antelope” contained alternate lyrics

# “Run Like An Antelope” contained multiple “Boogie On Reggae Woman” teases

+ “Frankenstein” featured Page on the Keytar

Ahhhhhh, the bustout show. A thing of legend in Phish circles. Rarely does the band drop an entire show/set comprised of bustouts. In the ten years since 07/29/2003, the show is still revered as one of the best of 2.0, in many ways, thanks to the ipod shuffle feel that accompanied the entire first set. On 12/30/2009, the band brought six unique songs out of seeming retirement – while debuting two others – giving credence to the 12/30 legend, while also gifting their fans with a number of oft-requested tunes. Perhaps none of these was more boisterously received than “Tela.” The sweet and longing Gamehendge ballad, it had been requested with near fanaticism throughout the Summer and Fall Tours, finally brought back to life after eleven years. In the Second Set, the band fused jams and gimmickry, crafting one of the most well-rounded sets of the year, with one of the best jams of the year as it’s centerpiece. Kicking off with the first “Sand” since Camden, they remained a bit more confined before initiating a top-notch “The Curtain With.” Producing the jam of the night in “Back On The Train -> Wading,” the band let humor dominate the latter half of the set. Using “HYHU” to throw another hint out about their NYE gag, they invited an audience member – Rich – on stage to celebrate the last vacuum solo of the decade. Closing out the set with what can only be described as “Boogie On Reggae Antelope” the band displayed on-stage communication fused with humor that just wouldn’t have been possible nine months earlier. A staple performance of gimmickry, improv, humor, and that intangible feeling that can only be found at a Phish show, there’s never been any doubt about it’s place in Phish 3.0.

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A celebratory year that saw Phish return from the darkness of their past. While they fought through numerous ups and downs, by years end, they’d unquestionably succeeded in all the goals laid out for them. As we await the start of the 2013 Summer Tour, it’s no better time to revisit the first year of 3.0, and see just how far the band has come.

Please send me your thoughts about the list.

Here’s to another four years that are just as good as the last four!

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