12/30/1993 & The Significance Of The-Night-Before-The-Night

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By most accounts 12/30/1993 should never have happened.

With a torrential blizzard encompassing the Northeastern United States, most fans traveling from New Haven, CT to Portland, ME were either caught in virtual whiteouts or forced to wait until the very last minute to travel.

For those who were in Portland in the hours preceding the show most had to brave sub-zero temperatures outside while waiting for the venue to shuffle everyone in. As had become a staple of Phish fandom over the past 10 years however, Phish fans would prove more than willing, & more than capable of overcoming seemingly any/all odds, any distance & any weather in the unyielding hunt towards the next Phish show. Be it Dec 1995’s NE Run; Fall 1997’s Denver –> Central Illinois –> Hampton Quest; the long march across Alligator Alley to Big Cypress; the rain-soaked hell-slog to Coventry; or the overnight cross-country hauls throughout 3.0, Phish fans were always ready to hit the road – no matter the conditions – in search of the musical highs Phish provided.

More often than not, Phish would repay their efforts in full.

On such nights when it took an extra effort just to get to a show, there’d often be a palpable energy in the air – tension one could reach out and clutch onto – where band & audience engaged in a back & forth exchange of riotous celebration & shared camaraderie brought upon by years of shared musical unity. With each Phish show being a wholly new & unique experience, with each crowd being compiled of dedicated fans who’d seen the band countless times & discussed them as one would their favorite baseball team, with each venue & city providing its own historical backdrop to the band’s performance, & with the potential always there for a historical, boundary-pushing jam, &/or unexpected bustout, &/or tongue-in-cheek inside joke from their Burlington days, it’s no wonder nights like 30 December 1993 resulted in some of the most significant shows the band ever played.

And yet, for all of the immediate table-setting that logistics played in making 12/30/1993 one of the best shows of that crucial year – not to mention one of the most enduring performances of Phish’s overall career – perhaps what most sets it apart from other shows is its significance as one of the ever-special “Night-Before-The-Night” shows.

The concept of the Night-Before-The-Night is as uniquely Phish as any.

In the same vein as their ever-changing, unpredictable setlists, their surprise Halloween covers of Full Albums, their litany of bustous & special guests & gimmicks that dot their live catalogue, the Night-Before-The-Night is a singular way for the band to catch their crowd on their heels and deliver a memorable – if not wholly unexpected – concert experience. Like the sheer childish thrill of a surprise gift on Christmas Eve, or the rehearsal dinner for your best friend’s wedding that parties deep into the night, the Night-Before-The-Night is a celebratory result of pent-up energy, anticipation, & a shared history that bursts uncontrollably ahead of schedule.

It’s a sensuous feeling rooted deep in youthful excitement and unbridled anticipation.

It’s the party the night before finals. It’s the unrivaled sense of freedom that comes with clocking out the night before your flight to someplace warm & very far away. It’s walking into your apartment the night before your birthday to find 20 of your best friends cloaked in darkness, exalting their love and friendship for you.

It’s all of these moments of unexpected celebration and tensional release; only here it’s shared with 20,000 people, hosted by your favorite band, whose entire career has been built on capitalizing on these very moments.

If there’s any Phish show you ever need to be at, it’s The-Night-Before-The-Night.

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For a show like The-Night-Before-The-Night to even occur there has to be “The Night” for there to properly be a “Night Before.”

This often comes in the form of holiday shows – 4th of July, Halloween, NYE – festivals, tour finales, & any otherwise overly-hyped show due to venue locale, date, et al. Such shows are often the ones wherein which the band feels such an overwhelming amount of pressure to deliver that often times their nerves are released one show prior as a means of lessening the expectations for the highly anticipated performance. In some cases this unexpected and unexplainable release tends to water down the originally hyped show as a result.

In the same vein as the Wild Card rounds of the MLB & NFL playoffs, and the first round of the NBA Playoffs tend to be more electric and bombastic than the more prodding later rounds, there’s something about the anticipation of a BIG night that lends itself to the shows preceding it.

Some of the most revered Phish shows in history are a direct result of this alchemic composition. Beyond 12/30/1993, many fans look to 10/29/1995, 08/14/1996, 12/30/1997, 08/12/1998, 07/25/1999, 02/28/2003, 07/29/2003, 12/01/2003, 12/30/2009, 10/30/2010, 08/28/2012 & 10/29/2013, among others, as further examples of legendary nbTn’s.

In person these are some of the most exciting and unforgettable shows one could catch. They cultivate the sense of Phish being your own personal secret while also making one feel as if they’re in on some spectacular joke few others will ever quite understand.

On tape these shows reverberate with electricity & a pop that separates them from all others. It’s not so much that they’re “better,” per se, than other shows, more so that they contain within them the same cognizance of dangerously tampering with larger forces that comes with sneaking out of your parents house at 3am, or skipping class to smoke pot with your best friends.

Senses elevated, each song tends to carry more weight, each jam more significance, each ovation more reverberation.

From the tension in Trey’s voice as he delivers the Forbin’s Narration on 12/30, or the maniacal outburst that results from the nearly-900 show bustout of Sneakin’ Sally four years later, to the unparalleled appearance of Jeff Holdsworth on 01 December 2003, to the Tweezeppelin madness that overtook the second set on 10/30/2010, there’s often no match for the energy output that comes from the pure shock value that occurs on the nbTn.

It’s unsurprising that on these nights the band tends to pull out all the stops. For a band that’s built its entire career on a devoted partnership with their crowd, the awareness of, and emotional reaction to such a show could never be lost on the performers.

These are the nights where storytelling is most likely to occur. Jams are typically extended to surreal & ethereal heights. And a selection of choice rarities & bustouts are dropped seemingly at will. These are the nights when you review a setlist in the hours following the show’s conclusion & find you have to pick your jaw up off the floor. These are the nights when it feels like Phish won the NCAA Title as an 8th Seed.

They are as shocking as they are monumental & as rewarding as they are unexpected.

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With a New Year’s Eve show planned for the following night at the Worcester Centrum – a venue the band had been working towards playing at for five years – 12/30/1993 was in many ways the first every Night-Before-The-Night show in Phish’s history. And while the NYE show would more than satisfy diehard fans with its Greatest Hits-esque setlist, unified “we’re all in this together” vibe that permeated throughout, and the all-time version of Harry Hood that capped off the 3rd Set, many overlooked 12/30 as little more than an appetizer for 12/31 in the days and weeks leading up to it.

Just four years earlier Phish had packed The Paradise in Boston through word of mouth – and the help of Greyhound Buses – as their very first headlining gig in Beantown. A city that feels in many ways like the capitol of the Northeastern Kingdom, it’s always been like a second home for Phish. Its summer shed, Great Woods, hosted the final Gamehendge performance in 1994, the Fleet Center hosted their 20th Anniversary show in 2003, it was the site of two emotional sendoff shows in 2004, in 2009 the band chose Fenway Park to usher in their first proper tour in five years, and in 2013 the revamped Centrum (now the DCU Center) hosted two shows in October that felt as close to a 30th Anniversary Celebration as any.

To close out a year as monumental as 1993 in The Centrum would be yet another step forward for a band that had yet to relinquish their foot from the gas in nearly ten years of growth and development.

As Phish would show on 30 December 1993 however, there’s rarely a time when you can assume they’ll simply mail a performance in. Regardless how amped they & their fanbase was for the NYE show in Worcester, there was simply no way 1993 Phish was going to allow the gig in Portland to be forgotten.

As this show would prove for years to come, the shows where Phish is least expected to deliver are often times the most memorable ones of them all.

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By the end of 1993 Phish was a serious musical and artistic force to be reckoned with. A national touring act that had continuously pushed themselves both creatively and artistically, they’d spent the past two years touring without restraint in effort to evolve beyond the tight-shipped machine they’d spent the better part of 1989 – 1991 becoming.

The Spring of 1992 had seen them expand their setlist and their improvisational abilities, while their time spent opening for Santana that summer had given them the chance to witness first hand the immense possibilities of band/audience connection through live improvisation. No longer the lackadaisical, wide-eyed college students jamming at house parties and in dorm cafeterias, they were ready to push their music deep into the unknown in a professional, and an artistic manner.

In early 1993 Phish spent five months on the road. In a tour that saw them cross the nation twice in just over 3 months, the band consistently tinkered and experimented towards further improvisational expansion. They carried themselves with a swagger that could only result from having played nearly 400 shows in the previous four years. Their sound fuller, their shows more fluid, their crew stable, they now began a process of outward expansion that would eventually lead them to the abstract explorations of November 1994 and June 1995.

David Bowie became a prominent opener, while Tweezer continued its evolutionary expansionism towards its eventual status as the ultimate Phish jam. The Big Ball Jam, one of a number of examples of band/audience interplay – introduced in late 1992 – was played nightly, allowing the band the opportunity to shed their artistic self-consciousness while the audience directed their music. For whatever shortcomings it had in terms of listenable music, it was yet another example in a line of band-initiated exercises that would help to bridge the gap between them and their audience, while also broadening their perspective on what was possible with live music.

Shows such as 02/23, 03/16, 03/30, 04/14, 04/18, 04/30, 05/03, & 05/08, among others, displayed a Phish far more relaxed in terms of setlist construction than they’d been in years past. During many of the aforementioned second sets, songs like Tweezer, Stash, David Bowie, Weekapaug Groove and Mike’s Song could expand far beyond the previously understood frames of musical construction. Direct, fully-flowing, organic segues became a far more typical aspect of second sets. And while their jamming was still rooted in a frenetic dissonance that bordered on shock value at times, it was clear by tour’s end – as heard in the 05/03 Tweezer -> Manteca -> Tweezer, and the 05/08 David Bowie -> Jessica -> David Bowie -> Have Mercy -> David Bowie – that the band’s expansionist efforts were beginning to blossom in melodic terrains of improvisational music.

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Early on in the year they played a show in Atlanta, GA that would stand as one of the most important of their entire career. To this day 20 February 1993 is still revered as one of the critical moments in Phish history.

Taking a leap forward within the confines of a single show in a way they hadn’t since the mid-80’s, Phish fused the tight and explosive sound they’d crafted over the previous four years with the exploratory origins they’d been founded in. Wielding a set of segues, teases and jams in and out of Tweezer and Mike’s Groove, a porthole opened.

Phish would never be the same.

No longer would gimmicks & stories & Fishman joke-songs & secret languages & pure energy be enough to make a show. To move forward as artists in pursuit of their goal of producing linear, equal, & completely unified music through live, improvisational jamming, the band would begin a process of shedding their own egos and exploring the various musical avenues their songs could take them.

Later that year, during the fateful month of August 1993, the band continued to tinker with the formula they’d established throughout the previous four years, here using the “Hey Hole” jamming exercise to cultivate new lines of communication and new avenues for improvisation and linear musical communication. While the month of August is revered as one of the most impressive of their entire career – along with June/November 1994, December 1995 and November/December 1997 – the entire Summer Tour proved to be a massive breakthrough for the band. Shows like 07/16, 07/17, 07/24, 08/02, 08/07, 08/09, 08/11, 08/13, 08/14, 08/20, & 08/28 stretched the confines of what a concert could be in theory, and provided Phish with further proof that their energy & precision wasn’t at risk with a refined emphasis on experimentation. To the contrary, Phish discovered that by emphasizing improv, the energy of their concerts, and their trust within each other as artists, only solidified their original product. Oftentimes they’d find themselves writing new songs and themes within jams as can be heard in the 08/11 Mikes, 08/13 Gin, & 08/14 Antelope, among others.

The sets and shows that produced these groundbreaking musical experiments were thusly enhanced by their existence.

That Fall Phish would take a break from touring to record their most accessible and taught record to date: Hoist. An album recorded with a keen eye on an altogether different type of musical expansion – here popular exposure – was a reflection of the halcyon year 1993 was for Phish. Still young enough to devote all their waking hours to their craft, devoid of the responsibilities to family, crew and a burgeoning fanbase, fixated on an abstract goal to produce completely egoless music in a live setting, they had seemingly all the time in the world to push their own artistic goals forward while still spreading their name.

It was the kind of period of artistic fruition and popular expansion that any musician would kill for some ten years into their career. It’d been a long road to this point, but now here, Phish intended to make the most of the opportunities before them.

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The Cumberland County Civic Center is a 9500 multi-purpose arena in downtown Portland, ME. Home to the AHL Portland Pirates it’s like many of the 60’s & 70’s era concrete sheds that have witnessed some of the best shows throughout Phish’s career. Encased in cement, graced by neon-lit corporate sponsorship, ripe with stale beer and the lingering scent of processed foods, acoustically unreliable, employed by the least abled-bodied workers in the American workforce; these are the venues that marked the arrival of Phish as a national touring act, and that they have called home on Fall Tours, Winter Tours & New Years Eve Runs ever since.

A venue that was ushered into live-music-existence with a ZZ Top performance in 1977 – and is ultimately famous for the fact that it was to have been the site of an Elvis concert were he to not have died the morning of 16 August 1977 at his home in Memphis – it’s one of the industrial and pop-cultural pinpoints that’s put Portland on the map. Located in the heart of downtown Portland, a town known for outdoor enthusiasts, green energy, and the fact that it’s home to the most restaurants per capita in America, the venue and the city are the kind of Northeastern haunts that have always felt like home for Phish.

The original capitol of Maine, the Portland of the East, is the state’s most populous city; it’s a city that’s known its own fair share of hardship, resiliency, & ultimately, recovery.

Hit hard by the British trade embargo of 1807, the city grew in both size and stature following the War of 1812. It was the site of the Portland Rum Riots in response to Maine being the first state prohibiting the sale of Alcohol, and in 1863 its harbor was the site of one of the northernmost battles of the Civil War. Nearly destroyed in 1866 due to a fire that resulted from Fourth of July celebrations gone awry. It’s a town that’s played as distinctive a part in its region’s history as it has in reveling in the fruits of Americanization.

An early 20th-Century rail hub, it faced marked economic decline during the mid-century due to the invention of icebreaker ships which allowed freight ships to reach Montreal without having to transport goods through Portland. In the mid-70’s the construction of the Maine Mall severely impacted downtown Portland’s economy, a trend that would only finally be reversed in the 1990’s as businesses began opening and revitalizing the Old Port.

Like many midsized American cities it’s experienced a cultural and economic revitalization over the past two decades as more and more Americans have realized the aesthetic importance of local production & authentic business centers.

Home now to a bustling service industry, the main financial services of Maine, and some of the most dedicated urban farmers in the US, it’s a city that resembles in many ways the remarkable career Phish has cultivated these last 30 years. Resilient in the face of seemingly insurmountable odds, adaptable to changing tides and bursts of inspiration, amicable to keep people coming back for more, Portland was the fitting town to play host to one of the most memorable shows in Phish history.

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phish_aquarium_setStepping to the stage in front of an eager and packed house, Phish opened with one of their storied, compositional masterpieces: David Bowie. A song known for its eerie kinetic energy as much as it is its open-ended spaciousness, it’s the kind of song that announces a BIG show simply in its presence alone. Containing only two lyrics: “David Bowie” & “UB40” – both shouted with youthful irreverence and a satirical nod towards their arena rock forbearers – the song is built upon the duality of its maddeningly spinning harmonic interplay, and ultimate release into the musical unknown.

Complete with repeated references to Aerosmith’s “Dream On,” this performance struck the crowd at once. As Trey directed the song back to its musical home through a torrential cacophony of blistering leads, the crowd responded with the kind of electricity that can only be a result of abject surprise and bewilderment over the course the show had taken right out the gates.

A night when many would expect the band to proceed with measured caution and ease – essentially reserving the best for NYE – here they were, immediately in full attack mode, assaulting the crowd right out the gates.

The entire first set is a clinic in structural flow and energy.

From Bowie we’re brought to Weigh’s comedic shrill and musical balefulness. The Curtain retains Bowies composed complexity, reminding those in attendance – and listening years later – that, ultimately, Phish is an artistic project to “please me,” sans all regrets.

Sample In A Jar, Paul & Silas, & Rift are the kind of playful, energized, reductive songs that mark time and flow within a first set. Presented here with an added dose of electricity, the solo from Sample engulfs the arena in the way fans would come to expect from it for years to come.

In Col Forbin’s Trey launches into a sprawling tale that originates within the CCCC wherein which the Pirates ice rink – upon which the crowd is watching the show from – melts away, setting the entire crowd at sea until they drift away into the mythical land of Gamehendge. A song that had become something of a rarity even at that point in their career (It’s only been played 25 times in the 21 years since) it’s – along with its musical partner, The Famous Mockingbird – the kind of song that immediately marks whatever show it appears at as singular and special. One needs only to think of 11/17/1994, 12/01/1995, 08/14/2009, and 07/03/2011 to realize its significance within a setlist. In the same sense as Harpua did on 12/30/1997, Destiny Unbound on 02/28/2003, and Crosseyed on 07/29/2003, the Forbin’s -> Mockingbird on 30 December 1993 immediately gave the show an added dose of mythical lore and historical relevance.

Played only seven times throughout 1993, Bathtub Gin had yet to fully assume the role of a complete rotational song. However, its performance just four-and-a-half months earlier in Indianapolis had been crucial in bursting open the musical confines that Phish was increasingly desperate to move beyond. A jam that moved from vocal-jam-gimmickry to dissonant guitar swells to arena rock grooves to a frenetic peak to a joyous, funky breakdown in the matter of 15 minutes, it was one of many improvisation journeys throughout August 1993 that worked to release Phish from their own self-consciousness and equip them with the confidence needed to run assuredly off the veritable musical cliff. While the version on 12/30 didn’t traverse quite as far from home as the 08/13 Murat Gin did, it still relied on the bottled-up energy and experimental fervency that defined so much of their improvisation throughout 1993.

Closing with an absolutely revolting acapella cover of Skynnard’s Freebrid was the kind of tongue-in-cheek Phish-nonsense needed to close out a set such as this. Energy sustained, they exited for their “15 minute break” having equally stunned and warmed the packed house.

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Perhaps one of the telltale signs of a nbTn show is the explosiveness that often overtakes a crowd during setbreak. A setbreak like this was filled with exclamations in the beer lines, high fives amongst complete strangers, and the unified sense that this was the only place on Earth one would want to be.

In Set II Phish compiled nothing short of a masterpiece in terms of set construction, improvisational experimentation, and overall energy released. Fluid from one song to the next, containing within it one of the critical jams of the era, not to mention an all-too-rare oldie full of Phish lore, and a massive bustout for their East Coast faithful. In short it’s one of those sets any respectable Phish fan has heard at least once, and any diehard knows by heart.

A precursor to the jam-heavy, seguefests that would mark their peak-periods in 1995 and 1997, 12/30/1993 II is the kind of set one presses play on, and never skips a track, nor stops listening until its conclusion.

Opening with their cover of Deodato’s Also Sprach Zarathrustra, otherwise known as 2001 – a song which opened no less than 19 second sets in 1993 – was equal parts anticipated punch and a missionary pronouncement of the set to come. In the same way that its anthemic jam ushered in memorable sets on 08/07, 08/14 and 08/20, here it worked as a precursor to a set that would be as transformational as it would be celebratory.

It was, however, when they dropped into Mike’s Song that everything changed.

One of the most revered and oldest songs in Phish’s catalogue, Mike’s Song moves from the poppy nonsensical lyrics written by an 18-yr-old Mike Gordon into a dark and prodding jam that, at its best, opens to unending musical possibilities. Just that year, during its performances at The Roxy, and in August on 08/11 and 08/13, the song had expanded considerably as the band sought to carve out the underbelly of the F#/B jam. Yet, where those three versions focused firstly on the varied segues that could emerge from the jam, and later on the wacky staccato dissonance the jam catered to, the version on 12/30 was far more melodious than any Mike’s had been before. Swimming through the minor-keyed jam the song produced, Trey built the band towards an anthemic peak that fit both the show’s setting, and the place they found themselves in at this point in their career.

Perhaps though, the most remarkable thing about this jam is its dexterity. As the band quieted down, they brought in a sense of darkness ultimately directing the jam into The Horse by way of a deft segueway.

The jam, rooted in harmonic bliss, capable of evolving with an effortlessness that would define their best jams in the years to come, was a critical turning point for the band in their evolution from prankster aficionados to true artists.

Compiling the middle part of Mike’s Groove with such rarities (for its time) as Punch You In The Eye and McGrupp was the kind of understood nod from the band that colors all great nbTn setlists. From 10/29/1995’s It’s Ice -> Kung -> It’s Ice -> Shaggy Dog and 12/30/1997’s Carini -> Black-Eyed Katy -> Sneakin’ Sally (Reprise)> Frankenstein encore, to 02/28/03’s Soul Shakedown Party and 12/30/2009’s Tela, one of the sure signs that you’re at a nbTn show is the appearance of the rare songs most fans spend years chasing down.

After a spirited jaunt through Weekapaug Groove – a jam that mirrored the Mike’s in both its melodic burst and its foreshadowing of Phish maximalist playing of 1995 – closed out the near 45-minute Mike’s Groove, Fishman’s take on Purple Rain brought the laughs before the last surprise of the night was delivered.

Only seen twice since 1991 – and unseen on the East Coast since 11/15/1990 – Phish closed out the second set with a triumphant version of one of their most beloved songs: Slave To The Traffic Light. Responding to the show-long pleads from their audience; it was one final gift from the band in an evening full of them.

Cementing the show as an all-timer, and a must-hear tape, the appearance of Slave made it essential that nearly every Night-Before-The-Night show include a similarly big bustout. As 10/29/1995’s Shaggy Dog, 12/30/1997’s Sneakin’ Sally, 02/28/2003’s Destiny, 07/29/2003’s entire first set, 12/01/2003’s Long Cool Women In A Black Dress, and 12/30/2009’s first set, would later display, the bustout would play a vital role in raising the bar of a show, especially one as rare as a nbTn.

Closing things out with a frenzied Rocky Top & Good Times Bad Times encore, the band left their giant Aquarium stage and headed south towards Worcester, MA. The New Year’s Eve show would deliver on a level only seen twice more – 1995’s three-set masterpiece & 1999’s millennial all-nighter – and would rightly be regarded as one of the best shows the band’s ever played.

Yet it was 12/30 that created an endless debate amongst Phish fans about which show was supreme – the answer which, spoke volumes towards what kind of music you preferred from Phish – and opened the door into yet another possibility for the band in terms of the live concert experience.

For as the concept of The-Night-Before-The-Night proves, Phish is far more than simply a Rock & Roll Band in the traditional sense.

For them, the live concert is a living-breathing organism, in many ways like a Broadway Play. The idea that there shouldn’t be an element of surprise, nor a reward for those fans who make the extra effort to see even their lesser-hyped shows is something that Phish has always worked to transcend.

As the band would continue to grow in both stature and artistic accomplishment – as more and more shows became hyped in terms of promotion and fanfare – the concept & possibilities & opportunity to unleash unexpected doses of energy always lingered and was always available for the band through the shows that had remained off the radar of many of their fans. Yet another reminder as to why to never miss an upcoming Phish show. More often than not, if the band has a heavily hyped gig on the horizon, the best show to catch is the one most are overlooking.

Phearless – On The Third Week Of Phish’s 2013 Summer Tour

942411_10151477068446290_461141722_nRemember way back on July 2nd when all those pictures popped up on Twitter of the rain that had consumed central Maine?

This wasn’t the way to kick of summer tour, we all thought at the time. Surely mother nature would realize the imminent onset of Phish’s 30th Anniversary 2013 Summer Tour and act accordingly, right?

Right?

Wrong.

In a fortuitous twist, the rain clouds that greeted everyone in Bangor, ME three weeks ago have yet to recede from Phish’s 2013 Summer Tour. From SPAC to the postponed show in Toronto, from Jones Beach’s torrential Set I downpour to 07/14’s Set II storm, from the rain that engulfed the Alpharetta pavilion to the mayhem in Chicago that resulted in 07/19’s cancellation, 07/20’s three-setter, and 07/21’s perfectly executed Set II, rain has defined the 2013 Summer Tour as much as the music itself.

For a band that has played its fair-share of weather-affected concerts – Coventry anyone? – Summer 2013 may take the cake as THE tour where the weather has affected Phish more than any other.

And yet, through all the rain, through all the on-again/off-again shows played, that Phish has continued to evolve this tour with the kind of energy, passion, and foresight as they have is more than anyone could ask for considering the circumstances.

The key? Phearless-ness and Energy. Like no tour since 1.0, here in the 2013 Summer Tour the band is attacking their shows with a sustained combination of focused precision and egoless exploration, resulting in fully-realized jams, flawless segues, and unyielding energy throughout each of their shows.

Below are another collection of thoughts and questions I’ve compiled about the last week of the tour.

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Energy (As THE Song Of, And The Keyword For, Phish 2013)

Certain songs appear in Phish’s rotation at just the right time.

Think “Maze” in 1992, “Down With Disease” in 1994, “Ghost” in 1997, “Seven Below” in 2003, and “Light” in 2009.

When the band debuted The Apples In Stereo 2007 song “Energy” to kick off 07/05’s second set it immediately felt like a Phish song and fit the initial mood of the tour. A bouncy melody combined with populist lyrics, it carried the tone and communicable message that has consumed so many of Trey Anastasio’s original songs for the last ten-odd years.

And then, with little effort or force, the song moved into Type II territory resulting in a moody, psychedelically-infused jam that bled seamlessly into “Light.” Eleven days later the band revisited the song midway through Alpharetta’s final set, expanding further on the jam that – in many of the same ways as “Light” has for the last four years – just builds outwards from the song at will.

When Trey walked on stage for the final set of the Chicago run wearing his “Phearless” shirt, (two t-shirt Sunday’s in a row!) following what must have been one of the most frustrating weekends the band has experienced in years, there was really only one song that the band could open with that would both fit the mood of the show while simultaneously altering the course of the tour going forward: “Energy.”

Resulting in one of the most patient, contemplative, and overall hooked-up moments of the tour thus far, the 07/21 “Energy” moved through various untapped musical terrains without any of the restraints that have, at times, held many 3.0 jams back. The performance was a statement on the musical peak the band is experiencing this summer, and on the overt role energy has played in Phish’s now-30-year career.

Think back to Trey’s rant in the hotel room in Europe in the middle of Bittersweet Motel. Angered that Brad Sands would slag off a show he clearly thought rocked, Trey spoke directly to the camera saying: “I couldn’t fucking care less if we missed a change, or a number of changes. Doesn’t have anything to do with how we’re playing. It’s all about energy.”

A concept that has always driven many of the band’s best shows, energy as an idea, and “Energy” the song are starting to define 2013 in a retrospective, yet forward-driven way, perfectly aligned as the band simultaneously celebrates their 30th year of existence. A song that speaks to the communal power of what Phish has created, while musically opening itself up to the untapped potential of the band’s improvisational journey’s, “Energy” is clearly THE song of Phish 2013.

One more thought on this, listening back to the “Energy -> Ghost -> The Lizards” segment one can literally hear the musical journey that Phish has embarked on over the past three decades in 35 uninterrupted minutes. From the sprawling, patient endlessness of “Energy” to the seedy minimalism of “Ghost,” which then evolves without effort into a bright, rhythmically-laced jam, before segueing seamlessly into “The Lizards,” the song that ushers us into Gamehendge, it’s a musical journey that takes us through the evolution of Phish both musically, emotionally, and thematically. It’s, no question, the jam segment of the summer so far.

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Alpharetta: Combining Gimmickry With Dick’s-esque Jamming

After everything that went on in Chicago this last weekend, it’s hard to remember that mid-last-week, Phish threw down two barnburner’s in the pristine suburban purgatory of Alpharetta, GA. Caught between their absolutely masterful two-night run at Merriweather Post, and the survival experience of Chicago that clearly had so much more to do with than just the music, Alpharetta’s at risk of being both overlooked and underrated.

While neither of the shows offer complete packages due to their underwhelming first sets, something clearly happened in Alpharetta that both altered the overall contour of this tour, and injected it with some fresh ideas that’s worth noting.

Whereas the run from 07/10 – 07/14 featured an exploratory-driven, top-of-their-game band that simply could do no wrong, the Alpharetta shows saw Phish truly tinker with their approach for the first time since SPAC. Eschewing the overtly old-school approach that saw the band reach their biggest peaks of the tour thus far in the aforementioned shows, Phish dedicated their two second set’s in Alpharetta to a combination of playful gimmickry, and Dick’s-esque jamming, resulting in a boost in energy and variety, while still consciously evolving their jams forward.

Summed up most perfectly in the 07/16 “Rock & Roll -> Heartbreaker -> Makisupa Policeman> Chalk Dust Torture> Wilson> Tweezer -> Silent In The Morning> Birds Of A Feather” segment that consumed the first hour of the set, the band blended Type-II jamming while threading the “Heartbreaker” theme throughout, resulting in a run of must-hear music. What makes this block of music ultimately so rewarding, so memorable, and so impacting is, whereas the band has attempted this type of set throughout 3.0 – 10/30/2010, 08/17/2011, 06/16/2012, and 07/07/2012 immediately come to mind – never before has it worked quite as well as it did in Alpharetta. By dedicating 35min of the segment to improvisational jams out of “Rock & Roll,” “Chalk Dust,” and “Tweezer” the band avoided the sloppy, and often awkward pitfalls that tend to plague sets such as this. Displaying an effortlessness in opening “Chalk Dust” up for the first time since 08/31/2012, while also experimenting with their Dick’s-esque melodic-driven jams in “Rock & Roll” and “Tweezer” gave the set far more depth than most gimmick-laced-tease sets of 3.0 have carried.

On the next night the band centered experimentation in two under-11min jams that proved once again how irrelevant song length is in 3.0. Rather than anchoring the set under one massive jam, “Energy” and “Piper” were featured as bookends to the return of “Fluffhead” in the middle part of the set, offering both abstract and thematic jamming which gave diversity to the set and their improv. A set – and an overall run – that carries far more weight than would be initially assumed by simply glancing at the setlist, Alpharetta combined energy, playfulness, and innovative jamming to play the role of celebratory cap to the east coast leg of the tour, while also helping to thematically push the band forward towards the west.

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What’s The Deal With All The Repeats?

For anyone following Phish’s 2013 Summer Tour, there’s one thing glaringly obvious about each setlist: repeats. I addressed this topic in my last essay, yet feel it needs revisiting due to the unending communal discussions surrounding it.

Fourteen shows into the tour, we already have two songs played in nearly half the shows – “Chalk Dust Torture,” and “Backwards Down The Number Line.” In addition to that, from run-to-run, and show-to-show, songs are being repeated night after night with a frequency that harkens back to the early-90’s; back when the band had a song catalogue half the size it is now.

As expected, many are openly complaining and lambasting the band for their apparent inability (or desire) to diverge from a strict rotation. Cause, no matter how well the band’s playing, you’ve gotta bitch about something, right?

Coming off a year that saw the band bust out song after song at literally every show – a tour in which they set out with the goal of playing 200 different songs – there is certainly something a bit jarring about the frequency with which the band is playing just their core classics here in 2013. Not to mention the fact that on paper, some of their shows tend to look a bit blasé at first glance.

Yet, when one removes themselves from the dreaded zone of personal expectations, when one allows themselves a shift in perception, it’s actually stunningly clear why the band would focus on such a small rotation.

So clear, it actually makes perfect fucking sense.

To me there are two reasons why the band is focusing on a tighter rotation in 2013:

1. Coming into 2012 it was apparent the band needed some sense of outward motivation to keep their relative high of August 2010 – September 2011 going strong. While they’d rediscovered their sea legs at the Greek Theatre in 2010, there’d been so many bouts with inconsistency strung throughout the 18months leading up to Worcester 2012 that it was clear the band still needed exercises to keep them fresh. (Think of this in the same way as the improvisational exercises the band relied on from Summer 1993 – Summer 1995, and parts of Fall 1996.) Throughout 2012 though, the band once again became completely comfortable and inherently confident with their ability to craft complete shows and innovative jams, that their need for bust-outs and rarities simply to spice up their shows became less and less necessary. (ala the peak music of December 1995 and Fall 1997 that was a result of said musical exercises, and thus just sounds like a band effortlessly playing, rather than attempting any specific style.)

While sure, thrilling as it may be to hear a song for the first time in 5-10 years, the bust out exercise is more telling of a band seeking inspiration in their past, rather than discovering it in their present and future.

Point being, something was clearly discovered at Dick’s that showed the band how truly powerful their music was right now, in the moment. They tapped into something in the “Carini,” “Undermind,” “Chalk Dust Torture,” “Light,” and “Sand” that they hadn’t experienced with that kind of consistency or ease in years. As a result, they grew beyond the need to center shows around a one-time rarity, hence the reason 2013 shows are now centered around jams, such as the 07/05 second set, 07/06 “SOAM,” “Carini,” 07/10 “Crosseyed,” 07/12 “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge,” 07/13 “Simple,” 07/14 “Light -> Boogie On Reggae Woman,” 07/21 “Energy -> Ghost -> The Lizards,” and 07/22 “DWD,” rather than unique song choices.

2. 2013 marks the band’s 30th anniversary. A monumental achievement for a band that just nine years ago was essentially left for dead by its creators. Throughout 3.0 there’s been a clear focus on systematically rebuilding what made Phish Phish. From 2009 and early-2010’s foundation setting, late-2010 and 2011’s experimental excursions, and 2012’s fully-realized jamming, bust outs, and shift towards a new era in Phish history, the band has essentially rebuilt themselves using the tried-and-true method that saw them rise throughout the early/mid-90’s on way to their initial musical peak period of 1994 – 1998.

Yet, through it all, regardless of whatever process the band is engaged in, one thing has always remained, and will forever define them as musicians: their songs. Specifically, their classics.

In light of their anniversary, and their ability to now focus on a totally new musical era of Phish, it makes sense that in 2013 the band would want to highlight the songs that, more than anything else, got them to the veritable summit of the musical mountain first.

If you made a mix-tape of all the songs that just sound like Phish to you, chances are they’d all be receiving heavy airplay here in 2013. And that’s the point. 2013 is both a year of celebration and a year for the band to take another leap forward musically. And what better way to both celebrate the legacy they’ve built, and take their next evolutionary step forward musically than through the songs that got them here in the first place?

Far from a sign that the band is unpracticed, lacking creativity, or just disinterested, the tightened setlists are instead a clear message from the band of how much they respect and value the songs that will ultimately live on long after they do.

We all got into Phish, and continue listening to Phish for various reasons. Yet one thing will always be true: it was their songs that we heard first, and their songs that we will always return to. Instead of focusing on what they’re not playing in 2013, let’s instead focus on why they are playing what they are playing.

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What Do We Make Of 07/20/2013?

I’ll come right out with a disclamer: I wasn’t in Chicago. In many ways I realize I have no business writing about the experience as I wasn’t there to live through everything that came with the weekend. All’s I can base my perceptions from the ground on are the texts I received from my friends at the show, the tweets I followed throughout the weekend, and the reaction of the writers and thinkers in the community who were there.

That said, how could I possible write anything about the last week of tour without addressing something about the Chicago Run, specifically the three-setter on Saturday?

With a specific focus on the music created, here are my thoughts:

Following the first show that was cut short due to weather since – I believe – 07/01/2000, a wave of negativity permeated through the Phish scene. Thanks in large part to the inexperience of the Northerly Island staff and crew, along with the fact that across town Pearl Jam was able to resume their concert around midnight – ultimately playing until 2am – many felt the band had made a bushleague move in canceling the show.

The next day however the band informed their fans that, in response to 07/19’s cancellation, they’d be performing a three-set show, their first non-holiday/festival three-set show since 07/12/1996 in Amsterdam, and their first state-side one since Amy’s Farm back on 08/03/1991. In many ways it was the ultimate sign of communal understanding, and band-oriented sentiment about the regret felt over the debacle on Friday.

In addition to the good-vibes that now suddenly stretched far-and-wide throughout the Phish scene, many began making additional requests and predictions for the show in effort to make it somehow even more epic and even more important than it already stood to be.

The band’s response: An opening quartet that read “Prince Caspian -> Twist, Ha Ha Ha> Possum,” or: PT Hahaha Possum. The first dose of band-led criticism of their fans own backseat driving of the weekend, the message was either completely lost on the fanbase in its initial moments, or bitterly soaked up.

The remainder of the show was modeled in many ways like the Saturday Night Rockers that are littered throughout 3.0, featuring an energetic song-based approach, devoid almost entirely of deep improv. Avoiding rarities of any sort, many felt the band simply wasn’t up to the challenge of both making up for the previous night’s cancellation, and the headiness of a rare three-set show.

Once again, I wasn’t at the show. I’ve just listened to it a few times, and these are my thoughts.

I believe the weather impacted the weekend in Chicago in ways that the weather leading up to Coventry wasn’t even capable of. The mindset the band must put themselves in prior to performing has to be one of a meditative freeing of all outside expectations and challenges. To then be taken so completely out of it by real life weather warnings and safety precautions, must be jarring, unnerving, and frustrating in the highest sense. Add this to the fact that the band had been dealing with torrid weather all tour, and I’ve got to assume that by the time they were told they had to cancel the Friday show, they experienced combined exhaustion and negative energy.

In many ways, the 07/20/2013 show sounds like a band trying to fit a massive show into a confined space.

The middle show of a three-night run – typically a Saturday night – is always the most popular showing, featuring many fans who either don’t see Phish very often, or may just be checking them out out of curiosity. A result of all these outside forces the band had to juggle, I feel like the band was trying to appease everyone involved by consciously playing a lot of their biggest “hits,” while also maintaining energy and flow, all the while dipping a bit into experimentation.

To that point, the show lacks nothing for energy and flow. Particularly in the final two stanza’s, the band weaves thematic sets that never relinquish energy, nor musical connectivity. The second set especially is one I will revisit throughout the year for it boasts some of the smoothest segues, and emotive music the band has played thus far this tour.

What the show does lack however is a clear attempt by the band to truly reward all invested in the event with a moment of sheer unique Phishy-ness, (i.e. bust out/gag) nor a period of freely-improvisational-exploration.

Would the two above qualities have made the show an all-timer?

I have no idea.

Should the show be lambasted based upon its inherent inability to satisfy so many people’s unattainable expectations?

You’d have to ask someone who was there experiencing it all.

To me, the show sounds like a band willing themselves out of an un-winnable situation. Essentially residing with one-foot in a creative world, while another is trying to both live up to the shared expectations of everyone involved, and deal with the logistical barriers that were venue/weather-related, and had to have been wearing them down.

In the end, that they were capable of such musical ambience in Set II, and in the third set’s “Light -> Harry Hood” should in many ways say all that needs to be said about just how trying the experience was, yet how much this band clearly cares about their fans and their music.

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The Brilliance Of The “Harpua” Gag & The Role Of Conflict In Phish’s Music

James Kaminsky over at the One Phish Two Phish blog already addressed the “Harpua” Gag in a really excellent piece earlier this week, so I’ll spare you a massive recap. Seriously, you should just check out his essay, for it breaks down perfectly the band’s message through the elongated gag.

What I’ll say is this: Since their choice of opening up with “Garden Party” to close out their best year of 3.0 and 12/31/2012 – and most successful year overall in over ten years, no less – the band has been sending out a clear message to their fans that, ‘while we respect your passion and enthusiasm for the band, don’t forget why you’re here in the first place.’

Essentially: Quit telling us how we should play our music for you.

This is both the right message for the band to deliver, and one their fanbase should heed at all costs.

As fans of a band as diverse, and willfully experimental as Phish – a band that has reached far more musical peaks than most bands could ever conceive of – it’s understandable we each have our own stylistic aspects and songs from the band we want to hear over others. For me, the peak of Phish will always be the unyielding experimental jams of 1995, 1997, and 1999. Being at Dick’s last year was an absolutely peak moment in my life because I felt as though the band was playing right to me. After witnessing numerous 3.0 shows that featured an array of aborted jams and uneven setlists, to see the band play with the kind of freedom they did last Labor Day was the best experience I’ve ever had with Phish on a personal level.

While this kind of passion towards one aspect of Phish is important because of the eventual reward it offers fans who travel to numerous shows, it becomes problematic within the scene when fans force their expectations and individual desires on the band. As a writer of Phish, I’m as guilty of this as anyone.

Yet, as I sat there watching the band seemingly fall on their faces through an awkward gag with the Second City Comedy Troupe, (I specifically say ‘seemingly’ because in hindsight it became blatantly obvious that the band did not in fact fall on their faces, rather nailed their gag…) I realized all over again why I see and listen to Phish in the first place. It’s not because of my expectations, or my wishes, it’s because of the communal force, and metaphysical connections in play when those four guys walk on stage without any idea where there show might take them. Watching them weave through a horrible rap about how “Harpua” should really be told, into the first Mike’s-narrated “Harpua” since 10/31/1995, and all the jokes and snide remarks that emitted from the stage throughout, I was transformed back to the halcyon days when I was 16, hearing Phish for the first time, and felt as though I’d unearthed a world I never knew existed, yet so desperately wanted to be a part of.

That this came in the midst of the bands best tour in fifteen years, and in the most perfectly placed “Harpua” since 07/29/2003 only made the message that much more relevant.

In addition to “Harpua’s” brilliance as a message to their fans, the song also shed a larger light on the role of conflict in the band’s music.

For a band that espouses such philosophies as “surrender to the flow,” one would think at face value that conflict has little place in Phish’s history. Yet, the truth is, much of the best music the band has ever made came directly out of conflict.

In 1994 and 1995, the band was searching for way to expand their songs in effort to find passageways to linear musical communication, resulting in the abstract musical storm of Summer 1995, and the effortless tidal wave of connectivity in December 1995.

In 1996, minimalism was a musical obstacle to overcome which resulted in the shedding of their skin in 1997.

On a more personal level, the internal conflicts, addictions, and uncertainties that littered the band’s immediate community in 2.0 directly correlated to the stew of dark and seedy jams that defined that era.

Here in 3.0, conflict has been missing in many ways from the Phish scene, due in large part to the positivity and health of each of the band members. Where they have found conflict though, has been in their own evolutionary steps forward, addressing moments of stagnation and writer’s block with the aforementioned exercises such as “The Storage Jam,” and the bust-outs of 2012.

In a lot of ways, the weather that has followed the band throughout the East Coast Leg of the Summer 2013 Tour has provided the band their first dose of external conflict in years. Resulting in the postponement of 07/09’s Toronto show, the cancellation of 07/19’s show, and an aborted “Run Like An Antelope” to close out Set I of 07/21, when the band finally emerged on stage for that night’s second set, they had literally weathered the storm, responding with their most relaxed and freeing set of the year. From the brilliant musical explorations of “Energy -> Ghost -> The Lizards,” to the shared comedic energy of the “Harpua” gag, to the rage of the completed “Antelope,” the conflicts that had been brewing within and around the Phish community finally gave way to a set for the ages.

“Look, the storm’s finally gone! Thank God!” The line has never felt so appropriate on so many levels than it did when Trey exclaimed it in the latter stages of 07/21/2013.

Proving that the “right way” for Phish to both play and evolve is always centered upon their way, 07/21’s second set displayed a band at their peak: jamming with ease and conviction, while goofing on their fans like they have been throughout their entire career.

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The Toronto “Down With Disease”: The Phearless Moment Of Tour & The Great Transition West

Coming on the heels of Chicago’s weather-impacted weekend was the make-up show in Toronto that was originally scheduled for July 9th. A Monday make-up-show following a massively hyped weekend in The Second City? Toronto had sleeper show written all over it.

And while the show didn’t really live up to its sleeper potential, it did result in yet another monumental exploratory step forward for the tour, this time in “Down With Disease.”

Akin to the 07/13 “Down With Disease” and 07/10 “Crosseyed & Painless” in many ways, the Toronto jam explored a litany of musical terrains all while remaining somewhat connected to the “DWD” theme. Building towards a plain of melodic blissfulness, Trey emphasized chordal jamming, locking in with Page for a five-minute segment of music that’s among the most connected of the summer in a tour growing thick with them. Progressing from 10:22 onwards, and ultimately resolving itself in a glorified peak around 15ish minutes, the jam is in many ways the polar opposite to Chicago’s spacious exploration in “Energy.” Displaying an elevated sense of musical diversity in back-to-back jams, the Toronto “DWD” expresses the phearless vibe currently permeating through Phish, and provides a notable transition point as the band moves westward.

After reaching an initial peak in the tour from 07/10 – 07/14, then fusing energy and gimmickry into their Alpharetta and Chicago shows, (all the while dealing with the external impact of weather) the Chicago “Energy,” and the Toronto “Down With Disease” appear to represent a conscious shift back towards exploration, something which has suited the band well out west in 3.0.

Entering the west coast leg of their tour like no tour since Summer 1997, (in a structural sense) the band will now emerge at The Gorge with three weeks of consistent shows under their belt, rather than following a five-week break which has been the norm in this era. Building upon an established foundation, rather than having to start anew, one has to assume, that for all the incredible music crafted over the past three weeks, the best of the tour is still to come. Just listen to the effortless jamming, and intrinsic connection on display in the 07/21 “Energy -> Ghost,” and the 07/22 “Down With Disease,” and imagine how much more relaxed, how much more free, how much more phearless the band is going to sound once they hit the open soundscapes of The Gorge and Tahoe, and the urbane hotspots of BGCA and the Hollywood Bowl!

All of this without mentioning the brilliant “David Bowie” that closed out the Toronto show! It sure is a good time to be a Phish fan!

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Favorite Shows/Jams Thus Far

Like I said last week, I’ll be updating this list as the tour evolves. Take these with a grain of salt, for their just one man’s thoughts. As we move deeper into the tour, I’ll only be highlighting the shows that have really captivated me as whole-show entities as opposed to listing the entire tour. Rather than ranking the shows, they’ll now just be listed in chronological order, ala the jams.

Favorite Shows

– SPAC 1 – At the time I wondered (wrongly) if we’d even be talking about 07/05’s Set II two weeks from now. Even after three weeks of monumental second sets, there’s still something about the fully-flowing nature of 07/05’s second frame that has me constantly revisiting it. From the debut of “Energy,” to “Light’s” effortless segue into “Mango,” to the late-nite swank of “46 Days,” and the raw power of “Steam,” to the set concluding mastery of “Drowned” and “Slave,” the set is one we’ll be talking about all year long. Throw in the “MFMF> Cities -> Bowie” cap to Set I, and you’ve got a top show of the year.

– SPAC 3 – Perhaps the quintessential Phish show of 2013. 07/07 combines energy, an old-school setlist, and thematic jamming all packed tightly into a show that is far better than the sum of any of its parts. One of those shows you just toss on and leave it playing, knowing you’re gonna be happy the whole time it’s on. 07/07 is one of those special shows that immediately provides a tour with its barometer for greatness.

– PNC – Upstaged by MPP 1 & 2 as my favorite show of the summer, PNC is still an all-around classic that reflects the musical high the band found themselves on in the second week of tour. Featuring an old school first set, a jam of the year contender in “Crosseyed & Painless,” along with top-notch versions of “Hood,” “Light,” and “Slave,” PNC was one of the strongest shows of the tour while it was happening, and will surely continue to be regarded as such for the remainder of the year.

– Jones Beach – Caught between the PNC and MPP firestorm of tour’s second week, and featuring an elongated – and, frankly, weather inappropriate – first set, 07/12 has become something of an underrated gem in 2013. Yet with the lone “Reba” of the year, another masterful “Bowie,” great mini-jams in “CTB,” “Ocelot,” “ASIHTOS,” and “46 Days,” not to mention the relentless, and fluid 50min “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge” that opened Set II, it’s still one of the best offerings of the year.

– MPP 1 – A prelude to the following night’s mastery, 07/13 features one of the most engaging setlists of the year, while boasting top notch versions of “Maze,” “SOAM,” “Hood,” and the best “Mike’s Groove” in over a decade. For me, it’s all about Trey’s rhythmic playing in “Hood” and “Simple” that puts this night over the top. Talk about blissful innovation at its best. What a high they were on during this run of the East Coast Leg!

– MPP 2 – IMO, the best show of the tour thus far. A tightly wound peak experience featuring two fully formed sets without a single misplaced moment. Energy, innovative jams, perfectly placed classics, this show has it all. The seminal show thus far of the musical style and aesthetic structure Phish has been pushing all summer long. Highlight’s abound, but definitely check out “Stash,” “SOAMule,” “It’s Ice,” “Light -> Boogie On,” and “You Enjoy Myself” to hear the band at the peak of their powers here in 2013.

– Chicago 2 – The much maligned three-setter from Chicago, this show resonates with me based on many of the aspects I wrote about above. While perhaps an underwhelming show barring the circumstances and expectations throughout the community, the second set flows with precision and ease, and the “Light -> Hood” in Set III is up there as one of the better musical pairings of the summer. A show that I believe will outlast all the initial criticism it’s received, it’s one of those special shows that has more to do with the energy surrounding it rather than just the music played within it.

– Chicago 3 – Many are calling this the show of summer. Wherever I’d rank this show, it’s definitely one of the best offerings from the band thus far in 2013. Following a high-energy and well-played Set I that featured a show opening “Dinner And A Movie,” a torrid “Bag -> Maze,” an energized “Gin,” and a silly “Boogie On” that preceded a monumental rain storm, the band emerged for Set II and played the set of the year thus far. Reading: “Energy -> Ghost -> The Lizards, Harpua> Run Like An Antelope,” it’s the kind of set words simply won’t do justice for. If you haven’t heard it, get on it. If you have, you know exactly what I’m talking about.

– Toronto – While not the sleeper show everyone was expecting, Toronto was still an above-average and fun show, packed tight with great song selections, a three-song encore, and a jam out of “Down With Disease” that sets up a perfect transition to the Western leg of the tour. Check out “Undermind,” “Twist,” “Stash,” and “Ocelot” in Set I, and don’t miss the “DWD” or “Bowie” in Set II. A killer show for fans who’ve been waiting 13 years to see Phish again, Toronto caps of three weeks of tour in about as great a way as anyone could hope.

Favorite Jams 

– 07/05/2013: “46 Days -> Steam> Drowned -> Slave” – My favorite moment of SPAC 1 when it happened, and still my favorite today. How they figured a way from the seedy barroom stomp of “46 Days” to the ethereal bliss of “Slave” is beyond me. Perfectly fluid, leaving no music on the table, it’s a segment that proves the band has been on from the moment they hit the road.

– 07/06/2013: “Split Open & Melt” – Without coming off as too much a hypocrite, I sure would love to hear the band mess around with this kind demented melodic jamming more in the first set. Heard here and in the 07/14 “Stash,” there’s something about when the band opens themselves up with such freedom and pure musical communication – particularly in Set I –  that’s unrivaled in my mind. One of the most special moments of the first weekend of tour.

– 07/06/2013: “Carini -> Architect” – One of my absolutely favorite moments of summer thus far, I’m still in awe over how the band fit SO much music into 12 minutes. A beautiful, fluid, relentless jam, this one carried the torch from Dick’s and MSG and planted it firmly in 2013. Cannot wait to hear how the band approaches “Carini” when they take it out for a spin out west.

– 07/10/2013: “Crosseyed & Painless> Harry Hood” – The peak jam of the second week of tour, this one stylistically impacted the tour in ways few others were capable of. Hinting at the 02/16/2003 “Piper” theme, the jam built to an absolutely stunning peak made only the more special by Trey’s rhythmic interplay. Heard in the 07/13 “Hood” and “Simple,” the 07/21 “Ghost” and 07/22 “DWD,” the 07/10 “C&P>Hood” is one of those peak moments that happen throughout every tour and affect literally all the music around them.

– 07/12/2013: “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge” – Like a jam segment right out of Summer 1998, this seguefest that opened JB’s second set is a must hear for any fan of open-ended improv and groove. Spring-boarding from “Rock & Roll” by way of a take on the 08/08/2009 theme of the same song, the jam weaved through melodic plains before building into “2001.” In “Tweezer” the band locks into a relentless groove that just bleeds into “Cities,” before it segues flawlessly into “The Wedge.” Battling the elements out on the Long Island Sound, the band unquestionably struck musical gold with this jam on this night.

– 07/13/2013: “Mike’s Song> Simple> Weekapaug Groove” – While I was probably wrong to predict that this “Mike’s” would in fact lead the band into their first Type-II “Mike’s” since February 2003, (expectations and predictions are a bitch) there’s no denying the ferocity and tenacity of this version that still holds up some two weeks later. For me though, this jam segment is all about “Simple.” A gorgeous version that sees Trey focusing on rhythmic interplay, teasing at the “DWD” theme throughout the jam, it’s stunningly beautiful, and absolutely perfect. It will be great to hear how the band approaches “Simple” whenever they revisit it next.

– 07/14/2013: “Light -> Boogie On Reggae Woman” – A clinic in Phish crack, the MPP “Light” is as enthralling as it is experimental as it is utterly rewarding. Featuring start/stop groove, noise-based themes, and a fluid segue into “Boogie On,” it’s just one more version in a seemingly endless list of top tier “Light’s.”

– 07/16/2013: “Rock & Roll -> Heartbreaker -> Makisupa Policeman> Chalk Dust Torture> Wilson> Tweezer -> Silent In The Morning> Birds Of A Feather” – One of the most locked-in moments of summer thus far, this 55min segment of music from Alpharetta 1 combines energized and fluid segues, Dick’s-esque jamming, choice song selection, and thematically repeated teasing’s of Zeppelin’s “Heartbreaker,” all resulting in a massive tour highlight from the band’s lone southern stop. Particularly in the “Rock & Roll,” “Chalk Dust,” and “Tweezer,” the jams proves how irrelevant song length is in 3.0. Like the 07/06 “Carini,” it’s mind-blowing how the band is capable of covering such musical terrain in such a short amount of time.

– 07/21/2013: “Energy -> Ghost -> The Lizards” – Perhaps the most important segment of music played all year, this trio both spiritually freed the band from the burdens of the weather-related and logistical forces plaguing their Chicago run, while also helping to point the way forward for the tour. Tracking the musical lineage of Phish’s history, this segment’s one of the most innovative and forward thinking of 2013. On par with the best jams in the band’s history, we’re gonna be talking about this trio for a LONG time to come.

– 07/22/2013: “Down With Disease -> 2001” – And this is how you point the way westward. Building off of Chicago’s brilliant second set, the band played the “DWD” of the year thus far, residing wholly in a zone of sublime melodic blissfulness before choicely guiding it towards the ominous grooves of “2001.” A patient and effortless jam, this bodes great things for the tour moving forward. As a band, Phish has typically played their most refined, relaxed, and exploratory music on the West Coast throughout 3.0. Based upon the sustained peak of 07/10 – 07/14, and the explorations in Chicago and Toronto, one can only imagine this trend will continue this weekend.

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Thus concludes tackle & lines 3rd week tour recap. Gonna be traveling to Japan next week, so will probably do a big West Coast wrap-up following the Hollywood Bowl show. Feel free to leave any comments or thoughts to the post. Can’t wait to see what’s in store for all of us as Phish heads out west!

Assorted Thoughts & Questions On The Second Week Of Phish’s 2013 Summer Tour

1045244_10151456729241290_627350807_nThe second week of Phish’s 2013 Summer Tour is in the books, and it’s pretty clear to anyone listening that we’ve got a veritable classic on our hands here.

Torrential weather be damned. Postponed shows no bother. No matter what tries to impede Phish’s path right now, it appears the band simply can’t be halted.

In their 30th year, the band has clearly turned a corner and are showing no signs of slowing down. What was realized in the intimate Greek Theater way back in August 2010, capitalized upon that Fall, busted wide open with the SuperBall IX “Storage Jam” and subsequent experimentally-driven August run, toyed around with throughout a non-stop June 2012 tour, and finally realized in Commerce City, CO, has become the show-in-show-out reality of Phish here in 2013.

The band is just on. No two ways about it.

It’s a damned good time to be a Phish fan right now, both for everyone at the shows, and all of us listening with fervent ears back home. The band is littering shows with segues, jams, tight-knit playing, old school setlists, energy, and increasing humor that can only bode even greater things as the tour moves along.

All this music has gotten me thinking. Below are an assortment of random thoughts and questions I have from the last week of tour.

Hope everyone’s been enjoying this tour as much as I have!

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Is “Mike’s Song” About To Blow Up?

The long-forgotten classic, you’d have to go back to Summer 2000 for the last time the band truly approached “Mike’s Song” with the kind of aggression they are right now. While it’s always been a fan and band favorite, few could deny the overall power that’s been missing from “Mike’s” through the last two eras of the band’s history.

Out of nowhere, on the first night of tour, Phish treated us to a “Mike’s” that carried an extra bit of something – particularly from Trey – and for a minute felt as though it were going to explode into an unrelenting jam. Then, on Saturday night at Merriweather Post, the band again approached the song with a kind of desperation and aggression, once again expanding the limits we thought had been established as law going forward. That it bled into a gorgeously thematic and rhythmic take on “Simple” (more on this later) and a “Weekapaug” that felt slightly elevated, only helped to secure this as, hands down, the best “Mike’s Groove” since 2000.

So the question bears asking: Is Phish ready to blow “Mike’s Song” up again? Are they ready to approach the song with the same kind of fire, energy, and exploratory zealotry that made it one of the MUST-SEE songs throughout the entirety of Phish’s first 17 years?

Historically, one only has to look at the band’s patterns when they’re trying to will a specific song into the unknown. Two recent examples: the 08/16/2009 “Backwards Down The Number Line” and the 08/31/2012 “Chalk Dust Torture” each display that when the band is consciously trying to expand a specific song into a monumental jam, they typically build the song up through a series of versions that gradually push it further into the unknown. For “Number Line,” the 07/31/2009, 08/08/2009 and 08/11/2009 versions paved the way for the 20-minute monster that opened SPAC’s tour closing affair in 2009. For Chalk Dust, the 08/25/2012 and 08/28/2012 jams clearly helped to free the band up for the ethereal Dick’s version.

Beyond these two historical examples, it’s clear the band is focusing more time and attention on their classics throughout this tour. (More on this later) With the recent performances we’ve heard from “Bowie,” “Antelope,” “Hood,” “Reba,” “Stash,” “SOAM,” and “Slave” one wouldn’t be too surprised if one of these upcoming shows featured a “Mike’s” that fused the past and present of Phish in one monumental jam.

Can you even imagine how the crowd would react to a jam off “Mike’s” at this point?

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About The Celebratory Rhythmic Jamming…

If one clear-cut musical pattern is emerging from Phish’s Summer 2013 Tour it’s that the band is spending a large percentage of improvisational time focused on overtly melodic jams that have – in their best moments – resulted in segments of celebratory rhythmic hook-up’s that achieve transcendence on a number of levels. Heard most notably in the 07/10 “Crosseyed & Painless” and 07/13 “Harry Hood” – though elements of it are certainly abound in the 07/06 “SOAM” and “Carini,” the 07/12 “Rock & Roll” and 07/13 “Simple” – it appears the band is reflecting their ecstasy over this Summer Tour directly in their music.

Much like how jams in 2003 and 2004 descended into a dark and twisted underworld without reprieve, many jams in 2013 are the diametric opposite, rising to the heavens in rejoice over the current state of the band.

What’s perhaps most unique about this trend – at least to these ears – is that it’s taken Phish under eight shows to reign in on, and commit to this style. While there have certainly been a plethora of incredible jams that have littered 3.0, each of the past four years have been more notable for the fact that the band has restlessly jumped from style-to-style throughout tours, very rarely committing to one singular style to build through. Granted, August 2011 featured a number of “Storage”-based jams, and Dick’s 2012 highlighted the band’s ability and desire to weave a number of different ideas and themes under one singular piece of improve, those are more exceptions than the rules in the past four years.

Here in 2013, with the band at the top of their game, and an entire tour in front of them to explore the unknown, the band is fully communicating the peak experience their having as a band through their improv. Like how 1995’s abstract excursions spoke directly to the band’s fascination with how far their music could go, 1997 displayed a band in completely seamless communication, 1999-2000 showed how effortless and in many ways, uninspiring Phish had become for its members, and 2003 was the sound of a band dying in front of our very eyes, 2013 jams are full of celebration and revival.

It’s been a long time coming for Phish to return to the place of consistent playing – both within their songs, and outside of them – and to hear them attack their improv with the kind of celebratory zest they are this summer can only make fans feel great about the state of Phish as we continue moving forward.

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The 2013 Setlist Model

A simple perusing of PT or Twitter will display an even-handed amount of opinions on the structural approach the band is pushing forward with their setlist’s in 2013. A complete diversion from the recital sets that dotted much of 2009 – 2011, and a stark change from the rarities and bustouts that colored 2012, 2013 setlists have – thus far – been noticeably trimmed down and sharpened up. Emphasizing a stricter rotation throughout the tour thus far, repeats have been abound, while at the same time, few sets (first sets in particular) haven’t been subjected to the knee-jerk flow and unending feel that marked so many throughout 3.0.

So the question bears asking: is this new setlist model a positive for Phish, a negative, or just a part of the continual evolution of the band?

I see the effects of this evolution in two ways. First of all, to me, the recital approach – while certainly great when it worked; see: 11/29/2009, 12/04/2009, 06/13/2010, 07/03/2010, 08/14/2010, 10/26/2010, 10/30/2010, 06/11/2011, 08/16/2011, 06/15/2012, 06/28/2012, 07/03/2012, 07/06/2012 – had become somewhat stale and outdated by the time 2011 rolled around, when it was clear many of the growing pains of 2009 and early 2010 were behind them. In that sense, I both welcome the consistently trimmed down setlists – they’re tighter and flow better overall – and welcome the sequential emphasis of a stricter rotation.

The second effect of the band’s current approach to crafting setlists is an overt emphasis of their classic songs and jam vehicles. Whereas in 2009 through, even parts of 2012, the band was making a conscious effort to showcase their entire catalogue, here in 2013, there’ve been a number of shows that have specifically featured songs written before 1995. A result of this has been a newfound electricity and energy within their classics. One needs to look no further than the 07/03 and 07/13 “Mike’s,” 07/03 “Antelope,” 07/03, 07/10, and 07/13 “Hood,” 07/05 “Bowie,” 07/05 “Slave,” 07/06 “SOAM,” 07/07 and 07/14 “You Enjoy Myself,” 07/12 “Reba,” 07/12 “Tweezer,” 07/13 “Simple,” 07/13 “Weekapaug Groove,” 07/14 “Stash,” and the 07/14 “It’s Ice,” to see the effect this approach is having on some of Phish’s historically great compositions.

I argued yesterday on PT that while this last weekend’s Merriweather Post highlights were “Destiny Unbound,” “Maze,” “Hood,” “Mike’s Groove,” “Stash,” “Mule,” “Ice,” “Light -> Boogie On,” and “You Enjoy Myself” would have represented a horrendous pair of shows from 2003 – 2012, here, in 2013, suddenly these shows reside in the upper echelon of the tour thus far. This is a sign of a band fully focused on reinventing, and reigniting their classics like they haven’t consistently in years. And this is without mentioning the excellent “Gins,” “Wolfmans,” and “Themes” we’ve heard, nor the one-off performances of song’s like “BOTT,” “Ya Mar,” or “CTB” that have popped with fresh energy and playing.

It’s an amazing reversal on the trend that had dominated much of the last ten years of the band’s existence. For too long their time-honored classics felt forgotten, appearing in shows only because they had to. That the band is rediscovering how to approach so many of these songs, particularly within the structure of more refined setlists, can only bode great things moving forward.

While yes, there’s no doubt something missing from Phish shows due to the lack of surprise that was so associated with the random bustouts and rarities that littered much of 2010 – 2012, but in all reality, I’d personally rather hear Phish crush their classics like they have been over the past two weeks than compile sets that lack flow and energy just to get a one-off glimpse of a long-forgotten song. I definitely argued before the tour that we’d hear more bustouts this year, and so far I’ve been wrong on that prediction. So long as the band keeps playing the way they are, count me as one totally cool with the current approach to setlists, and consequential lack of bustouts in 2013.

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The Impact Of Trey’s Rhythmic Playing

From the first Type-II jam of tour (07/03’s “Golden Age”) one this was immediately different about Phish’s jamming approach in 2013: Trey’s emphasis of his wah-wah pedal like no time since the late-90’s. A stylistic move that’s allowed Mike and Page more space to continue their individual dominance in 3.0, this move has led to some of the most unique and colorful moments of the 2013 tour thus far.

From the 07/06 “Tube,” and 07/12 “Tweezer -> Cities,” to the 07/14 “Stash,” “It’s Ice,” and “Light -> Boogie On,” the wah has been at the center of some of the most unexpected funk clinics that have dotted 2013.

Moreover though is the full impact of Trey’s rhythmic approach. Even when he’s eschewed the wah, he’s still approached jams with a rhythm-centric mindset that’s led to the aforementioned melodic and celebratory jams that have stood out as the best of the year.

Like how 1997 – 2000 benefitted greatly by Trey’s deliberately minimalistic approach, so too is 2013. Playing within the pockets created by Mike and Fish, allowing Page to shine like he has since Hampton ’09, while giving Mike the proper space to lead jams, Trey’s coloring the jams with chords and rhythmic patterns that are leading to full-band-connectivity and linear musical communication with consistency and ease. For examples, look no further than the 07/10 “Crosseyed & Painless,” 07/12 “Rock & Roll -> 2001>Tweezer -> Cities -> The Wedge,” 07/13 “Harry Hood” and “Simple,” or the 07/14 “Light -> Boogie On,” and “You Enjoy Myself.”

Fusing their past with their current state, Phish is benefitting greatly from 30 years worth of musical experience as they diverge deeper into the unwinding conversation they’ve been sharing together on stage.

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Is This The Best Summer Tour Since 1.0?

Jumping the gun a bit here? Perhaps.

Remember how good 2012 was, kid? Yes, yes I do.

Didn’t you just write a 3000-wd piece praising 2003? Yes, that’s me.

Look, I hate the redundancy of certain Phish writers who review and comment on shows/jams/tours as if THIS is THE BEST ___________ since ____________, only to emerge a week or two later saying the exact same thing.

But we’ve reached a point with this tour, now two weeks in, where the question certainly bears asking.

Is this the best summer tour since 1.0?

My arguments in favor are as follows, in four points:

1. The band is jamming with a consistency and brilliancy the likes of which we simply haven’t seen since 1998.

Yes, I fully realize the absurdity of this statement when one considers how heavy the band jammed from 1999 – 2004, but hear me out.

While so many jams went deep throughout that period, there are unfortunately a litany of jams that simply jammed for the sake of filling space and jamming, rather than pushing forward with consistent purpose. Moments of brilliance and transcendence were often times separated by lengthy wanderings of a band that oftentimes appeared lost, or worst, careless. And yet, for however deep and methodically demonic those jams were – and this is coming from a proud-1999 -2003 fluffer – those jams didn’t really speak to the historical and emotional legacy that is Phish. So moody and ominous so many of them were, they represented a dying band’s last gasp at relevance and sustainability. That they went so deep spoke more to the individual member’s emotional struggles than any true evolutionary step forward. As I said throughout my essay on Summer 2003, (and this point is certainly transferrable to 1999 and 2000, and especially 2004) it’s clear in hindsight that that jamming approach was simply unsustainable. No one can be that lost and hope to persist in any sort of productive and healthy manner. For however monumental, or artistically innovative many of the jams were, they belong to their own era of Phish that’s in many ways separate from the band’s overall historical legacy.

Here in 2013 we’re hearing a band who has climbed the mountain once again, and is jamming with not only conscientious purpose, but also celebratory revival.

2. Phish’s greatest songs are being showcased like they haven’t since the mid-1990’s.

I’ve made this point ad nauseam throughout this piece, so I won’t go too deep into it here. But, the point remains, in 3.0, up until this tour, “Bowie,” “You Enjoy Myself,” “Hood,” “Slave,” “Mike’s,” “Antelope,” “SOAM,” and “Stash,” all felt like dinosaurs in Phish’s catalogue.

Sure, they made their required every two-to-three show appearance.

Sure, they got their resounding cheers from the crowd.

But rarely did they feel like an opportunity for the band.

Instead, they always felt played because, well, they had to be played. Even in 2012 – by-and-away the best year the band has played in full since at least 2000 – these songs always felt like a shell of their former selves, no matter the fact that the band was beginning to focus additional attention on them. Now however, the band is approaching their time-honored classics like this were 1993 or 1995, and they have to explore them for all they’re worth.

3. This is the strongest opening to a tour the band has played since Summer 1998.

Go back through each of the summer tour’s of the band’s history. At this point, I count six shows that are unquestionably keepers – 07/05, 07/07, 07/10, 07/12, 07/13, and 07/14.

SIX, out of EIGHT shows total. This is unprecedented in recent Phish history!

At the end of each year I compile a list of the ten best shows of the year, along with three honorable mentions. I shudder to think how I’m going to widdle this list down to 13 by year’s end.

While Phish has treated the opening legs of 3.0 tours to some of the best overall shows of the year, none of the 3.0 summer tour’s can compare to 2013’s opening two weeks. The only tour that could carry a candle in my mind is 2011, and that tour petered out following an incredible opening week from Bethel – Cincinnati.

Going back to 2.0 – 2004 is disqualified based on the fact that the exceptionally strong June Run was no more than a week’s worth of music – the 2003 Tour sputtered for much of it’s first two weeks before finding consistently solid ground on it’s back end.

In 1.0, both 1999 and 2000 featured some exceptional shows starting a week into their tours, but in both cares, their immediate opening shows are dotted with too many head-scratching moments – 07/07/1999, 06/25/2000, for example – to hold a candle to how consistently great Phish is playing these days. Even in their weakest shows this tour – 07/03 and 07/06 – the band is still infusing each with moments of brilliance that make them worth listening to regardless.

So, is this the best opening to a tour since 1.0? That question’s ultimately up to you and your own standards of “best”. For me, there’s simply no question, 2013 has put itself in a pretty heady category thus far.

4. Each member is thriving individually which is translating to some stunning linear musical communication.

For much of 3.0, the continual argument against Phish (lazy or not) has been of the struggles of one Trey Anastasio. For much of 2009, both he and Fishman simply didn’t have the chops to keep up with Page and Mike, to craft transcendent improvisational music on a consistent basis. While Trey was able to dissuade much of the criticism when in August 2010 he unveiled the Ocedoc guitar that helped to deepen his overall sound, thus making him less reliant on the whammy pedal, and more conducive to full-band jamming, it wasn’t really until 2012 that all his practice since 2008 really started to pay off.

On the other hand, Fishman spent much of the band’s first two years back simply getting reacquainted with playing drums. Admitting to give up drums entirely for a time during the band’s break-up from 2004 – 2009, his technical inabilities left many jams rudderless throughout 2009 and 2010. Like Trey though, Fish has been on a consistent rise since 2011, now capable of playing in a variety of styles, and impacting jams with the kind of tactical precision and spontaneity that made him such a key figure in Phish’s mid-90’s renaissance.

Freed from the burdens of the band’s two weakest links, they’re now playing as one on a far more regular basis. As a result, jams like the 07/06 “Carini,” 07/10 “Crosseyd,” 07/12 “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge,” 07/13 “Simple,” 07/14 “Stash,” “It’s Ice,” “Light -> Boogie On,” and “You Enjoy Myself” are popping up throughout shows with far more consistency and ease than at any other time since certainly 2003, and more realistically since sometime in 1.0.

Is this the best tour since 1.0? Right now, it sure as Hell feels that way!

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So, Where Is This All Going?

I talked with Zachary Cohen of the phenomenal Please Me Have No Regrets blog at length yesterday about the state of Phish 2013. We’re at two interesting places with this tour, seeing as he’s been to most of the shows, and I’m simply absorbing them from 8000 miles away in South Korea. To him, these shows have been a spiritual celebration from the moment 07/05 began, whereas for me, from my perspective, little about the tour made total sense until around PNC. To me, the band was simply laying the groundwork for a the tour from Bangor through 07/06. Yet, in hindsight, while I still believe the first few shows were more or less feeling out how the band would approach this tour, it’s become clear to me that we were essentially immersed in brilliance from the moment “Cities” faded into “Bowie” on 07/05.

The bulk of our conversation however, dealt with where this is going with Phish. How’s Phish going to build on the musical achievements of the last two weeks? Where are these two weeks going to reside in our minds come October, December, next February…?

We’re both absolutely thrilled with the music Phish is currently making, but both of us agree that it’s clear there’s more that the band could be doing. For as incredible as all of these shows have been – and in all sincerity, there isn’t a show played this summer I wouldn’t have wanted to be at – it’s clear the band is somewhat still reigning it in on a nightly basis. From an unwillingness to totally let go with their jams like they were at Dick’s, to the lack of surprise quality often associated with bustouts and rarities, there are a few aspects of Phish’s storied career that could elevate this tour that much more.

Is this all necessary? Probably not. These are phenomenal shows after all.

If Phish cancelled the rest of their tour, we’d still have a massive amount of musical gold to sift through for the rest of the year.

And yet, if you’d ask me my honest opinion I’d say that this tour reminds me in many ways of how the August 2010 run felt like an immense corner turned, yet appeared as an obvious starting point by the time the mastery of Fall 2010 rolled around. This isn’t to compare the quality of music with those two eras, just the structure of them.

My point is, I’ve got a feeling this is all building towards something even bigger, and that by year’s end, these shows – which have been SO great so far – may appear more as building blocks towards some unforeseen goal. Kinda like how NO ONE could have predicted 08/31/2012 was just around the corner on 08/29/2012, regardless how innovative most of Summer 2012 was. Based on all the points I’ve made throughout this essay, the obvious excitement permeating the community based surrounding the band’s 30th anniversary, and impending Fall Tour and Holiday Run, one can’t help but think this whole year is only going to get better.

Be it a fusion of the band’s level of jamming at Dick’s with their emphasis on their storied classics, or gimmicky rarities timely placed throughout standout shows that just elevate them to another level, or a run of shows that musically rivals the true peaks of the band’s career, essentially everything is on the table now in 2013.

On a high like they haven’t been since the mid-90’s, at the top of their game, there’s simply nothing it appears Phish can’t do here in 2013.

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Favorite Shows/Jams Thus Far

I’ll be updating this as we move throughout the tour/year. Take these with a grain of salt, for their just one man’s thoughts on music that’s continuously interpreted by totally different people in totally different ways all at the same time. But here are my favorite shows/jams of the 2013 Summer Tour thus far:

Favorite Shows

1. PNC – First Set is that classic Phish energy set, containing a blistering “Gin,” a rarity in the opener, “Llama,” a full-on funk-fest in another nailed “Wolfman’s,” and great takes on “Ya Mar,” “Stealin’ Time,” “Theme,” and “Suzy. Set II flows with fiery precision, and contains a revolutionary jam in “Crosseyed.”

2. MPP2 – On paper, from 2003 – 2012 this show would look like crap. But groundbreaking performances in “Stash,” “SOAMule,” “Ice,” “Light,” and “You Enjoy Myself,” along with solid flow and all-around killer playing just elevates it to previously unknown heights.

3. MMP1 – Very similar to MPP2 structurally, this show benefits from a fresh setlist, notable playing in “Destiny Unbound,” “Halfway To The Moon,” “Maze” and “SOAM” in Set I, another glorious “Hood” in a year already full of them, and without question, the BEST “Mike’s Groove” since 1.0

4. SPAC 3 – The first show where the band appeared to be fully comfortable and in command from note one of the night. Just an all-around classic Phish show featuring only one cover, and no songs written after 2002. From the moment they descend into a quiet and rhythmic jam off second-song “BOTT” one thing was clear: it’s on.

5. SPAC 1 – Following a first set that failed to get off the ground until a stunning “MFMF> Cities -> Bowie” segment closed it out, the band emerged from setbreak and played without pause. Crafting the most fluid set we’ve heard this entire tour thus far, the jams in “Light,” and particularly “46 Days -> Steam> Drowned -> Slave” will remain on many people’s Best Of lists for the entire year.

6. Jones Beach – A similar first set structurally to 07/05, this one lost a bit of steamin the face of the worst storm the band’s played in since 07/22/1997 before being rescued by a sublime “Reba”/”Bowie” combo to close it out. After the break, the band emerged with a 19-minute “Rock & Roll” that faded into a “2001>Tweezer -> Cities -> The Wedge” seguefest that’s as smooth to the ears as it appears on paper.

7. SPAC 2 – The most inconsistent show of the tour thus far – at least to these ears – perhaps the only aspects I’ll revisit in the future are “Tube,” “SOAM,” and the “Carini -> Architect” jam. A notable show for the fact that it was SO well played regardless of it’s issues with flow, it simply doesn’t carry the mystique the above shows do.

8. Bangor – A solid tour opener that foreshadowed much of the brilliance we’re currently witnessing. However, this one, like SPAC 2 just doesn’t have that IT factor that any of the first six shows on the list do.

Favorite Jams (Listed Chronologically)

– 07/05/2013: “46 Days -> Steam> Drowned -> Slave” – A fully flowing and organically thematic jam segment that anchored the back-half of 07/05’s brilliant Set II, this run of songs is sure to remain as one of my favorite’s of the year by the time we wrap things up at MSG. From the minimalist funk workout of “46 Days,” to the impassioned, and fully realized peak in “Steam,” from “Drowned’s” rhythmic duel between Page and Trey, to the masterful performance of “Slave” that’s unquestionably the best we’ve heard in this entire era, this sequence is a fucking capital ‘K,’ KEEPER.

– 07/06/2013: “Split Open & Melt” – For a song that has endured so much controversy and dysfunctional experimentation in this era, everything was realized in this first set closer from the middle night at SPAC. Leaving the structure of the jam entirely, the band wove this “Melt” into a gorgeous plain of improvisation, connecting for five minutes on some of the most blissful music they’ve ever made. At one point it sounded as though they’d never find their way back home. While the end of the jam ultimately became a forced re-entry to the “Melt” theme, little could taint the brilliance of this jam.

– 07/06/2013: “Carini -> Architect” – My vote for jam of the year thus far, the band simply annihilated “Carini” before perfectly segueing it into Trey’s first Traveler debut with Phish (Save “Let Me Lie”). Diametrically opposite to the descent into Hell version from 12/30/2012, this “Carini” was lilting, it was ethereal, it was sublime, it was complete bliss. There’s a point midway in the jam where it sounds like the band is composing a new song out of thin air. It’s the stuff of legend. I can’t wait to hear how the band approaches “Carini” the next time out.

– 07/10/2013: “Crosseyed & Painless> Harry Hood” – Following an ambient soundscape that was reminiscent of the 08/19 version, “Crosseyed” built into a celebratory rhythmic jam that touched on the 02/16/2003 “Piper” while crafting one of the most transcendent passages of music Phish has offered in 2013. A thematic jam that has since been adopted in various other jams since then, it’s clear the band discovered something at PNC that had been lurking beneath the surface throughout the tour’s initial week. That they chose another brilliant version of “Hood” to serve as the song’s landing pad of sorts, spoke wonders of how highly the band immediately regarded this jam.

– 07/12/2013: “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge” – After stumbling a bit through a song-based first set that seemed to take the life out of their cold and wet fans, the band delivered a blistering 50-minute segment of uninterrupted music to open Set II at Jones Beach. The “Rock & Roll” shares musical qualities with the brilliant 08/08/2009 version before segueing into “2001.” The “Tweezer -> Cities -> The Wedge” is as fluid and masterful a segue as it looks on paper. They fucking earned those -> this night, and sure as Hell earned the “Sleeping Monkey> Tweezer Reprise” that closed things out.

– 07/13/2013: “Harry Hood” – Dropped in the middle of Merriweather Post’s Saturday night Set II, this “Hood” capitalized on the brilliant versions from Bangor and PNC, and then some. Fusing the thematic peak of the PNC “Crosseyed & Painless” into the “Hood” peak created a transcendent version that will be hard to top going forward. It’s clear the band just loves playing “Harry Hood” again, a sentiment that should be praised and rejoiced by all of their fans.

– 07/13/2013: “Mike’s Song> Simple> Weekapaug Groove” – A “Mike’s Groove” tour highlight?!?! What!?!? I’ve been following this band since 2001, and saw my first shows in 2003. “Mike’s Song” was one of those original’s that got me hooked on Phish. But never, I mean NEVER, have I ranked any version of “Mike’s Groove” since that time as a Best Of jam in all my years listening. Until now. A torrential “Mike’s” that nearly pushed itself into the unknown was followed by a gorgeous “Simple” that fused the melodic and rhythmic playing Trey’s been espousing throughout Summer 2013 with the “Down With Disease” theme to brilliant results. Capped off by a funky and sparse “Weekapaug” and you have the first “Mike’s Groove” in ages to push a show into the ether.

– 07/14/2013: “Light -> Boogie On Reggae Woman” – Is there anything Phish can’t do with “Light?” Even in the PNC version that left a bit to be desired, the band still managed to infuse it with themes of “Maria” from West Side Story before segueing it fluidly into a perfectly place “Good Times, Bad Times.” Here, deep in Merriweather Post’s Sunday Set II, the band conducted a thrilling funk/rhythmic experiment on the modern jam vehicle, leading it into a start/stop jam that brought back memories of 1997 for everyone involved. Building into dissonance, they ultimately led the jam into a playful “Boogie On” that felt neither forced, nor out of placed. Make that three fluid segues from “Light” in 2013, along with three completely unique jams that have emerged from it. It’s clear 2013 is shaping up to be yet another banner year for “Light.”

– 07/14/2013 – “You Enjoy Myself” – Perhaps the most telling jam on this list, the band’s seminal song has been everything from overplayed, to stale, to underplayed, to rarity, to now, fresh and completely open again here in 3.0 That “You Enjoy Myself” is being attacked in the way it have thus far this tour, is reason alone to believe we’re in for something unprecedented with Phish this year. Building off a top-notch version at SPAC a week before, the Merriweather Post “You Enjoy Myself” featured a seismic funk workout from the band, infusing dissonance and elements of the “Light” jam before peaking and leading to a ferocious vocal jam. Will this be the peak of the band’s experimentation with “YEM” in 2013? I gotta believe this, like with “Mike’s,” “Stash,” “Hood,” and “Bowie,” is only the beginning. How crazy would it be if this excellent version were simply knocked off this list by the next “You Enjoy Myself” played? I wouldn’t doubt anything of the sort here in 2013.

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That’s all I’ve got for this last week of tour. Please feel free to share any comments or thoughts on the essay. Can’t wait to see what the band has in store for us in Alpharetta and Chicago!

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!

Review: Bangor, Me – 07/03/2013

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Darling’s Waterfront Pavilion – Bangor, ME – 07/03/2013

Set I: Possum> Runaway Jim, Stash, NICU> Wolfman’s Brother, Rift, Theme From The Bottom> Chalk Dust Torture> Mike’s Song> Silent In The Morning*> Weekapaug Groove

Set II: Golden Age> Twist> Backwards Down The Number Line, Ocelot, Rock & Roll -> 2001> Cavern> Run Like An Antelope

Encore: Harry Hood#

* First “The Horse” – less “Silent In The Morning” since 17 June 2012

# “Harry Hood” contained a “The Divided Sky” tease

——–

The first show of a summer Phish tour is always about more than just the music played.

It’s a celebratory rejoicing of the band being back and making new music once again.

It’s an opportunity for old friends to reunite in a random parking lot, open field, or sports arena.

It’s – as Andy Greenberg, Zach Cohen, and Mr. Miner so eloquently said yesterday – a return to that metaphysical quest we’ve all undertaken for truth and purpose through music and travel.

It’s the first chance we all have to gauge what the layoff did to the band, and surmise at what music we may hear from them in the coming touring season.

It’s like Opening Day in baseball; in the end, it matters little if your team wins or loses, just that the game is back in your life. For the first time since winter, there’s opportunity (and reefer, of course) in the air.

——–

Historically, tour openers have typically been regarded as opportunities for the band to simply re-settle into the road. However, in the 3.0 era, Phish has regularly come out firing on all cylinders from show one. From 06/11/2010 to 05/27/2011, 08/05/2011, and 12/28/2011, to 06/07/2012, 08/15/2012, and 12/28/2012, the band has, in recent years, jumped fully back into a tour with standout shows that typically set stylistic tones for the tour ahead.

Yet, what a tour opener can really tell us about a tour is up for the debate. The Chicago 2010 show preceded the weakest overall tour in 3.0. The 12/28/2011 show looked to carry the fire from Dick’s straight through to MSG, which turned out to be all for naught. To the contrary, a severely underwhelming three-night-run to open Fall 2010 in Broomfield, CO did little to hinder the magic of that tour’s final two weeks. Even in 2012, when the band opened with perhaps their best opener since 1999, (though what does that really mean anyway?) few could have predicted the highs the band was going to hit as the tour unfolded.

Essentially, it’s best to take tour openers with a grain of salt. Enjoy them for the sheer fact that Phish is back in our lives, but don’t go calling anything the best/worst ever before, during, or after them.

1012304_10151444225366290_976737831_nAll this brings me to the first night of the 2013 Summer Tour, and the onset of the band’s 30th Anniversary.

By showtime two things were clear:

1. The band had made their first adjustment in their stage alignment since Coventry. Fish rotated to the back between Mike and Trey, on level with the band, and positioned slightly ajar facing Trey. It’s essentially a mix between their 1999 – 2000 and 2.0 set ups. Enacted so Trey can clearly hear the entire band without the drums being in the monitors, the move bodes big things for the band in terms of overall communication and improvisation.

2. Kuroda has totally overhauled his lighting rig. Gone are the three screens that he used to create patterns, and write Phish on with his lights. In their place are a vast array of canned lighting, some new, old-school floor lighting, and a canvas screen backdropping the ENTIRE stage that allows for even bigger and bolder lighting patterns.

What these two aesthetic adjustments do to the music is still unknown, but you’d nary find any fan with a good reason not to praise the band tinkering with their system here, some thirty years in.

As for the music…

Set I kicked things off with a run through a litany of old-school Phish classics. By set’s end, there wasn’t a single song played that had been written after 1995. Reminiscent of 10/31/2009 and 06/13/2010, the set was a clear nod to the past, here at the onset of the band’s 30th Anniversary.

“Possum” got things rolling the way “Possum” is meant to get things rolling; nothing more, nothing less. At first listen, Trey’s use of his older Languedoc gave him a much cleaner sound, as he offered spry and playful licks throughout both the opener and the subsequent “Runaway Jim.”

Neither shocked nor awed, though neither one had to.

I’m sure that being in the venue, ankles deep in the sodden grass, perspiring beer in hand, that old, funny feeling rushing through your veins, the sight of balloons and beach balls bouncing through the air, the sheer greenness of a post-rained sunny summer day in Maine, the pot drifting through the air, the energy of 15,000 fans and friends cheering with all their might, helped to make both tracks feel bigger, and more impactful than they were.

In terms of your own personal memories and emotions tied to the show, it is neither my duty, nor my desire, to alter them.

From my perspective however, much like the opening combo, “NICU,” “Rift,” “Theme From The Bottom,” “Chalk Dust,” and even “Mike’s” did exactly what the were placed there to do – which was reacquaint both band and audience with being at a Phish show, while subsequently keeping the energy flowing – and nothing more.

The most interesting aspect of Set I came in a “Stash” which toyed with dissonance, as the band played around with the concepts of darkness and light. While never fully embracing the underworld, nor becoming an overtly major-keyed, happy-“Stash” jam, (ala, 10/31/2010) the song proved, nonetheless, that the band is both excited to build from their monumental 2012, and is also feeling that loose-tightness that only comes from practice and chemistry.

Beyond the “Stash,” “Wolfman’s Brother” messed with some seedy funk before resolving itself in a satisfyingly high-fiveable type of arena-rock peak, “Chalk Dust” featured incredible energy due to its placement and an excellent solo from Trey before fading into “Mike’s.” The high point of energy from the set, and perhaps one of the peaks of the show, the two songs paired perfectly together in the moment. While “Mike’s” still remains a caged beast, it’s nevertheless, always effective at offering an energy burst to a show in just seven minutes that few other songs will ever be capable of.

Ending things with the first “Horse”-less “Silent In The Morning” since Father’s Day 2012, and a Mike-a-fied “Weekapaug Groove,” the set ended in not only more interesting territory than it began, but also displayed a consistent upward mobility of energy and playing from the band. Solid, solid way to kick off 2013. While few may revisit it from here on out, this is the kind of set you can throw on at a bbq and not catch too much flak from your non-Phish fans. Great songs, great energy, great fun.

Welcome to Phish 2013.

——–

I recently wrote an essay about “Golden Age” highlighting while I believe the band is struggling with improvising on the song. You can read it here.

Regardless your opinion on how the band is fairing in terms of jamming it, one thing will always be clear: it’s just a damned fun song to hear at a Phish show. A perfect song to open the second set of the first night of their 30th Anniversary year, the song speaks directly to the Phish community, and the 3.0 era, like few of their originals ever could.

Musically the jam on the TV On The Radio hit moves effortlessly into a pseudo-funk dance-territory almost immediately. Employing subtle rhythmic licks from Trey, its Page who takes the lead here on his Rhodes. Anchored by Mike and Fish, the jam is immediately less frenetic than it has been in past versions, allowing Trey a bit more leeway to trade leads with Page rather than scatter ideas all over the place. Following some meatball magic from Gordo, Page infuses the jam with some major scales offering a distinctly different take on the jam.

A year to the day after the most successful and transcendent version the band has played of the song, here they were, once again harnessing a new approach to the jam. Space is key in the jam’s final minutes, as each member balances rhythmic groove with patience and atmosphere. Yet right before it had a chance to take off into some truly untapped space, the jam was cut short for a fade into “Twist.” A hopeful sign nonetheless for the jam in the coming year, I myself am incredibly eager to hear how the band can build on yet another version that almost got there.

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A lot has already been said about the middle part of the second set. A lot more doesn’t need to be said. They played “Twist> Backwards Down The Number Line, Ocelot.”

Individually I love each one of these songs. (Hate if you will, “Number Line” just sounds like Phish to me in the happiest state, and “Ocelot” always makes me feel like I’m dancing on the lawn at Alpine no matter where I am.) Together, in the 2,3,4 slot of the first second set of the tour, not so much. From the seedy bounce of “Twist,” to the bubbly happiness of “Number Line,” to “Ocelot’s” slow-trotting western groove, they are an odd mix at any time in a show. Props to the band for mixing up their sets, and I for one, would certainly love to hear “Ocelot” expanded upon in a future second set, but we’ll chalk this segment up as the first genuine misstep of the tour.

The second set ended however, in commanding fashion with a segment that reads: “Rock & Roll -> 2001> Cavern> Run Like An Antelope.”

A thrilling run of songs, it’s more energy than jams, and a great cap to the first night back. “Rock & Roll” does it’s cawk-rock thing before it finds itself in some interesting space through its last minute and a half. Ultimately, however, it serves as a lengthy fade into “2001.” Offering Kuroda his first chance at truly testing out the new lighting rig, the song does what all modern-day “2001’s” do: groove, peak, groove, peak, fade to next song. “Cavern” adds to the old-school feel still lingering from Set I, and “Antelope” shines for a second straight July 3rd. An expansive version that features interwoven chromatic phrases from Mike, Trey and Page, before building towards an explosive, and unified peak, the song is up there with the 08/14/2010, 10/20/2010, and 07/03/2012 versions as the cream of the 3.0 crop.

Is there anything better than a “Harry Hood” encore? How about a standalone “Harry Hood” encore? How about a standalone “Harry Hood” encore to end the first show of the tour?

While something of an odd choice after a show that ultimately just ushered the band back into tour with a standardly solid first set, and an energetic, if a bit uneven, and wholly contained second set, no one in their right mind will ever deny the sublime brilliance of Mr. Hood commandeering us into the post-show reality. This version does what it needs to and even offers a bit more. An excellent take on the classic that builds off the gorgeous versions from 08/15/2012, 09/02/2012, and 12/30/2012, my prediction that 2013 would be a banner year for “Harry Hood” already looks like my safest pick of the year.

——–

And with that, night one of Phish’s 2013 Summer Tour is in the books. The band now heads to SPAC fully charged, kinks out, knowing that on a night when they weren’t fully capable (or, perhaps willing) to take too many chances, they still got to that place with “Stash,” “Wolfman’s Brother,” “Golden Age,” “Run Like An Antelope,” and “Harry Hood.”

A tour opener in the historical sense, my guess is few will be talking much about this show three months from now. Not for nothing, however, for a show that will probably be forgotten by summer’s end, it still carries enough promise to keep all our hopes up for the summer to come. Like I said at the beginning of this piece, the tour opener is like Opening Day in baseball. Phish certainly didn’t play their best show of 2013 tonight. But, so what? Phish is back, that’s all that matters for now. If this is an “off” show, just imagine how the band is going to sound once they really get in a groove.

——–

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

What Can We Reasonably Expect From Phish In 2013?

228575_10151002926501290_1761768171_nWith just over two weeks to go until the start of Phish’s 2013 Summer Tour, the Phish community is abuzz with plans, predictions, and expectations for the coming year. After a peak year in 2012, the expectations for Phish 3.0 have never been higher. Whereas each year since 1999 has ended with a litany of questions about the band’s health, focus, direction, etc, 2012 concluded on a unanimous high note. And, while their NYE Run didn’t quite stack up as a whole to the entirety of their brilliant summer tour, it was still a far cry from the puzzling no-show that plagued the end of 2011.

So, the question begs asking, what can we reasonably expect from Phish in 2013? I emphasize “reasonably” because, more often than not, these types of columns result in writers predicting everything from 30min jams to guaranteed-Gamehendge performances. Here at tackle & lines we try to view Phish’s career and music with as much of an even-handed approach as possible, and this column will be no different.

Before we get to the predictions, however, we must take a quick retrospective look back at how we got to where we are now.

In the five years since Phish emerged from an extended hiatus in Hampton, VA the band has far exceeded the expectations that any fan could have had when they announced their return in October 2008. While during much of June 2009 they appeared to be a band lost within themselves, by the time Leg Two of their tour started out west, they immediately rediscovered what made Phish Phish. Jams returned, gimmicks became something of a norm, and Phish shows became re-listenable once more. With their eighth festival, and an incredibly apropos Halloween cover of Exile On Main Street under their belt, the band toured their East Coast stronghold’s, before celebrating their first NYE in six years in Miami. Featuring two dynamically different sides of Phish, their Fall Tour showed them tightening up and adding a bit more energy into their shows, while their NYE Run resulted in some of the more interesting jams of 2009.

Six months later the band’s second Summer Tour of 3.0 began in Chicago. What started with a string of uneven shows eventually proved to be the band’s weakest tour of 3.0. Dominated by Trey’s overuse of the Whale Call effect, jams lost steam midway through, shows lacked flow and energy, and, by July 5th, the band looked totally lost. While the 06/27/2010 Merriweather Post Pavilion show is still highly regarded among fans, it proved to be little more than an anomaly, as the band entered the second leg of their tour with more pressure to deliver than anytime since 2004.

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In typical Phish fashion however, the band came out the gates on a mission. Armed with a new guitar that gave more overall body to his sound, Trey moved away from the atmospheric sirens of the June Tour, incorporating more notes and rhythm into his playing. The results were immediate with jams off of “Cities,” “Simple,” and “Light” from the Greek Theatre displaying how much more dexterity they had when their sound was opened up to more communal playing. The August Run proved to be the point where everything changed in 3.0. A massive step forward for the band, they followed it up with an even more groundbreaking Fall Tour. Clearly in control of the direction of their music once again, Phish used the Fall Tour to revert back to age-old gimmicks, and an overt playfulness that bled throughout their shows. Shows like 10/16/2010, 10/19/2010, 10/20/2010, 10/26/2010 and 10/30/2010 carried the same energy, element of surprise, and aggressive playing that harkened back to their glory days in the 90’s.

Closing out the year with a five show NYE Run through Worcester and MSG, all was right in the Phish community. While there were still questions about certain aspects of their playing – their jamming was still not totally consistent, their shows still had the capability of becoming tedious recitals at Trey’s initiation, and their fluidity seemed to come and go at will – overall, 2010 ended on an incredibly positive note, in much the same way as 2012.

When Phish kicked off 2011 with a string of shows from Bethel, NY – Cincinnati, OH that ranked as some of the most consistent and transcendent they’d played in all of 3.0, it immediately seemed that all the trepidation and uncertainties of the first two years of their comeback were all but behind them. And yet, while 2011 featured some of the biggest breakthrough’s of 3.0, it was still marred at times by the inconsistency that continued to define Phish’s return. Losing steam midway through the tour when most would have assumed they’d have kicked it up a notch, the band treated their home turf to some of the shakiest shows in recent memory.

However, at their SuperBall IX Festival over Fourth Of July the band engaged in their biggest musical risk in years: locking themselves in a storage unit on the night of July 2nd and performing an abstract, noise-based jam for all who were still awake. On the next night they played their best concert since reforming, weaving the Storage Jam into the first narrated “Col Forbin’s” in eleven years within a first set that saw the band compliment expert song selection with adventurous playing. A show for the ages, they returned to the road a month later with essentially all the baggage of year’s past off of them. Over the course of August and early-September the band infused many of their jams with the seedy and industrial noises of the “Storage Jam,” embracing full-on experimentation in ways they simply hadn’t since 2004.

Concluding with two incredible three-night-stand’s in Chicago and Denver, the band took the Fall off at essentially the highest they’d been in all of 3.0. For whatever reason – rust, lack of inspiration, lack of communication, side-project distractions – their 2011 NYE was one enormous dud. Save for a surprisingly fun 12/28/2011 show, and a scintillating “Piper” jam on 12/30, Phish simply couldn’t muster the ability to play up to the standards they’d created on three of their biggest night’s of the year. As a result, the good vibes that resonated thanks to the breakthrough’s in the summer were overshadowed by the questions that lingered as a result of the NYE Run. Rumors of problems within the band persisted all winter and spring, and Phish entered 2012 with more questions hanging over their head than any time since July 2010. After all their hard work to reinvent themselves in 3.0, it felt to many that the band was back to square one all over again.

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For whatever reason, 2012 was without question the band’s best year since 2000. Armed with a goal of playing over 200 unique songs throughout the Summer, the band injected fresh songs into their setlists, creating an immediate element of surprise at each of their shows. Also, from night one in Worcester, it was clear that a focus on improvisation had been pushed to the forefront. For the first time in 3.0, the band played a better June Tour than an August Tour, as June was filled with humor, bustouts, and a genuine sense of fun from both band and audience. Gone were the clunkers that could dominate whole runs. Phish shows’ felt like Phish shows again. As shows like 06/15/2012, 06/22/2012, 06/23/2012, 06/28/2012, 07/03/2012, 07/06/2012 displayed, the band could now really play any style of show and nail it.

In the Second Leg they battled their first bout with inconsistency in San Francisco and throughout the SE, yet whereas in the past this would have resulted in complete duds for shows, here, in 2012 there are still plenty of moments of inspiration that can be found within each. More to the point, shows like 08/19/2012, 08/28/2012, 08/31/2012 and 09/01/2012 displayed a total command the band had over their sound and sonic direction.

The tour concluded with the best three-night-run of 3.0 at Dick’s Sporting Goods Park in Commerce City, CO. A venue they’d closed their 2011 Tour with to rave results, Dick’s featured the band as probably the best they’ve been since 1.0. Taking hold of the “FUCK YOUR FACE” gimmick on 08/31, Phish jammed with dexterity and ambition in ways we simply hadn’t heard throughout 3.0. It was an affirmation of sorts for all who’ve stood by Phish since their return. A Summer Tour that had started with so many questions and uncertainty concluded with the best show they’d played in over a decade.

Following another four-month break before their NYE Run, the band proved far more prepared this time around, assaulting MSG at times with jams on the level of those we’d heard at Dick’s, while closing out a banner year with their best NYE gimmick in years. While it was clear that they could have used a few buffer shows between Dick’s and MSG, overall the run was a success, and has us standing on the brink of the band’s 30th Anniversary with more anticipation than anytime throughout 3.0.

Below are a list of things I think we can reasonably expect from Phish in 2013. Aware of the fact that the overall point of listening to Phish is to embrace the unexpected, these are presented as more of a preview of what’s to come in 2013. As always in 3.0, we’re simply lucky to have the band back, the fact that they’ve reinvented themselves is such a powerful way is simply icing on the cake.

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I. Further Development In The Three Dominant Styles Of Jamming

Everyone can agree that 2012 was the year the jams fully returned to the forefront of Phish. Whereas in the formative years of 3.0 the band would go multiple shows in a row without a single exploratory jam, in 2012 nearly every show contains at least one example of genuine improve. Even more encouraging to fans of their exploratory excursions is the fact that by year’s end Phish had settled on three defined styles of jamming that displayed communication, diversity and regularly produced standout jams.

First, you had the Dick’s “Light,” and “Sand,” and the MSG “Tweezer,” three jams which spent upwards of ten minutes exploring the unknown, before becoming focused and building towards an old-school tension & release peak.

You also had more abstract jams such as the Cincy “Twist,” Alpine “Fee,” Long Beach “Rock & Roll,” San Francisco “Crosseyed,” Dick’s “Carini,” and “Runaway Jim>Farmhouse,” and the MSG “Down With Disease,” and “Carini,” which meandered like many of the late-90’s and 2.0 vehicles, contemplatively covering a plethora of ground with little focus or tension.

Finally, you had, perhaps the most intriguing of all, the melodic-driven jams, that are purely a product of 3.0. From the AC “Birds Of A Feather,” and Burgettstown “Light,” to the Dick’s “Undermind,” and “Chalk Dust Torture,” the band used a melodic approach with each of these jams resulting in whole-band communication, along with a multitude of terrains explored, solidifying them as some of the most innovative and memorable jams of the era. One can only expect that, as 2012 built off the improvisational advancements of 2010 and 2011, that 2013 will display even further the potential each of these styles of jamming have.

II. Bustouts……Even More Bustouts

Entering 2012 with the ambitious goal of playing 200 different songs throughout their Summer Tour helped to infuse the tour with fresh songs, and ultimately resulted in an anything-goes feeling throughout he tour, and overall year. Since the onset, 3.0 has been chock-full of bustouts like no period in Phish’s history before. Partially due to the fact that the band simply played less shows between 1997 – 2004 than they had in the previous eight years, and thus focused more on rotational songs than rarities. Yet, perhaps even more so, thanks to their emphasis on celebrating their own musical history, Phish has brought many once-forgotten songs like “Fuck Your Face,” “Skin It Back,” “Tela,” “Sparks,” and “Alumni Blues” back from the dead over the past five years. Based upon this trend, and the fact that this is the band’s 30th year of existence, one wouldn’t be too out of place to suggest we can expect more of the same in 2013. Could songs like “Acoustic Army,” “Ain’t Love Funny,” “All Things Reconsidered,” “Amazing Grace,” “Axilla (Part II),” “Bye Bye Foot,” “Chalk Dust Torture Reprise,” “Crossroads,” “Dave’s Energy Guide,” “Dear Mrs. Reagan,” “Don’t You Wanna Go,” “Fourplay/Long Time,” “Izabella,” “The Landlady,” “Lushington,” “Spock’s Brain,” and “Prep School Hippie” be far behind?

III. “Harpua,” “Col. Forbin’s Ascent -> Fly Famous Mockingbird,” and “Icculus”

Believe it or not, but 2012 was the lone year of 3.0 that didn’t feature any of the above songs. Lost in the mix of the band’s musical renaissance were three classics that focus more on the theatrical side of Phish than their musical. While one certainly can’t complain about their exclusion from a year that featured so many highlights across the board, one has to assume they’ll be back this year. A year that’s poised to feature a number of surprises, and referential moments towards the band’s legacy, each of these three songs would fit perfectly with the overall vibe of the year. Be it in Toronto or Alpharetta, or even in Chicago, each of these songs are welcome at any show, for they immediately raise the bar in terms of energy and historical significance.

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IV. A Substantial Fall Tour That Builds Off The Achievements Of Summer

For as boundary pushing as the last two Summer Tour’s have been, the only thing they’ve clearly suffered from is a lack of Fall Tour to continue pushing their sound further. Just imagine for a second what would have happened to the sounds of Summer ’95, Summer ’97, and Summer 2010 if they hadn’t had a Fall Tour to be fully realized. Then think about how much more consistency the band could have played with, and how much further they could have pushed their music had they spent the last two Fall’s on the road.

By all accounts a Fall Tour is happening this year. The sheer fact of it is nothing to predict. This is Phish’s 30th Anniversary, the rumors are all across the web. What we can predict however, is that, unlike Fall 2009, the Fall 2013 will better resemble Fall 2010 in the way it will push Phish’s sound even further. Rumors of a Halloween show being tossed in there only raise the bar even further, for we know what positive effects practicing and covering full albums have historically had on the band. With a summer set to hit up some of the most storied shed’s in Phish history, we can only imagine how much music they’ll have to build upon with a short break before Fall.

V. A 30th Anniversary Run That Actually Celebrates The Band’s Legacy

If there’s any takeaway from the 2003 Turkey Run it’s the fact that it really couldn’t have honored the band’s twentieth anniversary any less than it did. After a four-month gap following their IT Festival, the Run featured a band in an awkward state of denial over their current health and dismal future. Sure they brought The Dude of Life and Tom Marshall out. Hell, they even brought out Jeff Holdsworth for the first time since 1986. And, yes, there are some intriguing moments throughout, see: “Ghost -> WTU,” “Twist -> Simple,” 12/01, “Piper,” and the “Rock & Roll -> Weekapaug -> Tweezer Reprise -> FranKungstein”. But the historical legacy of the run is more of failure, and foreshadowing, and less of a band fully embracing their historical significance.

Here, however, in the healthy and joyful era of 3.0, you can be certain the band is going to go to great measures to celebrate the fact that after 30 years, they’re still alive, and going strong once again.

VI. More First Set “You Enjoy Myself’s”

Played only seven times in the last two calendar years, “You Enjoy Myself,” has in three of those instances, been played out of it’s normal slot, and in the first set. Expect this to continue. It appears the band really likes its ability to inject fresh energy and intrigue into a show through a first set performance. It’s also proven to help expand Set I’s from what were strictly song-based affairs, into more fluid and jammable mediums.

A noticeable trend throughout 2012 was the band’s re-embracing of the first set. From 06/15 and 06/22 to 07/06, 08/19, and 08/31, Phish attacked their first set’s with energy and a focus on exploration like they hadn’t since 1.0. Further appearances from the band’s seminal song will only solidify their dedication to explore within Set I.

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VII. A Dick’s Run That Will Fail To Live Up To The Hype

With a two week gap between their UIC run and their initial Dick’s Run in 2011, many wondered if Phish would lost steam from their August Tour and play a rusty set of shows to close out the tour. At the time, Dick’s looked more or less like bonus Phish. As it turned out however, Dick’s 2011 turned out to be the run of the year, solidifying 2011 as the year of the three-night-stand’s, and gracing us with some pretty monumental music to keep our faith alive throughout the winter and spring of 2012.

Last year Phish timed everything perfectly, with their whole tour leading up to Dick’s. Easing themselves throughout the tour, they picked their spot’s perfectly, allowing them to be energized and fresh by the time Dick’s came around. As a result, they absolutely tore the soccer stadium to pieces, playing the best show they’ve played in almost a decade, while littering three nights with monumental jams.

This year, there’s a twenty-five-day gap separating their tour finale at the Hollywood Bowl and Dick’s. Many surmised that this break would allow them to have a storied, mid-August NE Festival akin to 1996 – 1998. This, however, has proven to be little more than baseless rumors. Either way, seeing how the band has crushed Dick’s in year’s past, along with the fact that their going to have close to four weeks between their last show and Dick’s, I’ve got to imagine that this is the year Dick’s fails to live up to the hype. This doesn’t mean there aren’t going to be memorable moments throughout, or even a solid show tossed in the mix. Just simply based on the fact that like how Phish can’t crush MSG every single year – nor any other legendary venue – odds are one year is going to be an off year at Dick’s. My gut tells me this year is that year.

My heart on the other hand, has me hoping they come through once again. Anyone who’s been there know’s, there’s a damn good reason they keep coming back to Commerce City.

VIII. A Banner Year For “Harry Hood”

“Harry Hood” has been something of a wandering classic for the last ten-odd years. In 2.0 the band chose to explore it in ways they’d rarely done in the past. In 3.0 it’s shifted between performances that have completely fallen flat, and those that have just almost reached that place. In 2013, one has to imagine that all the time back, the vastly improved chops of Trey, and the inert communication that’s been brewing for five years will lead to a glorious return of one of Phish’s true masterpieces.

Listen closely, and it’s clear, from 09/04/2011 to 08/15/2012, 09/02/2012 to 12/30/2012, slowly but surely the band has been rebuilding “Hood” back to its former glory heard clearest from 1993 – 1996. While still scattered with versions that were either rushed, forced, or just couldn’t quite get there, 2012 was the best year we’ve had for “Hood’s” since the 90’s. In 2013, expect the majority of Hood’s to be the kind of emotive and connective forces that made us fan’s of it so long ago. No better way to celebrate 30 years of Phish than with a transcendent “Hood” after all.

IX. SPAC, Chicago & San Francisco…

Within the first twenty-two shows of the tour are three individual three-night runs. In 2011, Bethel, SuperBall IX, Chicago, and Dick’s reigned as the runs of the year. While 2012 still faired pretty well with AC, SPAC, San Francisco and Dick’s, only SPAC and Dick’s truly mastered the three-show run. Here in 2013, one has got to imagine the SPAC is going to explode with the energy of the band out the gates, the mid-tour stop at Chicago’s Lakefront will produce some particularly inspired music, and their comfort on the road after a month will lead to a three-night romp in San Francisco. With only Dick’s coming at an awkward time within the tour, these three three-night runs are sure to be the most memorable stops of tour. A unique medium, and one that can either bring out the best in the band, or prove how off they are, the three-night run, when played accordingly, usually result’s in some of the most transcendent moments of a tour. With enough time to get settled into a venue, and ideas that build from one show to the next, there’s simply no way they won’t destroy the above runs.

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X. Even More Six & Seven Song Set II’s

Hand-in-hand with the inspired jamming of 2012 came a plethora of six and seven song second set’s. A simple product of mathematics – when you play longer songs, you have to play less of them – the band filled much of the last part of 2012 with a number of inspired sets focused more on their playing, rather than what songs they were playing. Look no further than 08/15/2012, 08/31/2012, 09/02/2012, 12/28/2012, and 12/30/2012 for some of the best examples.

While, in the same sense that longer jams don’t necessarily mean better, there are also examples to the counter, of 10+song second sets that were fantastic – 06/22/2012, 06/28/2012, 07/08/2012, 08/19/2012, and 09/01/2012 per example.

What makes the six and seven song Set II so special is the fact that it offers the band the unique opportunity to fully incorporate flow and thematic music into a cohesive set. These set’s listen more like albums, rather than a simple conglomeration of songs. With an increased focus on improv, expect these types of second sets to become something of a norm in the summer of 2013.

XI. A NYE Show That Totally Delivers

It’s strange to consider, but, for however good as Phish’s NYE Runs typically are, the band has yet to deliver on a monster 12/31 show since 1999. Sure, 12/31/2012 was an all-around fun show to be at, complete with a fully-flowing Set II and a classic gag to ring in 2013, but more often than not, since the 90’s, NYE shows have often felt more like after-parties to the mayhem of 12/29 and 12/30. One’s got to imagine that coming into this NYE Run the band is going to be so amped up from their 30th Anniversary celebrations, along with a complete Fall Tour, that they’re going to finally put everything together to craft a NYE show of lore.

In the past, their best 12/31 shows have revolved around three factors: classic song selections, monumental jamming, and ideal gag’s that fit perfectly with the music. Look back at 12/31/1993, 12/31/1995, 12/31/1998, and 12/31/1999 for the best examples. It’s bound to happen one of these years, and it just makes perfect sense that the combination of playing, gimmickry and song selection will come through this year. If you’re on the fence about NYE 2013, man-up and make the commitment. This year has classic NYE Run written all over it.

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That does it for tackle & lines 2013 Phish Predictions. As with all these types of columns, the key is to read them for pleasure, and take them with a grain of salt. At this time last year few could have ever predicted the year of Phish we were in for.

Hope everyone’s looking forward to tour as much as we are! Please feel free to leave comments, thoughts, suggestions and rants to the column as we will respond to any and all questions.

The Structure Of A Show – Set II Opener

Dick'sAnd then, after a “fifteen minute break,” they’re back.

Whereas when Phish hits the stage prior to Set I there’s a general sense of euphoria surrounding the unknown, and the newness of being at a show again, by the time the band return’s from their setbreak, we’re all well entrenched to the experience of a Phish show. Seen in the rainbow of glowsticks scattered across the stage, there’s a more settled feeling to the onset of Set II than there is to the show’s opener. The cathartic release of Set I behind us, it’s time to get down to business. Upon entrance, the band is of course greeted once again to a rousing applause, yet here the sentiment is more one of focused energy, rather than blissful exultation.

Simply put, Set II is where shows are won and lost. And, increasingly over the last two eras of Phish, the Set II Opener is typically seen as the crux of the entire show. Perhaps the most crucial song played all night, the Set II Opener plays the role of either picking the band up right where they left off in the first set, or redirecting them into uncharted waters. Further, much of what is played in Set II, both stylistically, and song-wise, are determined specifically off their Set II Opener.

In the same way that the second set has evolved in far more dramatic ways over the years than the commonly more song-based first set, the Set II Opener has too evolved substantially. From what was once just another high-energy number out the gates, to, now, a fluid slot that can become a massive Type II jam, Set II Openers can often lead to a rock-based set, lull the crowd with a sleepy and subtle entrance, or, can surprise fans on the level of many of the shocking Show Openers. The two biggest keys that separates the Set II Opener from the Show Opener however, are the simple fact that prior to the Show Opener there’s no single part of the show played yet that can help gauge what song to play, and, the fact that the second set opener often carries a far more sinister, and “anything goes” sentiment with it. Because of this, the second set opener is certainly far more influenced by the music that came before it than the Show Opener. In essence, there are just those shows that feel like “Down With Disease,” or “Tweezer,” or “Axilla,” or “Chalk Dust Torture” need to open their second set’s.

What was once linked closely with the high-energy numbers that opened both Set I and II, the Set II Openers are now, without question, the most common slot to expect a jam from the band. In fact, in the highly unscientific perusing of my iTunes library – where I have upwards of 300 Phish shows stashed away, mind you – I discovered that, no less than 160 Set II Openers since 1995 have been a 10+ minute jam. A trend that began in the psychedelic summer of 1995, one can more or less predict that, if they’re to hear an open-ended jam while walking into a Phish show, chances are it’s gonna come during the Set II Opener.

What follows is Part IV of VIII in tackle & lines series on The Structure Of A Show. Each category contains write-ups, examples, and video clips for better understand. As with the articles on Set I, the goal of this is not to come to some sort of conclusion about what a specific Phish show is, but rather to explore the various directions the band chooses to go with their shows – here in the medium of the Set II Opener. This is not a means to rank the best openers, or the best shows, versus the weakest – though negative habits and instances will be discussed – instead it is seeking to find points of connection across various eras – and within each – while pointing out their differences. Hope you guys enjoy the piece, we’re now just a month from 03 July!

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I. The Classics

As with each of the other write-ups, there are just certain songs that feel like a proper Set II Opener. Be it their ability to jam, the number of times they’ve opened a second set, or just the sound they contain which fits so seamlessly with second sets, the following songs are the classics because they’re simply ubiquitous with the opening of second sets. From a purely numbers standpoint, these songs have each opened no less than 24 Set II’s, and 246 total second sets. Anyone going to a Phish show has a 15% chance of hearing one of the following six songs open a second set, no small feat.

Examples: ‘2001,’ ‘Down With Disease,’ ‘Mike’s Song,’ ‘The Curtain,’ ‘Tweezer,’ ‘Rock & Roll’

While two of the songs on this list relinquished their role as regular Set II Openers around 1996 – “2001” and “The Curtain” – statistically they’ve garnered so many appearances in this slot that to many fans they will always sound like Set II Openers. Aside from that slight technicality, there’s just something about a second set opening with a monster “Down With Disease,” “Tweezer,” “Rock & Roll,” or an old-school “Mike’s” that just feels right. Scanning the lineage of Phish’s career, there are so many classic shows, and classic second sets that opened with these songs. Off the top of my head: 12/30/1993, 03/20/1992, 08/14/1993, 06/11/1994, 06/26/1995, 10/21/1995, 12/11/1995, 12/14/1995, 08/17/1996, 11/27/1996, 08/02/1997, 08/17/1997, 11/17/1997, 11/19/1997, 12/02/1997, 12/06/1997, 12/29/1997, 07/01/1998, 07/17/1998, 08/12/1998, 08/16/1998, 12/30/1998, 07/10/1999, 07/24/1999, 07/31/1999, 10/02/1999, 06/15/2000, 06/28/2000, 07/11/2000, 09/17/2000, 02/16/2003, 02/20/2003, 02/28/2003, 07/18/2003, 07/23/2003, 08/02/2003, 12/02/2003, 12/29/2003, 08/10/2004, 08/15/2004, 03/07/2009, 03/08/2009, 05/31/2003, 08/01/2009, 08/08/2009, 08/14/2009, 12/03/2009, 12/31/2009, 07/03/2010, 07/04/2010, 08/06/2010, 10/22/2010, 10/23/2010, 12/30/2010, 05/28/2011, 06/03/2011, 08/16/2011, 09/03/2011, 09/04/2011, 06/08/2012, 06/20/2012, 06/22/2012, 06/28/2012, 08/15/2012, 08/22/2012, 12/28/2012, and 12/30/2012 all opened their second sets with one of the six above songs. Further proof that these songs are just the classic way for the band to usher in a second set.

II. The Guaranteed Jam

As was pointed out above, if you’re going to hear an open-ended jam at a Phish show, chances are you’re going to hear it in the Set II Opener. The combined released of the energy in Set I and the unknown quality to the onset of Set II lends itself perfectly to a captivating jam out the gates. Whenever the lights drop following setbreak, and the band kicks into one of the following eleven songs one’s almost guaranteed a lengthy, often experimental, wholly unique, and at times game-changing jam to be unveiled in real time.

Examples: ‘Down With Disease,’ ‘Tweezer,’ ‘Rock & Roll,’ ‘Drowned,’ ‘Ghost,’ ‘Piper,’ ‘Sand,’ ‘Bathtub Gin,’ ‘Seven Below,’ ’46 Days,’ ‘Twist’

As anyone in attendance at 08/17/1997, 02/28/2003, 08/08/2009, 09/14/2000, 09/12/1999, 07/19/2003, 09/02/2012, 11/23/1997, 06/25/2004, 06/17/2004, and 07/30/2003 can attest, once they heard one of the above songs start the second set, they knew they were in for a wild ride. While the band has been increasingly prone to cut even some of the above songs short at times here in the 3.0 era, throughout their history they’ve proven to be so ubiquitous with the concept of Phish’s improv, that one has to at least anticipate a jam emerging from them when they do in fact hear them nowadays. Regardless of current tendencies, throw on any show between 1995 and 2003 that opens with one of the above eleven songs and you’re almost guaranteed at least a 15 minute jam, and in many cases, even a 20+. For those of us who love Type II Phish, these songs, in this slot, is just where it’s at.

III. The Sinister Assault

While the role of the Set II Opener has come to represent a guaranteed jam for many-a-fan, it’s original task was similar to the Show Opener, being more of a quick punch to the eventual set. Still used from time to time – increasingly more here in the 3.0 era – the band will opt for a quick burst of energy before getting down to business. A move that initially leaves the possibilities of the set up in the air – these songs can just as easily lead to rock-based Set II’s, and they can more experimental driven ones – they’re used more to rile up a crowd, and, presumably the band, in anticipation for the set to come.

Examples: ‘Wilson,’ ‘Chalk Dust Torture,’ ‘Llama,’ ‘Buried Alive,’ ‘Axilla,’ ‘Maze,’ ‘Carini,’ ‘Split Open & Melt,’ ‘The Sloth’

While some of the above songs have been used from time-to-time as jam vehicles, their most known in this setting for their role as immediate bursts of energy to kick of a second set. Just throw on 08/07/2010, 08/06/2011, 07/13/2003, 11/27/1998, 07/08/2012, 11/14/1995, 12/28/2010, 12/07/1995, and 08/14/2010 and you’ll hear how powerful a way each of the above songs is at opening a second set. While staying more or less contained in their own structures, their energy has an undeniable affect on the set that follows, leading, in each case, to massive throwdowns. Perhaps not the most anticipated approach to a second set, these songs nevertheless prove to raise the energy of a show substantially, something that can never be argued with.

IV. The Composed Approach

In the same sense as this section in the Show Opener’s piece, the following songs are some of the band’s most cherished classics, and most fans would be absolutely thrilled to hear them open a Set II of any show they were at. While rarely featured in this slot ever since the band took on a more improvisational approach with the Set II Opener, their composed classics used to usher in numerous second sets in the band’s early years. All told, the following seven songs have combined to open 79 second sets, with “David Bowie” leading the way with 25 appearances in the slot. A monumental occasion were it to happen today, these songs represent a bygone era where the first and second set shared far more in common than they do now.

Examples: ‘David Bowie,’ ‘The Landlady,’ ‘Reba,’ ‘Stash,’ ‘The Divided Sky,’ ‘Fluffhead,’ ‘You Enjoy Myself’

A bona fide rarity in the modern age of Phish, only “Stash” and “David Bowie” remain as plausible rotational options for the Set II Opener, and even that’s a stretch. Still, as anyone who attended, or has heard 12/03/1997, 12/28/1990, 10/25/1995, 12/31/2003, 04/20/1989, 02/08/1988, or 09/21/1987 can tell you, these songs each worked in ideal fashion when thrust into the role. A welcome addition to the band’s 30th anniversary year, tossing a couple of their composed classics into the Set II Opener slot would both make Phish stat geeks go crazy, while adding some historical lore to whatever show they appeared in.

V. The Quick Punch

Akin in some ways to the sinister assault, these following ten songs distinguish themselves for the fact that, while their essential role is to provide a shot of adrenaline to a second set, they each do it with such an immediacy, such a quick burst of energy, that they’re almost forgotten by the time they’re over. Used in many ways to segue into a lengthier jam, these songs have been featured throughout the years to essentially set up a set, and wake the band and crowd back up from their setbreak lull. While a few of them have evolved into legitimate Set II Opening jams, in their origins, they were continually thought of as the quick punch that announced the onset of Set II, before fading into a lengthier jam that would come to dominate the overall set.

Examples: ‘2001,’ ‘Llama,’ ‘Buried Alive,’ ‘The Landlady,’ ‘Axilla,’ ‘Halley’s Comet,’ ‘Peaches En Regalia,’ ‘The Sloth,’ ‘Party Time,’ ‘Ha Ha Ha’

From 06/22/1994 to 07/19/1998, 02/26/1997 to 12/28/1990, 12/28/1997 to  12/01/1995 to 09/14/1999, 07/15/1992, 06/12/2011, and 12/04/1996, each of these songs have perfectly sprung us out of setbreak and into the second set with an energized kick that simply can’t be matched. Not only pulling everyone out of setbreak, they also segued into a lengthier jam, thus creating a proper bridge between reality, and the anything-goes spirit of a second set. One of the best Set II Opener’s one can hear, they generally display a fun-loving spirit for the band, almost always resulting in memorable sets.

VI. The Laid-Back Easers

Completely opposite to the previous section, these are the openers where the band takes their time easing into a set, allowing any sentiments towards the show breathe, rather than immediately diving into a jam or assaulting the crowd with energy. Often times hinting at a more contemplative mood within the band, these openers often catch a crowd off guard, yet can many times be full of rewards. Leading to potential jams, or segueing directly into a jam, these songs work in similar ways to the quick punches and the sinister assaults, yet with the opposite mood.

Examples: ‘Makisupa Policeman,’ ‘Ya Mar,’ ‘Lengthwise,’ ‘NICU,’ ‘Limb By Limb,’ ‘ ‘Waves,’ ‘The Man Who Stepped Into Yesterday’

While most fans typically correlate an opener with a high-energy number, these songs turn that theory on it’s head, while often times proving to be just as emotionally captivating as the band’s more raucous songs. Check out 12/29/1995, 12/30/1995, 08/17/2010, 12/13/1997, 07/15/1998, 02/15/2003, and 10/31/1987 to see how well these songs worked as Set II Openers. As a general rule, the unexpected is always the best approach with Phish. As each of these songs display, when the band is at their most unexpected, it’s often the best opportunity to sit back and just enjoy whatever show you’re witnessing or listening to. While a bit against the grain to their typical Set II Opener approach, the laid-back easers are, nonetheless just as engaging an entrance into the second set as any.

VII. The Old-School Hits

Some sets, and some shows just call for the old-school hits. The old reliables, some of which have been with the band since their inception, they’re the guaranteed crowd pleasers, sometimes just what the band needs to kick off a set. Sure to result in a boon of energy from the audience to the stage, these songs don’t so much create any sense of the unknown when they open a Set II, for the could just as easily open Set I, rather they’re there to trigger the remembered sensation of why we fell in love with Phish in the first place. Many of these songs are the earliest fans hear when being introduced to Phish, and, while they’re rarely the songs anyone would pick to open a second set, they do tend to add an old-school dimension to whatever show they appear in.

Examples: ‘Runaway Jim,’ ‘Suzy Greenberg,’ ‘Golgi Apparatus,’ ‘Possum,’ ‘AC/DC Bag,’ ‘Sample In A Jar’

First ballot tracks on any sort of Phish Greatest Hits, the above six songs are for the most part called upon in their Set II Opener role to remain within structure. Yet, as any fan knows, “AC/DC Bag” and “Runaway Jim” have numerous times displayed the awesome power of the Set II Opener slot, in expanding their structure, and time and again exploring the unknown. Regardless where the band takes one of these songs in this slot, few can argue with their placement on 06/16/1995, 11/02/1990, 04/27/1993, 10/26/2010, 12/30/1997, or 12/15/1999. Similar in many ways to section IX, these songs either work or they dont. When they do, they inject the show with an old-school feel, surely bolstering the show in some way.

VIII. The Unexpected Gems

While many of the songs in this section have opened their fair share of second sets, there’s always an unexpected thrill that comes with them in this slot. Rarely in a Set II Opener rotation, often times many of these are completely out of the band’s rotation all together, thus when they open a set they create a jolt of electricity to run through the venue based solely on their presence alone. Sometimes leading to a monumental jam, in reality, just the fact that many of these songs are being played is enough to up the energy of their set right from the get-go.

Examples: ‘Timber,’ ‘Crosseyed & Painless,’ ‘Tube,’ ‘Punch You In The Eye,’ ‘Boogie On Reggae Woman,’ ‘My Friend, My Friend,’ ‘Loving Cup’

Remove these seven songs from their placement on 11/28/1997, 06/21/2009, 06/24/2004, 07/23/1997, 09/18/1999, 11/27/2009, and 05/07/1994 and insert any standard opener, and you’ve got a totally different sentiment heading into the set. Upping the ante of their set and show simply with their presence, on the occasions that some of the above songs have been jammed into the unknown, they’ve essentially made their shows right then and there. Akin to the often jarring placement of an easer in the opening slot, these songs prove the power of the unexpected when it comes to Phish.

IX. The Hit Or Miss

Until this point in the essay, the songs featured have more or less been guaranteed hit’s whenever performed. Due to a combination of factors – there’s less pressure on the Set II Opener, and many develop into jams out of their song origin – more songs work as Set II Openers than Set I Openers. Here, however, we find ourself in the first section of songs that could potentially kick the set off on the wrong note. For whatever reason, the following songs either work as Set II Openers, or they don’t. And there’s little room in between. Some of the songs are the kind few would request for a second set opener, and others, while a treat to hear, rely in many ways on their ability to transform into an exploratory jam to fit within this role. Either way, whenever these songs are featured in the Set II Opener slot, fans tend to hold out hope that something will come of them, rather than just sink into the immediacy of the performance.

Examples: ‘Runaway Jim,’ ‘Suzy Greenberg,’ ‘Possum,’ ‘Birds Of A Feather,’ ‘Gotta Jibboo,’ ‘Golden Age,’ ‘Back On The Train,’ ‘Theme From The Bottom’

There are two sides to each of these songs. There’s your 08/11/1998 and 11/18/2009 “Jim,” your 10/08/1990 and 03/13/1991 “Suzy,” your 11/24/2009 and 08/02/1998 “Possum,” 06/04/2011 and 06/29/2000 “Birds,” 07/04/2000 and 08/09/2011 “Jibboo,” 06/08/2011 and 12/29/2012 “Golden Age,” 06/07/2011 and 06/14/2000 “GBOTT,” and your 11/19/1995 and 06/22/1995 “Theme.” Some of these work, some of them don’t, it all depends on the way the band is feeling, and if they find any of the magic in their performance that night. If it’s there, these songs can often times develop into a memorable moment of interplay and exploration. If not, they tend to get the set started on a tepid note that rarely transforms itself into any monumental music made later in the set.

X. The Head Scratchers

Whereas the last section at least provided opportunities for the band to redeem their Set II Opener song selection through their performance, the following songs rarely, if ever, prove to overcome the initial moment they open a set, when the venue lets out a collective, “huh?”. Akin to the crowd groan segment in the Set I Openers essay, these songs just don’t seem to have what it takes to open a second set, yet for whatever reason, the band has gone with them from time to time. Seemingly removing all energy from the venue within seconds of starting, these songs rarely offer any opportunity for Type II interplay, and instead, act as a filler, a well-defined bridge from the setbreak into the second set. The problem with them more than anything is the fact that unless they develop into something outside of their structure, they tend to cater heavily to the type of awkward and uneven sets that offer little in terms of memorability.

Examples: ‘Julius,’ ‘Sample In A Jar,’ ‘Backwards Down The Number Line,’ ‘Poor Heart,’ ‘Heavy Things,’ ‘Bouncing Around The Room,’ ‘Cars Trucks Buses,’ ‘All Of These Dreams’

Regardless how much an apologist you are for the band – and trust me, I tend to be one myself – you can’t really argue that the above eight songs are at the bottom of any fan’s wish list to open a second set. Aside from “Number Line,” none of those songs have proven to evolve into the types of unwavering jams that would make them worth hearing in this slot. Instead, as 10/15/1995, 05/19/1994, 08/05/2009, 04/07/1992, 07/08/2000, 12/17/1995, 09/27/1995, and 08/09/2004 have shown, these songs have typically kicked off some of the less “hooked-up” sets the band has played. While no one should ever discount the potential to be surprised with Phish, until this point, the above song’s track record as a Set II Opener, more or less speaks for itself.

XI. The One-Off’s

Due to the unexpected nature of Phish shows, there are those nights where you’ll hear a song in a slot it’s just never been played in before. Whether to test something out, perhaps as an opportunity to play a random cover, or just because of a wild hair the band’s got that night, from time to time the band will drop a totally unexpected song in a specific slot, only to never feature it there again. Sometimes it works, sometimes it doesn’t, more than anything it leads to anything-goes spirt that accompanies Phish in their approach to the second set.

Examples: ‘After Midnight,’ ‘Big Balls,’ ‘Camel Walk,’ ‘Character Zero,’ ‘Farmhouse,’ ‘First Tube,’ ‘Gumbo,’ ‘Harpua,’ ‘I Am Hydrogen,’ ‘Light,’ ‘Nellie Kane,’ ‘Sabotage,’ ‘Saw It Again,’ ‘Scents & Subtle Sounds,’ ‘Tweezer Reprise,’ ‘Uncle Pen’

While a few of the above songs were received with rave results, and others just didn’t seem to work, few can argue that their sheer presence as a one-time Set II Opener didn’t add a bit of variety to each of the shows they appeared in. Check out 05/31/2011, 07/03/2011, 08/04/1988, 11/26/1997, 09/28/1999, 09/20/2000, 08/03/1998, 10/28/1989, 01/21/1987, 06/11/2010, 05/29/1994, 11/21/1998, 12/12/1997, 12/04/2009, 12/15/1995, and 04/26/1991 for examples of each of the above songs being featured as Set II Openers. From the above list, one would be hard-pressed not to hope for another “After Midnight,” “First Tube,” “Gumbo,” “Harpua,” “Light,” “Sabotage,” “Saw It Again,” “Scents & Subtle Sounds,” and “Tweezer Reprise” Set II Opener at some point in the future. Fingers crossed.

XI. The One’s That Should Open More Set II’s

Related in some ways to the above section, the following songs are simply those that, while featured from time-to-time as Set II Opener’s, really deserve to be played in that slot more often. Either because they’re a guaranteed jam, or because their simple appearance in the slot would immediately raise the bar of the show they’re in, there’s just no reason the band shouldn’t try to fit these songs in the Set II Opening rotation a bit more. I guarantee these songs would go a long way to countering whatever complaints certain aspects of the fan community have about Phish’s variety, or lack thereof. Regardless of any fan agitation, these songs are just great examples of what Phish is capable of musically, and deserve more time spotlighted in THE slot of the show.

Examples: ‘Twist,’ ‘Harry Hood,’ ‘Piper,’ ‘The Sloth,’ ‘Bathtub Gin,’ ‘Seven Below,’ ’46 Days,’ ‘Waves,’ ‘A Song I Heard The Ocean Sing,’ ‘Cities,’ ‘Col. Forbin’s Ascent,’ ‘Fee,’ ‘First Tube,’ ‘Gumbo,’ ‘Light,’ ‘Saw It Again,’ ‘ Scents & Subtle Sounds,’ ‘Tweezer Reprise’

A list stacked with songs that any fan would kill to hear at any point in any show, one can’t argue that any show would be immediately bolstered by the simple appearance of one of the above eighteen songs. Check out 07/30/2003, 11/10/1989, 07/19/2004, 08/14/2010, 11/23/1997, 06/20/2004, 01/02/2003, 11/28/2003, 06/19/2004, 08/10/1997, 04/22/1988, 10/12/1989, 09/20/2000, 08/03/1998, 06/11/2010, 12/12/1997, 12/04/2009, and 12/15/1995 to hear the immediate impact each of these songs has on their sets. In an era that has proven to be the band’s most diverse and has taken more risks within their setlists that essentially any other period in their history, one wouldn’t be too far off to expect that perhaps one of the above songs would make a return to the Set II Opening slot sometime in 2013.

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Perhaps the most critical song played in a Phish show, the Set II Opener allows the band a veritable tablet of differing options with where to take a show. They can build off the energy in an excellent Set I, or they can redirect the show after a forgettable set. They can launch the set into the unknown, or they can display a band incapable of exploration. Regardless where the band decides to go with their second set opener, it’s clear that many shows live and die in their second sets, and that the opener directly impacts the set that will unfold. Thus concludes the fourth part in an eight-part series breaking down Phish’s live show. Up next is The Second Set.

Hope everyone enjoyed the post! Feel free to leave your thoughts, comments, suggestions, rants, etc! Thanks for reading!