Phish 2013 – Through The Jams / Part II: The Gorge – Dick’s

561487_10151503227636290_1575591018_n

Click Here For Part I

The Best Jams Of 2013 – Part II

07/27

Down With Disease -> Undermind> Light -> Sneakin’ Sally Thru The Alley -> 2001

A meaty segment of fully-flowing Phish, this 50-minute opening sequence is undoubtedly one of the most connected musical moments of the entire year. And like Jones Beach’s hour-long groove session, this chunk of improv is clearly more about Phish’s connection to itself. Save for the underworldly dip within Undermind, much of what’s played here is fluid and energetic. Exemplified in the bulbous jam that builds from Sneakin’ Sally, this is the sound of a Phish celebrating the trials won, foundations set, and conflicts overcome in the first three weeks of tour, rather than pushing forth overtly challenging music. Pure joy continuously emits from the stage here as the band celebrates their most accomplished run of the year, to that point. From here on out, there would be no more uncertainty. This is the division between the pre-Tahoe-Tweezer-Phish, and the latter.

07/31

Tweezer

A moment of profound unity between both band and audience as each rediscovered once again what was truly possible in the medium of a Phish show[1]. Is it the best jam they’ve ever played? No. But it is the most important piece of music the band has played since the 07/29/1997 Gumbo or the 11/17/1997 Ghost[2]. It’s that revolutionary moment where the band is clearly searching for some ambiguous sound, some indefinable goal, and unquestionably uncovers something totally new about themselves in the process. Say what you will about the after-effects of the ‘woo’s,’ what’s clear to everyone involved is that without the Tahoe Tweezer, none of the brilliance that emerged with such stunning ease and consistency throughout the Fall would have been possible.

08/03

Rock & Roll -> Steam

Celebratory melodic jamming as a singular jam. On the second night of a three-night run in the intimate halls of San Francisco’s Bill Graham Civic Auditorium, after an opening show in which the band essentially took a – much-deserved – full-show victory lap following the Tahoe breakthrough, Phish unleashed a jam that displayed their evolved cubism, along with their innate communicative abilities, all under the umbrella of a reverent melodic passage that spoke volumes to the musical peak they found themselves on. Mike and Trey trade licks and leads throughout, and seemingly every trill Trey offers, Mike responds back with a perfectly placed meatball-riff that envelops and fits the immediate moment of the jam brilliantly. For all the hyperbole that’s been invoked to describe the recent Fall Tour, perhaps the most incredible thing about it is the fact that its best jams are unquestionably the simplest ones. A direct effect of the peak the band discovered via the Tahoe Tweezer, deliberateness, faith in simple, melodic music, and a trust in the communicative direction of each member, all helped to shape the band’s October peak. Each of these qualities is heard in their purest form throughout this Rock & Roll. If we only knew then what we know now…

164599_10151496599501290_1491467990_n

08/04

Energy> Runaway Jim

As a rule: In 3.0, you never miss a Sunday show[3]. On the final Sunday of the Summer Tour, Phish crafted a complete show that is as much a self-referential statement as it is an evolutionary step forward. Capped off by a 30-minute segment of music that ushered in its second set, the Energy> Runaway Jim is Phish’s 2013 Summer Tour in its essential form. Fusing a 2013 debut – which emerged as The Song Of Summer – with one of their oldest classics, the band simultaneously reflected on a tour that had set the foundation for future musical successes – while also forcing the band to overcome numerous external struggles[4] – and looked ahead to the (at the time) unknown heights of Fall. Building outwards from the structure of Energy via a rising theme, the entire jam changed on a dime at 6:39 when Trey imposed his wha into the mix. What followed was a rhythmically induced wall of sound that flowed into a piece of seedy urbaneness defined by Page’s Lydian riff from 9:49 – 10:11. Trey would systematically – and brilliantly – mimic, and then distort this riff to the jam’s fading conclusion.

In Runaway Jim, Trey did his best Hendrix impression since 09/01/12’s Prince Caspian, as the band proved the limitless potential for Jim – whenever the band is keen on letting it off its leash, that is. Rooted in sinister, bluesy psychedelia, this jam felt like a peek back into Fall ’97, when Trey would regularly indulge in his rock star fantasies. Yet in the context of 2013 the jam takes on a much more interesting – and necessary – accord, considering just how far Trey has come as a guitarist since 2008, and how he commanded many of the best jams throughout the Fall Tour. Rather than imposing his will because of a lack of support from his bandmates – or, in effort to simply kill time – it’s clear Trey needed to prove to himself, to the band, and, to his fans, that he was capable of shredding in an improvisational setting again like in the days of old. In a tour in which so many of the band’s classics were given new life, it was quite fitting the tour would conclude with yet another pushing the band to such heights.

08/05

Harry Hood

There’s that moment in every single jam where everyone – band and audience alike – collectively realizes we’re suddenly in wide open, untapped, and unknown terrain. It may come via a reliable Set II opening vehicle[5], or in a totally unexpected song/slot in the show[6]. Wherever and whenever it comes, the moment is ultimately defined by an immediate percolating of the senses, and a rush of euphoria, as the stakes of a show suddenly take upon unknown – in many ways, indefinable – potential. This moment is, for many, the entire reason why we see Phish. When that moment happens to come in a song steeped in as much historical lore as Harry Hood is, however, it raises a show to an entirely different level of excitement, sentiment, and lasting resonance.

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

A creative palette of themes and varying musical passages, this jam harkened back to the band’s most prolific exploration within Hood from 07/26/03. A clear statement to the band’s M.O. moving forward in 2013, this Harry Hood opened the doors even further to what was possible in the coming Fall, here, coming on the last night of Summer Tour proper.

1186347_10151553551316290_1552855278_n

08/31

Chalk Dust Torture

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

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

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


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

A Few Examples:

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

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

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

27:29 — The first WOO!

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

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

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

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

[2] Obviously a point of immense contention. Certainly a subject for another essay, and another time. However, if you allow yourself the perspective that Fall 1997 was the last period – until now – when the band was both – A. Fully Committed to the idea of Phish, so much so that they spent a majority of their time exploring within their music to push it forward along a specific set of goals, and B. Neither succumbing to the overwhelming pressures of fame and the bloated organization they’d created by turning to drugs which led to a 11-13 year period of uncertainty, collapse, rebirth, and rebuilding, nor immersed in the necessary process of rebuilding everything that was lost in said period – then the notion that the band hasn’t played a piece of music that’s equally inspired, influenced, reassured, and pushed them further than the Tahoe Tweezer clearly has since some time in 1997, is both plausible, and completely accurate. None of this is said to dismiss the music of 1998 – 2012, of course.

[3] 03/06/09, 06/07/09, 06/21/09, 11/01/09, 11/29/09, 06/27/10, 07/03/11, 09/04/11, 08/19/12, 09/02/12, 12/30/12, 07/14/13, 07/21/13, 08/04/13, 10/20/13, 10/27/13 are each both Sunday shows, and some of the best whole-shows the band has played since reuniting five years ago.

[4] It really can’t be emphasized enough how big an impact the rain that followed Phish throughout the Eastern half of the United States had on their playing, and presumably, their psyche. Out of the fourteen shows the band played from Bangor – Toronto, six were played up against torrential rainstorms, (07/07, 07/12, 07/14, 07/17, 07/19, 07/21) one had to be rescheduled completely, (Toronto) one had to be aborted some 13 minutes into the second set, (07/19) and another was nearly cancelled, only allowed to continue when the rains that poured relentlessly from the skies over Chicago, suddenly cleared (07/21). Throughout this stretch, you can hear the band’s increasing frustration in their inability to fully concentrate on their music in the face of such insolvent, yet unremarkable interferences. Be it Trey claiming the band was “practicing making safe music,” on 07/12, or Page and Trey’s clear frustration with being forced to evacuate the stage on 07/19 and 07/21, or the abrupt and constricted three-set show on 07/20, or Page’s endless gratitude towards their fans for their support on 07/22, one got the sense throughout those three weeks that many of the barriers between artist and fans were brought down as a result of extraneous issues.

[5] There’s that sensation that always accompanies a Set II opening Down With Disease, Tweezer, Crosseyed & Painless, or Rock & Roll (among others, but these in particular, especially in 3.0) where it feels like the band is giving us a knowing wink and a nod, as if to say, “here we go…”

[6] Think: 12/14/95 NICU, 07/10/99 Chalk Dust, 08/06/10 Cities, 07/01/12 Fee, or the 08/31/12 Undermind, for just a few examples.

Advertisements

Phish 2013 – Through The Jams / Part I: Bangor – Toronto

941258_10151468648201290_1261988077_n

With just four shows remaining in 2013, weeks removed from a peak-level Fall Tour, and just three months since the conclusion of a Summer Tour that is increasingly becoming an underrated gem, it’s high time we take stock of where we are musically with Phish in their 30th year.

Since the onset of 3.0, I’ve compiled year-end ‘Best Of’[1] lists for each successive year. Check them out here: 2009 Part I and Part II20102011, and 2012. In each of those essays I narrowed my selections to the bare essentials: Ten Jams, Ten Shows, and Three Honorable Mentions for each section. Detailing the evolutionary steps forward in each of the past five years of Phish’s history, these lists have focused on the overall diversity of Phish’s improv, rather than any singular style. Song length is never an issue taken seriously. Popular opinion or communal preference is never taken into account. Many of my own personal favorite jams have even been omitted from each of these lists. Essentially, these lists are to be viewed as historical guides, or, musical stepping stones, which tell the story of how Phish got from Hampton ’09 to Atlantic City ’13.

2013 however, presents a new challenge altogether, particularly on the jamming front.

Following their creative renaissance at Dick’s 2012, Phish entered 2013 on a mission to once again break through their own artistic mold by infusing the musical and communicative skills of their past with a more democratic model that would shape their future. After reestablishing their communication and connectivity throughout 2009 – 2012, their 30th year was poised to be one of both self-referential celebration, and the symbolic onset of a new era. Furthermore, after informing their fanbase on 12/31/2012 that “You can’t please everyone, so you got to please yourself,” it was clear that 2013 would be a whole-band peak on Phish’s terms – and at their own pace – not based on the desires of any sector of their fanbase. As a result, Phish took their time, setting the foundation within the early part of their summer tour, which lead to skepticism, impatience, and uncertainty from many corners of their fanbase. While it was clear by the time Fall Tour rolled around that Phish had known exactly what they were doing all along, the debates over what “The Right Way” was for Phish still raged ever onwards.

In hindsight it’s clear there are three distinct periods of 2013:

1.) Bangor – Toronto, when Phish laid the foundation for the musical peaks to come, and the eventual unveiling of Wingsuit, through a series of shows focused heavily on their own musical history. Celebrating their thirty-year legacy, the band centered much of their attention on the most revered songs in their catalogue, while constructing setlists that felt plucked from their past. Controlling many of their shows with a noticeably tight rotation, and keeping a short leash on each of their jams, this early period of 2013 displayed the unyielding potential of Phish at this stage in their career, while emphasizing a focused insistence on building tension and inter-band-communication.

2.) The Gorge – Dicks, when Phish – fully removed from the torrential weather of the East Coast and completely confident in their abilities and direction – moved beyond foundational setting, and began to consistently play high quality shows with ease. After informing their fanbase that only Phish knew “The Right Way” for Phish during the Chicago Harpua, they now unveiled their longest piece of improv since 2003, and connected for three of the most diverse jams of the entire year in the Tahoe Tweezer, Hollywood Hood and Dick’s Chalk Dust. Further, at Dick’s, the band continued to zag against the expectations (and desires) of many of their fanbase by declaring MOST SHOWS SPELL SOMETHING (Backwards). Subtly pointing out the many variables that determine the content and goals of any singular Phish show, the band clarified for those who had been reading between the lines, just what their intentions throughout 2013 had been. Finally, they continued to set the stage for the peak month of October, and the ultimate unveiling of their new album Wingsuit on Halloween night, through a series of self-conscious shows and jams that only further displayed their advanced level of play in their 30th year.

3.) Hampton – Atlantic City, when everything Phish has been working towards since 03/06/2009 came together in one hyperbole-filled two week tour. Full of top-level shows, standout jams, unyielding energy, effortless musical connectivity, and a Halloween show that will undoubtedly alter the entire direction of the band over the coming years, this was the tour we had all (band included) been waiting for over the past five – even fifteen – years.

As a result, there is so much creativity packed into each show in 2013, that it becomes incredibly challenging to trim the fat down to a list of 13 standout jams[2]. With this in mind, and keenly aware of the fact that the New Year’s Run is sure to produce at least 2 – 3 MORE top-level jams (it always does…) I’m using this space in time as a way to hash over the entirety of what I believe to be the very best of Phish in 2013. With a heavy focus on the diversity and sheer quantity of excellent improvisational interplay within Phish in 2013, think of this list as both one giant rough draft and a potential playlist for anyone seeking to absorb the best of Phish in 2013 in one sitting[3].

This list will appear in three parts so as to focus on the three aforementioned periods in 2013:

I. Bangor – Toronto

II. The Gorge – Dicks

III. Hampton – Atlantic City.

Please feel free to send me your comments on which essential jams I may have overlooked, which I’m giving (far) too much credit to, and, if you agree or disagree in any way with how I’ve interpreted this really diverse, and really incredible, year in Phish’s history. Without further adieu, the list[4]:

The Best Jams Of 2013 – Part I

59432_10151477068431290_720268473_n

07/05

Light -> The Mango Song

Following the focused and game-changing Dick’s Light of 2012, it’s only appropriate than any ‘Best Of’ 2013 list begins with the most reliable jam vehicle of 3.0. A song that, lyrically, speaks so directly to Trey’s rehabilitation and awakening following his 2006 arrest, and musically caters itself to the kind of open-ended exploration that had become something of a rarity throughout much of 2009-2011[5], everyone knew the first Light of 2013 was going be a seminal moment. Expanding outwards on an ambient plane much like the 12/02/09 and 08/07/10 versions, before evolving into a rhythmic jaunt, the jam turns on a dime at 11:11 with a sinister, groove-ladened riff from Trey. Foreshadowing the clarity and deliberateness he’d continue to iron out in his playing over the course of the summer – ultimately peaking in Fall – the band fuses this segment into an blissful melodic jam that finally resolves itself in The Mango Song. The SPAC Light is, while certainly not the rawest, nor the most accomplished jam of 2013, if nothing else, the moment when we all collectively realized the revolutionary steps forward of late-2012 were not all for naught.

07/06

Tube

For everyone lamenting the death of the extended Tube, please direct your ears to this version[6]. For whatever may be missing from an 8 – 12-minute Tube jam of 97-04 lore, the band more than makes up for the lack of quantity with focused, groove-heavy, linear, funk-based-jamming these days. Perhaps the best modern example of what’s always possible with Tube, this version pops immediately from a somewhat awkward first set, crafting an absolutely infectious dance number. What’s more is this is one of the first moments of 2013 where it’s clear to anyone listening that song length has ultimately become moot. As anyone at SPAC – or even those web-casting – could attest, this jam felt like 10+ minutes, regardless its 6:48 length. Check out the crowd’s reaction when it’s clear Trey’s pushing the song past the unofficial coda to be reminded once again of the beauty of the intercommunication between band and audience in this whole Live Phish thing.

tumblr_mr6ys2QAnr1sea8qyo1_r1_1280

Split Open & Melt

Wow. What a statement. What a glorified mess[7]. A conscious experimental push into the unknown as anything I’ve heard from Phish 3.0, this jam covers so much terrain in its 18-minutes, it’s really quite exhausting. Abstract, gorgeous, uneven, risqué, unpolished, raw, emotive, completely human; an absolute pure example of a band seeking out the elusive hook-up. It’s also perhaps the loosest, and unfocused Phish has allowed itself to be throughout the past five years. For every jam that has either foreshadowed or reflected the various thematic terrains of 2013, there’s really no other jam produced this year that sounds anything like this Split Open & Melt. This might be the most important pre-Tahoe Tweezer jam played in the entire summer. One just has to hear the vocal inflection and laugh from Page at the end when he says, “We’ll be right back…” following their sloppy re-entry to Melt to understand how unexpectedly deep the band went, and how gloriously lost they became.

Carini -> Architect

The first of four versions for Señor Lumpy Head on this overall list, this one pops immediately with an incredibly focused, highly expansive, delicate, interwoven and intricate piece of music that has continually resided in the upper echelons of Phish’s 2013 output since the moment it concluded. Reminiscent of the 08/31/12 Undermind and Chalk Dust, this is one of those democratic/full-band conversations we’ve now come to expect in 2013. In many ways though, this jam is all about Trey, as he plays with a determined and deliberate precision that would go on to define many of Phish’s best moments in 2013. An example of foundational setting leading to deliberate playing from Trey, this jam sounds like a direct prelude to Fall Tour more than most of the jams played throughout the summer. Oh, and this jam also segues flawlessly into a debut. So much so, that, for a moment, Architect felt like it was simply just another part of the Carini jam.

tumblr_mrga02pkOT1sea8qyo1_r1_1280

07/10

Crosseyed & Painless> Harry Hood

Two crucial things happen from 9:20 – 15:01 in this Crosseyed, which sets the foundation for literally every moment of fully-connected Phish in 2013[8].

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

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

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

tumblr_mri50zLBbR1sea8qyo1_1280

07/12

Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge

Like a snapshot right out of Summer ‘98, this fully-flowing chunk of the second set – in one of the more polarizing shows of summer[9] – is both the least-challenging and least groundbreaking piece of exploratory music from the entire tour[10]. And yet, it’s unquestionably some of the most infectiously pleasurable, which is exactly why it finds itself on this list. Rock & Roll moves into a modulated jam based on its origins and theme, ultimately reminding one of the great 08/08/2009 jam from The Gorge. Tweezer is the crown jewel of this sequence as Trey, who just sounds so playful throughout, jumps on a bouncy groove, drives it skywards and then patiently segues it right into Cities. Forget about listening critically here. Just fucking throw this on and boogie.

07/13

Harry Hood

A banner year for Hood. A. Banner. Fucking. Year. Right smack in the middle of one of the most overtly old-school shows of 2013[11] comes this overtly old-school Hood that does literally everything anyone could ever want from Harry Hood. Trey’s in command throughout in the purest, peakiest Hood in a year full of standout versions. Just soak this one in and be grateful the band has spent so much time rededicating themselves to this classic.

Mike’s Song> Simple> Weekapaug Groove

Early on this summer it appeared as though the band was coaxing a big jam out of Mike’s Song. While they ultimately never did, this version from the first night at Merriweather Post is the closest they came, and the best version of the entire year thus far. For me, however, this Groove is all about the Simple. Only one of two versions played all year, this Simple loosely locks onto the theme from Down With Disease, building a subtle, warm, full-bodied, wholly-united jam out of the band that’s among my favorite musical moments of the entire year. Proof of the musical progressions made by Trey’s insistence on focusing on his rhythmic playing, this jam just goes to show how little Phish actually has to play within a jam to craft brilliance.

07/14

Stash

They took their time prior to starting up perhaps their most innocuous first set composition[12]. They knew where they wanted to go. This version was to be different. They wanted to see how far they could push Stash while still remaining within Stash. It was – or at least, it sounds as though it was – an experiment in controlled democratic fusion. It showed Phish what they could do within even the most structured of their songs. It ultimately helped to loosen them up as they pushed their most time-honored classics far beyond the limits they’d set for them back in 2009. Trey’s wha funk spills into major-keyed bliss on a dime. This is effortless Phish. This is 2013 in a jam.

Light -> Boogie On Reggae Woman

Following that masterful first set Stash: the payoff. In perhaps the best show of the tour to that point, Phish let loose on their modern classic, fusing start/stop jams with rapid key changes, creating a disoriented dance-fest that shook Merriweather Post to its core. A prelude to the “woo’s” comes as the band peaks the jam in hysterically controlled chaos; this jam is the sound of a band fully realizing their interconnectivity, and yet still unwilling to let it all hang out at once. This is like one of those great Summer ’97 jams, when the band knew they were onto something, but weren’t quite ready to simply walk out on stage and totally strut their stuff like they’d do throughout the Fall. Few times has Boogie On sounded this anticipated, nor this perfect all at once.

tumblr_mrnota43DQ1sea8qyo1_1280

07/16

Rock & Roll -> Heartbreaker -> Makisupa Policeman> Chalk Dust Torture> Wilson> Tweezer -> Silent In The Morning

Within the confines of 2013, there were seven fully-flowing sets of music[13]. Of them, the segment from the first night of a two-night stand in Alpharetta, GA is neither the most accomplished[14], the most diverse[15], nor even the most jam-happy[16]. What it is however is a quasi-throw-back to the early days of 3.0 when humor and song selection were of the utmost importance in a Phish show, and jams rarely veered too far off into the unknown. Fusing this approach (as heard in the endless Heartbreaker teases, and the first of two Makisupa Policeman of 2013) with two jams that thematically sound plucked right out of Dick’s 2012[17], Phish crafted an indelible segment of music on a Tuesday in the Atlanta ‘burbs. For another example of how little time Phish needs to reach plains of musical bliss, look no further than the sublime Chalk Dust, a jam that feels like it covers 15-20 min of music in just under 10.

07/17

Piper -> Fast Enough For You

In a year in which the band spent so much time reviving their classics[18], while also pushing many of their newer songs into the unknown[19], less time was devoted to many of their turn-of-the-century vehicles than at any point in the past 15 years. Nowhere is this clearer than with Piper. A song that drove many of the best jams of 2003-2012, Piper appears to have adopted the role once held by Twist, as the mid-set recharge. Rather than explore the vociferous terrain Piper so seamlessly caters to, Phish instead employed it as a bridge between jams, and between the two halves of a second set, allowing its driving groove to maintain energy, rather than explore the unknown. Of these versions, perhaps none is as diverse as this one from Georgia. Touching on the baroque, haunted, underworldliness of many of its 2.0 peak versions, this Piper goes deep in a flash. Teasing the refrain from Energy, Trey immediately begins to impose darkness through the use of his tremelo effect, thus harkening back to the sprawling 07/19/2003 version. Emerging to a more blissful and melodic zone of music before fading softly into the ever-rare Fast Enough For You, perhaps it was all a subtle wink from Trey towards all those clamoring for a return of the slow-build intro?

07/21

Energy -> Ghost -> The Lizards

“Thank you for sticking around….” With those five words, the band systematically lifted the imposing weight of three weeks full of torrential weather throughout their east coast run, and thus pivoted from the foundational setting of the first half of their summer tour, before moving earnestly into one of the strongest peaks of their entire career[20]. Energy, the song of summer, builds upon its 07/17 version, with Trey invoking funk rhythms that bleed into a gorgeous melodic space – ala the 11/22/1997 Halley’s Comet. Ghost is employed once again as something of a bridge, but it’s worth hearing all the same, as it quickly finds its way into a lilting jam – by way of a distinct Seven Below tease – that fades idyllically into The Lizards. A brilliant segment of music, which makes up the meat of one of the strongest sets of summer – and perhaps the most critical moment of the entire year[21] – these uninterrupted 35 minutes have held up long since the band moved westwards from the sodden and abandoned airport on the shores of Lake Michigan.

1045244_10151456729241290_627350807_n

07/22

Down With Disease -> 2001

After kicking off the summer with three fairly contained versions[22] of one of their most cherished Set II Openers, Phish finally broke through with a jam that built off of their pivotal second set on 07/21, and pointed the way westward. Featuring melodic and rhythmic riffs from Trey throughout, the jam ultimately settled on a remarkably pleasant platitude, which felt entirely composed, and is the kind of jam one could listen to on repeat without ever growing tired. In short, this is simply one of the most enjoyable, and pleasing jams of the entire summer. A section of wholly deliberate, rising melodic playing followed, ultimately giving way to a full-on tease of Sea Of Love from The National. Further proof of how much Trey has gained from his time spent listening to – and playing with – those in the indie rock world. Following this all up with a truly patient build towards 2001 rounded off one of the most subtly diverse jams of the year, one that clearly helped to initiate the band’s massive peak over the next four months.

David Bowie

Perhaps no Phish classic has struggled to regain its unknown potential since the onset of 3.0 as one David Bowie[23]. With only a few glimmers of hope stuck in there, things changed with drastic earnestness on 12/28/12 when the band began exploring within the frame of Bowie like they hadn’t since 2003. Powerful versions on 07/05 and 07/20 paved the way for a revivalist rendition to end the second set in Toronto. A jam I highlighted in August as one of the underrated gems of the whole tour, this version leans more towards the demented explorations from 12/28/12, while further emphasizing Trey’s rhythmic explorations. Fusing the playful old-school nature of Phish with their modern and more subtle communicativeness, this Bowie is a reference point for anyone searching for the moments when Phish was fully capable of abandoning the foundational setting of the first half of summer tour, and got down to the business of properly (and consistently) breaking through their own artistic mold.

*A huge THANK YOU to Mike Hamad of @phishmaps and @MikeHamad for allowing me to use his jam maps for a few of the jams of this list. His work is phenomenal, and it really helps those listening understand better what’s happening in Phish’s music. Please give him a follow on Twitter if you don’t already. And check out his site: Setlist Schematics for even more jam maps.


[1] ‘Best’ is obviously a tricky term when it comes to a subjective essay such as this. Seeing as so many different people love Phish for so many different reasons, it’s impossible to capture an entire community’s preferences, and moments of unified elation, within a singular list. Believe me, I’m aware.

And yet, these lists are more than simply a reflection of my own subjectivities and favorite jams/shows. These lists are a result of an extensive amount of time spent listening, reading, writing and thinking – all the while parsing through the historical layers of Phish – in search of moments that stand out, and seem to both unify and exemplify the sound of an entire year. Be certain, many of my “favorite” jams and shows from the past five years have been omitted from each of my lists. Be certain that some of my favorite jams from this past year were omitted in the initial whittling process.

[2] NB, this list originally began with more than 130 individual songs, and something like 75 single jam entities. It’s now at 76/39 respectively. Progress.

[3] Anyone in need of any of these jams, or of the full playlist, feel free to hit me up @sufferingjuke and I’ll happily send em your way.

[4] This list will be delivered chronologically as all my ‘Best Of’ Lists are. Some may be fond of ranking, but I find that to be both an insolent and irrelevant endeavor when discussing and documenting Phish. This is art, not sports for Christ sake’s.

[5] A topic for another essay and another time, when you actually go back and chart the actual occurrences of improv from 03/06/09 – 12/31/11, it’s clear the band jammed with far more regularity than many wanted (or were willing (in many ways, still are willing)) to give Phish credit for. Like I said, another essay, another time.

[6] For that matter, don’t skip on the 06/15/12, 07/06/12 (w/Psycho Killer jam!!!), 07/26/13, or 11/01/13 versions.

[7] In much the same spirit of the 12/30/09 Back On The Train, 06/25/10 Chalk Dust, 10/20/10 SOAM, 08/15/11 Undermind, and 08/31/12 Runaway Jim, this SOAM feels like a leftover of the unguarded, throw-the-paint-at-the-wall-&-see-what-happens, unfiltered, macabre-style jamming that so defined the band’s 2003-2004 period, otherwise known as 2.0.

[8] There are loads of examples of groundwork being laid throughout the first three weeks of tour, a period wherein which many in the fan base were melting on Twitter, PT, Phish.net & in Mr. Miner’s comments section about how Phish wasn’t living up to the lofty heights established in 2012, or weren’t busting-out enough songs, or jamming with enough frequency, etc. Among them: Bangor’s Golden Age – specifically Trey’s insistent use of his wha-wha pedal – 2001, Antelope, and Hood; SPAC’s Cities -> Bowie, 46 Days -> Steam and Slave; the defiantly old school setlist and playing on 07/07, 07/13 and 07/14; and the funk escapade of It’s Ice that gave the band an insane amount of confidence to let their hair down and just groove.

[9] In all seriousness I loved this entire show. Set I is one of the most unique of the entire summer, featuring excellent versions of CTB and 46 Days, a loping stride through Ocelot, and an old-school pairing of Reba and David Bowie to close things out. Then again, I didn’t have to brave the cold, steely rain that reportedly blew sideways through the open-air venue that night. From my cozy apartment though, things sounded quite lovely, tbh.

[10] Yeah, I just know there’s some dude on PT right now spewing his coffee over this statement. It’s not exploratory at all. Get over it. This 60-min segment of uninterrupted music has far more in common with the late-1.0 era than anything else really played at all throughout 2013. It’s all groove. Groove for the sake of groove. It’s essentially all extended Type I jams, (with the great exception of the melodic jam that emerges from Tweezer prior to its segue into Cities) it’s essentially one big excuse for the band to simply hook-up. None of this, btw, is said to insinuate that it’s not a huge evolutionary step forward for the band within the confines of 2013, nor worth your time, or your ears.

[11] It’s right in line with 07/07, 07/10, 07/14, 10/23, and 10/25 as shows the band played throughout 2013 that felt plucked right out of 1992-1995.

[12] You could make the same argument for Bowie and Reba, but there’s something about Stash that – particularly in 3.0 – just screams “live soundcheck.”

[13] 07/05, 07/12, 07/16, 07/27, 07/30, 10/20, 10/25

[14] 10/20

[15] 07/05

[16] 07/12, 07/30

[17] The Set Opening Rock & Roll and the mid set Chalk Dust Torture are also two of the best examples of what Mr. Miner calls “Musical Density” that we have in 3.0

[18] Harry Hood, Tweezer, David Bowie, Stash

[19] Energy, Light, Golden Age, Steam, Twenty Years Later

[20] You can make a strong case that from 07/21 – 11/02 the band played 15 instant classic shows – an incredible 60% of the shows during that period – something they haven’t accomplished with such ease – nor such consistency – since probably 1997.

[21] There’s no denying how profoundly well the band was playing throughout much of the first three weeks of tour, but it was clear they were in need of something of a moment of truth to push them beyond the spurts (and the horrendous weather that dogged them) that had somewhat defined their east coast run. From the final set of their weekend in Chicago onwards, 2013 has been nothing short of a masterpiece. Without the interconnectivity and phearlessness displayed here, who knows what would have become of the band’s 30th year…

[22] This isn’t to say in any way that the other versions were bad, per se. Both the 07/07 and 07/13 versions contained some phenomenal interplay from Trey and Page in particular. Just that, well this is Down With Disease. It’s kind of one of those ‘when in doubt songs’ for Phish. The kind they can always rely on to jump-start a set/show, or immediately build upon the energy of a hooked-up Set I.

[23] Seriously, take out the 06/19/10, 10/20/10, 06/03/11, 07/03/11, and 12/28/12 versions and what you’re left with are essentially a massive amount of skeletal imitations of what Bowie once was. Of all the Phish classics that have suffered – necessarily and unnecessarily – at the hands of Phish’s full-on rebuilding project of the last five years, none have been as tragic as that of Bowie.

The Next Level: Thoughts On The West Coast Leg Of Phish’s 2013 Summer Tour

577216_10151503226831290_30855049_nAnd so we’ve come to the end of Phish’s 2013 Summer Tour. Yes, we do have that Dick’s run looming just two-and-a-half weeks away, but Dick’s is something all to itself at this point, right?

After just over a month on the road Phish capped off their summer tour with an eleven-day stretch of shows along the Pacific that has to rank as one of the most profound peaks of their entire career.

(This isn’t to say of course that their music is somehow better than anything they’ve played in, say, the last 15 years – how could one even begin to be able to quantify that, after all? Yet, there’s an undeniable energy surrounding Phish right now that hasn’t been present this consistently for a long, long time…)

More on this later.

Leaving behind the rain for good, Phish built upon, and expanded on the foundations of their NE run, the celebratory vibes of their SE run, and the conflicts overcome in the midwest to produce a string of diverse, exploratory, uniquely engaging, and overall classic shows chock full of highlights.

One night they were throwing down rapturous funk, the next they were weaving together rarities in an unending seguefest. Any style could, and would, be explored from one show to another – and often within each show – displaying a dexterity in a consistent peak that we honestly, may have never truly experienced with Phish to this point.

(It’s the thing that completely separates Phish 2013 from their past. Where their sustained peaks in 1995, 1997, 1998, and 2003 for example, were centered around a singular style, here in 2013, the band is attacking a variety of styles within each show – often times within a single jam. The diversity of music played within this past week is nothing short of astounding from a purely musical level.)

Jams abound, songs perfectly placed, the string of shows from The Gorge on 07/26/2013 to Los Angeles on 08/05/2013 represents the most consistent, highest quality Phish we’ve heard in over a decade.

I’m still trying to wrap my head around everything I’ve just heard.

Below I’ve once again compiled an assorted list of thoughts on the finale week-and-a-half of the tour.

——–

So, How’d We Get Here?

Perhaps the best place to start is by looking back on everything Phish has done since reemerging from hibernation on July 3rd in Bangor, ME.

While it was clear throughout the opening weekend of summer that the band was focusing on laying the groundwork for the tour that would ultimately unfold, it’s also clear that their plan hit a bit of an unexpected moment of advanced inspiration within the second set of 07/05. Weaving together a fully-flowing set of music that started with the debut of The Apples In Stereo song “Energy” – also the eventual theme song of Phish 2013 – and ended with their age-old classic, “Slave To The Traffic Light,” from the onset, one couldn’t deny the high level Phish was already playing at.

Continuing southwards – following the 07/09 postponement of their Toronto show – the band reached an initial peak in the tour with their PNC – MPP run of shows. Fusing old school setlists with high quality, boundary-pushing jams – 07/10 “Crosseyed & Painless,” 07/12 “Rock & Roll,” 07/13 “Simple,” 07/14 “Light,” – the band showed two differing, yet ultimately united sides of modern day Phish. In emphasizing their most time-honored classics – “Stash,” “It’s Ice,” “Maze,” “Harry Hood,” “Mike’s Song,” “You Enjoy Myself” – while also centering their 07/14 show around a harangued take on “Light,” the band played a show that could only have happened here in 2013.

A point that must be emphasized: 2013 Phish is everything that Phish has been, everything that Phish currently is, and everything that Phish is working towards. This career-spanning sound is no better heard than in these four shows.

A brief midweek stoppage in Alpharetta, GA allowed the band opportunity to let their hair down, while still expanding upon the improvisational advancements of their first week on tour. Basing their entire 07/16 second set around the riff from “Heartbreaker,” the band built a massive seguefest that read: “Rock & Roll -> Heartbreaker -> Makisupa Policeman> Chalk Dust Torture> Wilson> Tweezer -> Silent In The Morning> Birds Of A Feather.” A wholly-engaging musical moment, it fused the band’s modern-day melodic jamming with their endearing sense of humor, resulting in absolutely classic Phish.

The following night’s highlight came in the monumental “Energy -> Fluffhead -> Piper -> Fast Enough For You” quartet, a segment which displays both how keen Phish is right now at sparking creative jams out of the ether, and how aware they are of fusing their past and present together – be it through setlist construction or various jamming styles – within each of their shows.

The first half of Phish’s 2013 Summer Tour came to a close in a three-night run in Chicago, and a makeup show in Toronto. For however memorable the music made at Chicago was – and much of it is very memorable – it will always be overshadowed by the rain that cost the band half of their 07/19 show, and nearly cancelled their 07/21 show. Regardless the fact that 07/19’s first set is among the strongest of the first three weeks of tour, nor the fact that 07/20 was a surprise three-set show that saw the band construct a fully-flowing (sorry, @waxbanks) second frame which featured a sublime “Golden Age> Waves -> Piper> Slave To The Traffic Light” closing segment, those two nights in particular will always be seen as casualties of THE RAIN.

On the run’s final night it poured and poured and poured. (And poured and poured and poured and…) Rain fell from the heavens in biblical fashion cutting the first set short, while also breaking the internet for the first 25mins of the second frame.

It was in the second set however where the band emerged phearlessly, and pointed the way towards the west – and towards their own future – within a 35min segment that read: “Energy -> Ghost -> The Lizards.” Infusing literally every style of improvisation the band has experimented with throughout their career – before giving a nod to their past through a perfectly placed “Lizards” – the band sent a message about where they were, where they’d been, and most importantly, where they were going.

Following this with a “Harpua” gag for the ages, one in which the band sent a message to their fans that it was in fact they, and not us, who knew what the “right way” forward was for Phish, and it simply was a set we’ll be talking about for years to come.

The next night in Toronto they opened Set II with a lengthy, uplifting, and melodic take on “Down With Disease” whereby Trey and Page hooked up for over seven minutes of improvisational bliss. The trail westward had been marked. Little did we know what was to come…

1887_10151496599156290_1539238575_n

There Are No More “Standard” Songs

Immediately evident in the rollicking first set on night one at The Gorge – and only further emphasized as the tour wound south along the Pacific – is the fact, that, no matter the setlists, no matter the set, there’s no such thing any longer as a “standard song.” Proof of the absurdly high level the band is playing at right now, there are seemingly no more filler songs anymore.

Listen back to the “AC/DC Bag,” “Timber,” “Funky Bitch,” “Architect,” “The Curtain (With),” “Ocelot,” and “After Midnight” from The Gorge. Listen to the “Bathtub Gin>Tube>Walk Away,” the “It’s Ice,” and the “Stash” from Tahoe. Listen to the entire first set from 08/02, to the blistering seven song opening segment from 08/03, and the “Divided Sky” and “Ya Mar” from 08/04. Listen to the “Wolfman’s Brother,” “Scent Of A Mule,” and “Ocelot” from LA.

First sets, which, particularly from 2009 – 2011, were the definition of banality and sterile song selection, now pop with ease.

You can say whatever you want about how jamming displays the evolutionary steps forward for Phish, but, as the irreplaceable Walter G Holland (@waxbanks) showed us in his insightful piece from last week, the energy the band is now putting into their individual songs – particularly those in Set I – proves the refined peak we now find ourselves at with Phish.

Ever since they stopped focusing on their individual song performances in 1997, this singular aspect of the Phish experience has been missing. A point of emphasis since 2009, not until last year was the band truly capable of stringing together complete shows that featured consistently unique performances of their most time-honored classics. Yet even last year, many shows still relied on extra-musical aspects such as song selection, jamming lengths, and gimmicks to be memorable. Here, now, in 2013, there’s simply no question of whether or not their whole shows are going to be standouts, they just are.

Perhaps we can hear this best in the three-song opening segment from 07/27: “Architect,” “Golgi Apparatus,” and “The Curtain With.” A run of songs that, on paper would appear to be a rigid – even, awkward – way to kick off a show, here, in the idyllic setting of The Gorge – and played with such a unified passion as these were – the songs flowed with an organic, and thematic brilliance.

The kind of moment that signifies Phish at their best, one can only imagine that, by the time the band invades their favorite soccer field just outside of Denver, and then tears through some of their most classic venues back east, that this approach will be further explored and capitalized on.

164599_10151496599501290_1491467990_n

About That “Tweezer”…

I recently spent a week in Tokyo, on summer vacation from my job as an English Teacher in Korea. On our second day in the country, my wife and I wandered through the Shinjuku and Shibuya neighborhoods, sampling various ramen and sushi shops, soaking in the youthful and creative vibe that permeated around us. We felt alive with that tangible elevation that can only come from travel in a completely new place. At night we made our way to a pub we’d discovered the previous night run by a Japanese man who obsessively collected classic rock records. He graced us with drinks, music that reminded us from home, and invited us to share in a late-night Izakaya feast with his wife.

At one point he put on the 09/02/2012 “Sand,” and the bar, packed with aging Japanese hippies, boogied down like life-long fans.

It was one of the best days I’ve ever experienced in my entire life..

When I arrived back at my hostel I jumped on the internet to discover that Phish had just played a 37-minute “Tweezer.”

I sat at a public computer laughing hysterically.

Somehow this “Tweezer” made this perfect day even better. I wouldn’t even hear the jam for another week, but somehow I just knew…

The thing about this “Tweezer” isn’t so much its length – yes, it’s incredible to see the band played a 37-minute song, but it could have been half that long and it still would have been one of the best jams of the year – nor is it the connective peaks the band reaches throughout – though they are pretty epic. What ultimately makes it so unique, so special, and yes, so important in the historical lineage of monumental Phish jams, is the fact that it reached such a moment of full-band-interplay that it ultimately peaked with a united band AND audience jam, that will go down as one of THE top moments of Phish’s entire history whenever it is they finally decide to hang it up.

By now the topic has been almost beaten into the ground through a series of follow-up “woo’s” in the tour’s final days, and in the endless discussions on the jam that have spread throughout the online community. But, for a moment, just consider the fact that the true peak of the Tahoe “Tweezer” – and the reason the jam will ultimately be remembered – came as a result of an audience instigated cheer within a start/stop jam, that the band immediately latched onto, leading to an apogee within the entire Phish experiment.

This is the artist creating based upon the environment that their audience has created for them.

For all of their history the band has made a point to emphasize how important their relationship with their audience is; how the crowd’s energy often pushes the band to greater heights. Yet, never before has crowd & band seemed so united, so in the moment, so spontaneously connected as they do during the peak of this “Tweezer.” Just listen to the force with which Trey re-enters the jam following the first set of “woo’s” and try to tell me the band wasn’t completely taken aback, and totally blown away by the unified moment of improvisational connection that had just occurred.

Yes, the “woo’s” became a tad over-exhausted by the end of the tour, but, honestly, could you really blame the band for capitalizing on this moment and trying to replicate it? Like their secret language in the early-90’s, their chess match in the Fall of 1995, and the entirety of Big Cypress, the Tahoe “Tweezer” represented yet another completely unexplainable moment of band-audience interplay where Phish just seemed bigger than a rock & roll band.

561487_10151503227636290_1575591018_n

A New Old School Approach – 08/02’s First Set

You can just feel the energy seething from the August 2nd Bill Graham Civic Auditorium show simply from watching the YouTube clips. The first set since the Tahoe “Tweezer,” the band enters to a crowd that has seemingly lost its collective mind. Just watch how shocked Trey is as he humbly waves towards the fervent fans.

It looks like what one might imagine a 1994 show in some dingy IHL Arena might be like.

In the moment, and in hindsight, “Free” was the perfect song to open that show with. Could anything else have summed up the unified feelings of their entire fanbase quite as well?

I feel the feeling I forgot…..

I feel freeeeeee………

Freeeeeeeeeeeeeeeeee!

And then that guitar riff…

Without question, 08/02’s first set is the most diverse first set of the entire tour. Combining rarities – “Meat,” “Oh Kee Pa,” “Vultures – tour debuts – the aforementioned along with “Roggae,” “When The Circus Comes,” and “Babylon Baby” – with absolutely stellar playing throughout, it’s – if not the best – then certainly one of the best first sets of the entire tour. Trey just sounds so alive, and in the moment, in the dirty, and building solo out of “Sand,” and in the patient, yet focused, “Reba” that came two songs later.

While one can’t deny the impact of the band’s tighter song rotation here in 2013 – be it more exploratory playing or an influx of repeats – regardless your stance on their structural approach this year, there’s just something about the feeling of being at a show where the band decides to throw down a number of unexpected rarities and bust-outs. Not something any of us should be actively chasing – particularly now, when the band is at the top of their game regardless what they play – when you hear a show full of songs you’d have never guessed the band would have played that night, it just seems to raise the energy and sentiments surrounding the show to an unexpected level.

By mixing “Meat,” “Oh Kee Pa,” “Vultures” and “Roggae” in with rotational staples “Free,” “AC/DC Bag,” “Sand,” and “Reba,” the band crafted a setlist that both celebrated their diverse history, while also displaying their current peak. That they played each of these songs with fresh energy, innovative musical passages, and precision delivery only further emphasized the new/old school gem they unleashed in 08/02’s first set.

Whereas in recent years, these kinds of sets tended to sound bloated and even awkward, everything gelled on the first night in San Francisco.

996540_10151503258621290_734921195_n

The Second Set Of 08/04 & Where We Go From Here

If the first set of the San Francisco run represented a veritable link between Phish’s past and present, then the run’s final set displayed not only how far the band has come over the last five years, but also, where they’re headed.

All summer long the band has used “Energy” to usher in their most innovative and consequential second sets.

On 07/05 it displayed the high level in which Phish was entering their tour at, and graced us with the theme of the tour: Energy & Electricity.

On 07/21 it was the only song Phish could have played at the time, expanding into a limitless jam that eventually flowed into “Ghost,” summing up the phearlessness Phish was playing with, and turning the focus towards the west.

On 08/04 it closed out the BGCA run in perfect fashion, summing up the entire vibe surrounding Phish’s 2013 Summer Tour, while reminding us of the electricity that coursed through the community.

Like the two previous sets it kicked off, the entirety of the 08/04 second set flows from the intangible force that that song has on the band here in 2013. Following with an expansive, rock-based jam off “Runway Jim,” a “Light” that both explored all the musical terrain contained within itself before moving into the Storage Unit, and ultimately towards the original kiln of the storage jam: “David Bowie,” the set was constructed in a way to emphasize their jamming vehicles of old, and of new, while systematically pointing the way towards Dick’s, and the Fall.

So, where are we going?

I wrote about this in my recap of the second week of tour, just about a month ago, which you can read here. In that essay, I argued that – up until 07/14 – the 2013 Summer Tour reminded in many ways of August 2010, in that, while it was an incredible tour to be a part of, little did we know until October, that it was actually the building block for the first true peak of 3.0.

Lo and behold, as this tour moved westward, faced with torrential weather that had consumed the tour until that point, with the band fully aware of timing and the moment, Phish pushed the tour to a completely new level with their second set on 07/21. From there through Hollywood the tour remained on an absolutely consistent and mind-bending high.

I cannot see this ending any time soon.

Phish is completely comfortable back on stage, communicating with each other like they haven’t since 1998. The growing pains that plagued them in their first years of 3.0 aren’t even a conversational bit anymore. There’s no longer a need for a “settling in” process whenever they get back on tour.

When we look towards the remainder of the year, what we find is a Dick’s run that’s sure to be a HUGE moment for the band. Regardless if it actually “tops” last year’s run – something that has more to do with subjectivity than it does with what the band actually plays – one has to imagine the shows are going to have a deeply emotional impact on the band. Beyond that: Fall Tour, most notably a return to Hampton. If one thinks Dick’s will hit the band emotionally, just think what Hampton’s going to be like…

Following the first three-night run in the Mothership since March 6th, 7th, and 8th, 2009 is a tour that takes the band through their most hallowed stretch of country – returning them to Hartford, Worcester, Glens Falls, Rochester, and a Halloween date in Atlantic City. And after all that is the 30th Anniversary Run the band has clearly been building towards, and then finally a return to MSG to ring in 2014!

When was the last time the back-half of a year looked this promising for Phish fans? 1997??? 1995???

The point is, the band built to a sustained peak out west at a time when they’ve only got monumental show after monumental show on their horizon. The thought of where (mentally & emotionally) the band is right now musically, and where (locationally) they’re going to be playing over the next five months is somewhat incomprehensible.

Moreover, the fact that they’re playing sets like 08/04 II where they’re throwing out stunning jams from new songs such as “Light” and “Energy,” combined with innovative takes on their classics – “Runaway Jim,” “David Bowie,” “You Enjoy Myself” – while also fucking around with the crowd by continuing to play a “Horse”-less “Silent In The Morning,” or encoring with “Sanity” and “Bold As Love,” just raises the possibilities even higher as we move towards Fall.

So, where are we going?

Gamehendge, duh…

1002901_10151503258571290_1136259999_n

When Is The Last Time Phish Peaked Like This?

In my recap of the second week of Phish’s 2013 Summer Tour, I argued that this was the best start to a tour since Summer 1998. Not only do I not feel this statement was in anyway shortsighted or, even overfluffed, but I firmly believe that the way the tour has unfolded since then has only worked further confirm this opinion.

It’s time to go a bit further….

This recent peak from 07/21 through 08/05 represents the most consistent stretch of high-quality music the band has made since 11/17/1997 – 12/07/1997.

It’s true. Go back through the setlists and the shows of the past fifteen years, and try to find a stretch of ten shows that have been played at as high a level as these have. Add in sets like 07/05 II, the run from PNC – MPP, even the Alpharetta run, and this tour is without question the band has played since at least Summer 1998.

This is not to compare the music made from these two eras – a task that would be as impossible as it would be pointless – rather it’s simply a statement on how great things are in the world of Phish right now.

This is also not to say that this peak here in 2013 is somehow better than any of their peak periods from 1998 – 2012 were. This is only to say that Phish has reached a point of consistency on a high level that is absolutely unprecedented in 3.0 and 2.0, and, that the absence of such a recent period was a major factor in why the band decided to take their first hiatus back in 2000.

Ever since the final show in Chicago, Phish has played with both a driven energy, and an understood ease that has always been present in their peak periods. Regardless if they were exploring minimalistic funk grooves, abstract patterns of dissonant noise, the hellish depths of their souls, or prying open the pockets within their own songs, the combination of a driving force, and a relaxed ease has always been needed for the band to reach these heights.

The only difference between these current heights and those from 1998 – 2012, is that, now, the band can sustain them for weeks on end.

533644_10151487728951290_242704636_n

Favorite Shows/Jams Thus Far

I’ve been compiling this list as the tour’s moved along. Were I to grant you my full list that’s currently occupying an itunes playlist, this post would become a lot more bloated than it already is…. Once again, I’ll be focusing here on only a select number of my favorite shows and jams. Rather than ranking them, or trying to grant any a “best-of” status, they’re all simply listed chronologically. More than anything, these are the shows and jams that have really grabbed me as the tour’s evolved.

For any show/jam listed that I’ve discussed prior, I’ve left any sort of write upon them blank. I’d invite you to check out the past lists/write-ups compiled here and here.

Favorite Shows

– 07/05/2013 Saratoga Performing Arts Center – Saratoga, NY

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

– 07/10/2013 PNC Bank & Arts Center – Holmdel, NJ

– 07/12/2013 Nikon @ Jones Beach Theater – Wantagh, NY

– 07/13/2013 Merriweather Post Pavilion – Columbia, MD

– 07/14/2013 Merroweather Post Pavilion – Columbia, MD

– 07/20/2013 Northerly Island – Chicago, IL

– 07/21/2013 Northerly Island – Chicago, IL

– 07/26/2013 The Gorge Ampitheatre – George, WA – To me, this is the most complete show of the entire summer. Combining rarities, gimmickry, jamming, a crafty setlists, and the overall magic that just permeates The Gorge, this is one of those special nights we spend so much of our time and energy as Phish fans searching for.

– 07/27/2013 The Gorge Ampitheatre – George, WA – A more refined approach after 07/26’s throwdown. 07/27 opens with my favorite opening segment of the year, fully summarizing what makes Phish such a special bend. The second set is the definition of perfection in my mind. Fully-flowing, expert selections, top-notch playing of some of their best songs, one listen to this will go a long way in displaying just how high Phish is right now.

– 08/02/2013 Bill Graham Civic Auditorium – San Francisco, CA – Set I might be my favorite of the entire year thus far. Set II is a gem in and of itself as well. With so many rarities and tour debuts in the first set, one might have assumed by simply glancing at the setlist that the flow was sacrificed, but that simply doesn’t happen anymore with Phish. Energy prevails throughout, and the band busts open “Seven Below” and “Stealin’ Time” in Set II before capping the night off with the first ever “Walls Of The Cave” encore, perfectly setting things up for the tour’s final weekend.

– 08/04/2013 Bill Graham Civic Auditorium – San Francisco, CA – Similar in structure to last year’s 08/19/2012 show at BGCA, this show perfectly displays where Phish is at here in mid-2013. Nailing every single song in Set I, the band focuses Set II on two remarkable jam segments – “Energy> Runaway Jim” and “Light -> David Bowie” – while never relenting energy. A perfect show to cap off the best tour of Phish’s career in fifteen years.

Favorite Jams

– 07/06/2013: “Split Open & Melt”

– 07/06/2013: “Carini -> Architect”

– 07/10/2013: “Crosseyed & Painless> Harry Hood”

– 07/12/2013: “Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge”

– 07/21 2013: “Energy -> Ghost -> The Lizards”

– 07/22/2013: “Down With Disease”

– 07/27/2013: “Down With Disease -> Undermind> Light -> Sneakin’ Sally Thru The Alley -> 2001” – A 50-minute segment of music that opened up the final set at The Gorge, this flowed from sparse/rhythmic themes in “DWD” and “Undermind,” to contemplative melodies in “Light,” before building to a massive funk/rock peak in “Sally.” The first half to my favorite set of the summer, this is just further proof of both the power of The Gorge, and the unique peak Phish currently finds themselves in.

– 07/31/2013: “Tweezer” – 37 minutes. The woo’s. Trey’s riff. Tears. What more can I say?

– 08/03/2013: “Rock & Roll -> Steam” – A diametrically different take on “Rock & Roll” than JB’s extended-Type I jam, this version explores the innate groove within the song before segueing fluidly into one of the stronger “Steam’s” we’ve heard thus far. For me, there’s just something about the force in which the band enters the “R&R” jam segment that says so much about how high they’ve been over the past month.

– 08/04/2013: “Energy> Runaway Jim” – The theme song of the summer combined with an age-old classic that’s jammed to a menacing and lengthy rock-based peak. It’s the kind of stuff that’s becoming commonplace here in 2013.

– 08/05/2013: “Harry Hood” – Three songs before the tour’s conclusion, the band expanded on “Harry Hood,” crafting a 22-minute gem that stands up with some of the best versions ever played. No matter the fact that the band clearly wanted to play an upbeat, if, safe show, IT was still racing through their veins. Times like these, even the band can’t even control when they’re going to hook-up.

——–

And this concludes tackle & lines recap of Phish’s west coast run. Hope everyone has enjoyed this tour as much as I have! Please feel free to leave me comments here, or at my twitter feed: @sufferingjuke. Can’t wait for Dick’s!!!

The Best Of Phish – 2011

After a six month break, Phish returned to the stage over Memorial Day Weekend, in Bethel, NY for their 2011 Summer Tour. At the onset of the third year of Phish 3.0 fans had nothing but optimism about the direction of the band, thanks to incredibly inspired 2010 performances during August, Fall Tour, and a blistering send-off show on New Year’s Day. After overcoming a rocky June tour the previous year, the band reemerged on the west coast in August hell bent on pushing their sound past the tepid, quasi-experimentations of the previous 17 months. Armed with a new guitar for Trey and a stretch of shows the brought the band to some of the most unique venues of the era – The Greek TheaterTelluride Town Park – and some of the most familiar – Deer CreekAlpine Valley – the Phish we all had come to know and love was reborn in front of the entire fanbase. The good vibes spilled over to the band’s three-week October run where they passed over the expected 20,000+ NBA arenas in favor of smaller, more intimate college gymnasiums and the versatile and historic Atlantic City Boardwalk Hall. Slimming down their crowds, the band absolutely destroyed their fall leg – particularly the east coast shows – playing with a fire and adventurism that reminded many of the goofy and zany college pranksters they’d fallen in love with in the late-80’s and early-90’s. Finishing off 2010 with a refined and balanced New Years Run in Worcester, MA and New York City, Phish capped off their best year since 2003 with memorable jams and their first show ever on New Year’s Day that was discussed ad nauseam on the band’s independent message boards. Thus when the band announced a 33-date summer tour, which included a three-day mid-summer festival in Watkins Glen, NY, fans looked to 2011 as the year when the band capitalized on all their growth over the past two, and returned to form as the “best god damn band on Earth,” for reals now.

Kicking off the summer with “Tweezer” – only the most reliable jam vehicle in the band’s history – was a pretty good sign that the creative juices were flowing from the get-go in the world of Phish 2011. When the inspired opener led to a thrilling weekend of shows, Phish fans either at the shows, or listening intently from home, picked their jaws up off the floor and wondered aloud just what in fact we were in for in 2011. Continuing with the exploratory, and unpredictable theme the following weekend in Detroit and Cuyahoga Falls – both shows put on high display the two sides of Phish at their best – it appeared that Phish had completely gotten over their growing pains of 2009 and early 2010, and could literally do no wrong.

However, as the band moved south along the Atlantic coast, the wide-eyed adventurism that had defined the first week and a half of tour faded and was replaced by the nervous, sporadic and inconsistent band that fans had seen far too many times over the past two years. Shows in Camden and Alpharetta, most notably, featured a band unwilling to take risks, craft fully flowing shows, or build upon their past successes. While there were certainly still high points – 06/11/2011, 06/17/2011, 06/19/2011 II – overall, the first leg of the 2011 summer tour, one which had started with such a bang, ended with little more than a whisper forcing many to once again wonder aloud about the direction of the band at the end of another disappointing June.

Returning to the stage less than two weeks later for a 4th of July Festival in Western New York the band appeared for the first five sets of the weekend to have all but abandoned concept of exploration – save for an absolutely sublime “Simple” – and instead, opted for a high octane, energy festival. All of this changed with the band’s late-night secret set – their first since IT’s Tower Jam – when Phish locked themselves in a Storage Unit and spent a hour playing wholly original and organic music, forever altering the paradigm of their 3.0 incarnation. The final show of the festival, occurring a mere 12 hours after “The Storage Jam” is without question the best show the band has played since returning to the stage in March 2009. Comparable to the affect Trey’s new guitar had on their sound a year earlier, “The Storage Jam” breathed new creative life into Phish, and gave their fans the assurance that the stumbling blocks of the last two years was not all for naught.

Spilling over to the west coast run of August, the band once again blew away their June run with a superior August run for the third straight year. Opening with back-to-back barn burners at the spectacular Gorge Amphitheater, Phish crushed their stand at Lake Tahoe, put on an incredibly balanced performance at San Francisco’s Outside Land’s Festival, and just destroyed the intimate UIC Pavilion in Chicago. Finishing off the summer with a three night stand at Denver’s Dick’s Sporting Goods Park over Labor Day, Phish concluded their marathon tour with three killer shows full of gimmicks, rarities, jams, and stellar playing all around.

Two weeks later Phish surprised their fans by announcing a one-night benefit show in Essex Junction, VT. The show was significant for two reasons. First and foremost, the band raised over a million dollars to help flood victims in Vermont, and secondly, it was the band’s first performance in Vermont since their emotional and sloppy exit seven years prior. While the show was light on substance – save for an all-time “Carini” – it was more icing on the cake than anything else for a fan base that had spent the entire summer reveling in the best Phish we’d all heard since 2.0.

With no Fall tour due to the band member’s obligations to their side projects and families, Phish returned to the stage after a four month break for a four-night run at New York’s Madison Square Garden to close out the year. A run that has historically given Phish and their fans an opportunity to both look back upon the year that was, while also offering a sneak peak to their direction in the following year, the vast distance between their final summer show and the NYE run proved to be too much for the band to overcome, as the run proved to be more underwhelming than anything. While the opening show had plenty of the magic fans have come to expect with holiday shows, the band’s energy, their willingness to explore, and, seemingly, their recognition that this was in fact the 2011 NYE Run, diminished with each passing show, leaving many with a bland taste in their mouth. What has usually been used as a guide for what to look forward to the following year, has instead left fans questioning the state of Phish on a level they haven’t since April 2004. With rumors circulating that 2012 will be a “light” touring year for the band, many are wondering if we’ve seen the best of Phish 3.0. As has been proven throughout their entire career, Phish must play regularly to be the band they can be. As we saw in stunning clarity this year, the music created at UIC and Dick’s was only possible after the band spent the entire summer playing together, getting more and more comfortable with each other. If it’s true that we’ll only see a handful of shows next year, and if it’s true that the gap between a significant set of shows will be around 9 or 10 months, then not only will fans yearning for more Phish suffer, but Phish’s music might as well.

Lo, these may well end up being the simple worries of an overly-anxious fan looking for more of the Phish we got this year. With that, let’s get to the countdown of the best shows and jams of 2011. As with last year, I have assembled a list of ten shows and jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. They are not simply shows/jams 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are assembled chronologically just like last year, thus reserving the title of “Best Ever” as a subjective accolade. As always download links follow both the entire Jam section, and each individual show’s highlights.

Hope everyone enjoys the list, and hope we get some more awesome Phish in 2012. Happy New Year!

The Best Of Phish 2011

Honorable Jams

“Simple” – Watkins Glen, NY – 07/01/2011

The lone moment of the first two shows of Super Ball IX to really leap out and grab listeners, “Simple” is an ambient masterpiece from the moment it leaves the structure of the song. Building off strong outings for the Gordo-penned tune over the past year – 08/06/2010, 01/01/2011 – the band sits back and just rides the established theme out as far as they can, and then some. Crafting an emotive soundscape similar to the IT “Waves,” the melody simply exists, hanging in thin air as if a stiff breeze will destroy it. In much the same way that Brian Eno crafted the themes on his Ambient series, Phish emphasizes the space within and between notes, rather than trying to wow the crowd with fire. Peaking with a sad, yet and warm riff from Trey that begins around 12 minutes in, the jam is perfect example of what is possible when Phish forgets about all the outside distractions at their shows – curfew, setlist, bustouts, crowd energy – and simply lets the music guide them. Like a piece of music plucked out of summer 1998, the Super Ball IX “Simple” is proof that when Phish wants to conjure up the magic of their past, they’re fully capable of doing so.

“Down With Disease” – Chicago, IL – 08/16/2011

The first of two appearances for “DWD” on this list, their version to open the second set of their second night at the UIC Pavilion in Chicago is still one of the more underrated jams of all of 2011. Probably due in large part to both the epic show played the night before, and the shadow cast by the Pine Knob “DWD” from June, the “UICDWD” simply hasn’t gotten the full respect it deserves. A psychedelic masterpiece in an era where those are hard to come by, Phish leaps from the song’s theme without reprising the jam and dives straight into the unknown, devoting a solid 14 minutes to exploration. A more direct and forceful jam than June’s version, the “UICDWD” is a throwback to the kind of late-60’s/early-70’s era psychedelic jams that would emerge from the song during 1997, rather than the funk or ambient versions that graced it during the latter part of the 90’s, 2.0, and now the majority of 3.0. Unique in it’s direction, the jam is also reflective of the heavy exploration the band engaged in during the previous night’s first set. Moving through subtle funk rhythms, all with a keen eye kept on the disjointed sounds emerging from Page’s moog, Trey works as more of a finisher than leader, offering small ideas within Page and Mike’s theme. All of this peaks around 15 minutes when Trey latches onto a rough, yet danceable melody, and plays around with the melody while it becomes increasingly more and more distorted. Fading into an ambient jam that one would think will simply signal another song, the band instead extends this as well, giving Page and Mike ample time to fill the room with one more dose of psychedelia before choicely moving into “Twist.” A thrilling homage to the Phish of the past, the “UICDWD” is akin to the SBIX “Simple” in it’s ability to show just how much fire Phish still has left.

“Carini -> Tweezer” – New York City, NY – 12/28/2011

In 2010 the joke-metal song “Carini” was reborn. Previously used as simply a shot of adrenaline to either open a show or to throw a crowd off – save for the incredible 12/28/1998 version – on the fall tour of 2010 the band began using the jam as a way to call to the heavens. On three separate occasions – 10/12/2010, 10/22/2010, 10/29/2010 – Trey wove the dark jam into a melodic and uplifting jam. Resulting in stunning beautiful jams in each instance, “Carini” was a part of the Fall Tour transformation that saw the band explore within their songs in ways they simply hadn’t since the mid-1990’s. All of this however, seemed to come to a halt with the onset of 2011 when “Carini” resumed it’s status as a set opening shot of metal. Disappointing fans across the board, the band seemed to turn a corner with the song with it’s performance at Essex Junction on 09/14/2011. The ambient laced jam that emerged in Vermont spilled over to the band’s performance of “Carini” at MSG in December. Sliding easily from the high octane metal jam into a blissful state of sublimity, Trey coated the jam with a bubbly riff that seemed like it was plucked right out of the “Ramble On” from 08/12/1998. Shifting this theme back into the minor key, the band engaged in a full-band segue into “Tweezer” akin to the “Down With Disease” segue into the song during the Dick’s run. Perfectly moving out of “Carini” and into “Tweezer” there is no sign whatsoever of the awkward transitions that have plagued the band throughout much of 3.0. Riding high on their surprise move, the band used the entirety of “Tweezer” to dance around sharp, funk-laced beats, just toying with the crowd they held in the palms of their hands. Moving out of the overt funk theme into a more rock-based, Trey-led jam, the band brought “Tweezer” to a roaring peak before ultimately bringing it in for a soft landing by way of more blissful ambience. Extending the final section of the jam out to its proper conclusion, the band then moves it seamlessly into “My Friend, My Friend,” a subtle nod to how far they’d come since Bethel back in May.

The Top Ten Jams Of 2011

“Boogie On Reggae Woman -> Waves” – Bethel, NY – 05/27/2011

Coming out firing in the first set of the 2011 summer tour with jams in “Tweezer -> My Friend, My Friend,” “Wolfman’s Brother -> Walk Away” and “Kill Devil Falls,” the anything-goes feeling of the opening frame spilled over into set II with the first defining jam segment of the tour. The onset of Mike’s bubbly envelope-filetered bass that led into the band’s classic cover of Stevie Wonder’s “Boogie On Reggae Woman” initially gave fans worry that the set was to turn into a song-based affair, all but tossing the first sets creative peaks out the window. Yet as the song ended Trey chose to extend the mini-jam, generally revolving around Gordo’s bass, and instead built a wall of loops that threatened to descend the piece into chaos, but instead, turned out to be one of the experimental highlights of the show. As the loops became more and more disjointed though, Trey deconstructed the jam, opening up the space within the theme, and ultimately paving the way for “Waves.” Unseen since Red Rocks ’09, “Waves” had been soundchecked the previous night, and the ensuing 27-minute jam had been leaked out to the fan base, only exciting fans further for the upcoming tour. Emerging slowly from the decaying “Boogie On” jam, the jam that built out of “Waves” is among the most blissful moments of the entire summer. Inspired directly from Trey’s affinity for the guitar work of Beach House’s Alex Scally, the jam wove through various passages of soft guitar-driven melodies. Delicately playing over the band’s fluttering melodies, the jam ebbed and flowed like a quiet creek, each time it appeared it was finished, a new theme would begin. Finally coming to a rest in “Prince Caspian” some 13 minutes later, the jam set the bar pretty high for the summer tour, on its very first night. No doubt inspiring some of the heavy explorations throughout the summer, in some ways, the Bethel “Waves” was never topped in 2011.

“Down With Disease -> Fluffhead -> David Bowie” – Clarkston, MI – 06/03/2011

On the first night of the band’s second weekend of summer, kicking off the midwest portion of the tour, on Mike Gordon’s 46th birthday, Phish threw down a defining segment of 2011, and of 3.0 as a whole. Weaving together three of the band’s seminal songs in a fully flowing, 58-minute jam, Phish built off of the musical high’s of the first two nights at Bethel, and the first night in Holmdel, NJ with a massive jam off “Down With Disease” and standout versions of “Fluffhead” and “David Bowie.” Opening the set with a distorted tease of “Happy Birthday” by Mike, the band absolutely tore through the Hoist-era classic before blazing into the unknown. Building the jam around staccato rhythms, the band fizzled out around 13 minutes in, giving all the impression that the jam would end without much fanfare. However, coming to play on this night just outside of Detroit, Trey wove a sublime riff around the hanging space of sound. Much like the Bethel “Waves,” the jam was re-built anew by this riff, before turning to darker, more sinister place. Peaking some three minutes later, the band once again brought the theme down, indicating an imminent conclusion. However, before the jam could die, Trey and Page latched onto a familiar theme, a classic riff they hadn’t used in a jam in years: John Coltrane’s “A Love Supreme.” Continuing the jam in earnest around the jazzy theme, Phish played around with “ALS” allowing it to push the jam past the omnipresent 20-min barrier for 3.0 jams, and allowing it to build in a fully organic segue into “Fluffhead.” Playing a particularly inspired “Fluffhead,” due in large part to the emotions spilled over from the “DWD,” the legendary composition came to a massive peak, thrilling fans in the amphitheater and streaming the show from their couches. Yet just when fans thought the musical moment was over, Trey looped the final note of “Fluffhead,” distorting it until it became completely unrecognizable, and then segueing it perfectly into “David Bowie.” A song that felt incredibly lackluster and tame for the first year of 3.0, in 2010 “Bowie” was re-born with dark and sinister versions on 06/19/2010, 10/12/2010, and most notably, 10/20/2010. Building off those past highs, the DTE “Bowie” carried over the exploratory sentiments of the “DWD,” though here surging with an eye on the evil. Crafting a masterful version that stands in the top tier of the 3.0 echelon, “David Bowie,” completed the opening hour of 06/03/2011’s set II, a segment that will live on as one of the peaks of not only 2011, not only 3.0, but of Phish’s career when all is said and done.

“The Storage Jam” – Watkins Glen, NY – 07/02/2011

Without question, “The Storage Jam” from Super Ball IX is the single most important event of Phish’s entire 3.0 era to this point. More important than opening 03/06/2009 with “Fluffhead,” more important than the Gorge ’09, even more important that Trey’s Ocedoc. When they played their first festival of 3.0, the Halloween-tinged Festival 8, many fans were up in arms over the lack of secret set. A festival tradition dating back to The Clifford Ball, Phish’s secret sets were opportunities for both the band and their fans to dive completely into the unknown, deep in the night, with the only goal in mind being exploration and pushing their music forward. While many feared that the secret set had gone the way of the 30 minute jam in 3.0, the harsh reality at the time was that the band was simply not comfortable with each other enough again to create any lasting music in an open jam setting. Flash forward to summer 2011 and Phish was primed for some serious exploration, now two years into their return. Fucking with their fans as they love to do, Phish stole away to a makeshift USA Storage unit in the middle of the festival grounds, treating their fans to an hour of completely unwritten improvisational music – save for the loose “Sleeping Monkey” 50 min in – that dove deep into Hades, resurrecting a Phish we hadn’t seen nor heard in over seven years. Implying that they could still jam, the jam’s had just been in storage as they got their feet firmly on the ground over the first two years of 3.0, “The Storage Jam” was unanimously welcomed by Phish fans everywhere as it signified a renewed emphasis on exploration. Spending the majority of it’s first 30 minutes weaving in and out of psychedelic themes, the section from 18 – 22 minutes shines as the most re-listenable music of the jams first half. Full of siren loops, an eerie riff from Trey, repeated over and over, thumping, off-beat Bass from Gordo and Fish, and the first signs of the Theramin in 2011 from Page, it’s the kind of trippy noodling that was at home in Summer 1995, but was more than welcome here in 2011. Around 32 minutes however, everything fucking clicks. As Trey signals a sinister riff, the rest of the band follows suit, building a theme that’s among their most memorable, and could have been plucked right out of a jam rooted in the 06/19/2004 “A Song I Heard The Ocean Sing.” Moving through another ambient movement, a nasty funk jam, and ultimately a hysterical and appropriate take on “Sleeping Monkey” – a song that’s most notably used as an encore any time the band plays a particularly inspired show – “The Storage Jam” came to a stunning finish as Trey buildt the final note of “Sleeping Monkey” to a point of menacing distortion, before ultimately laying it down to rest. A culmination of everything the band had been seeking to do since re-emerging in March 2009, “The Storage Jam” pushed Phish in ways they hadn’t been throughout all of 3.0, and as we’ll see with the following jams on this list, inspired them to continue pushing in search of the unknown.

“A Song I Heard The Ocean Sing” – Watkins Glen, NY – 07/03/2011

The first jam to fully encapsulate the effect “The Storage Jam” had on Phish, the Undermind rarity, “A Song I Heard The Ocean Sing” appeared late in the band’s first set on 07/03/2011, taking the ideas realized in the storage shed, and bringing them to light. Moving past the sinister themes of the songs melody and into the blissful and sublime, the jam is akin to the Bethel “Waves” and SBIX “Simple” in its emphasis of space and time over notes. Perfectly matching the mood of the early July evening, the jam contrasts the song’s theme in it’s melodic tone. After slowly bringing the “ASIHTOS” theme to a close, the mood changes dramatically at 6:57 when Gordo begins to play an uplifting melody. The rest of the band latches onto Mike’s lead and they’re immediately off into the land of blissful serendipity. Stretching the theme out, they then begin to incorporate the space that in 2009 only signified an imminent segue into a new song, yet in 2011 serves as notice of a continuing jam. Further seeparating the “ASIHTOS” from any ambient jam in the formidable years of 3.0, Phish brought the jam to a peaceful conclusion rather than pushing it into a new song. A symbolic nod to “The Storage Jam” some 12 hours earlier, the SBIX “A Song I Heard The Ocean Sing,” helped to craft 07/03/2011 as the best show of 3.0

“Rock & Roll -> Meatstick -> Boogie On Reggae Woman” – George, WA – 08/05/2011

Sometimes it just all comes together for Phish. On August 5th, 2011, on the first night of the second leg of their 2011 Summer tour, at the wide open Gorge Amphitheater, Phish threw down a stunning 40 minute jam sequence that without question ranks as the single greatest piece of music they’ve played in a concert since returning in March 2009. Busting the second set wide open with their classic take on The Velvet Underground tune, Phish wasted no time in taking “Rock & Roll” deep into the outer reaches. By seven and a half minutes in, any notion of the song’s them was in the rear view mirror as Trey began weaving minor keyed licks around Gordo and Fishman’s grooves, and choicely implementing his whammy pedal into the jam. Page then began pushing the jam even further into the unknown through a repetitive trance via his keys. After building a wall of loops Trey reentered the jam with an Middle Eastern-esque riff that became more and more distorted with each repeat. Mike and Fish latched onto his idea, creating a heavier foundation to the jam, ultimately drawing some powerful “Moma Dance” – esque teases from Trey. Now fully entrenched in the band’s darkest jam since 2004, Page moved from his keys to the Theremin, unleashing the beast from storage, further building the Hellish theme the band had conjured up. Capped off with Gordo’s demented reprise of the “It’s All right” chorus, the jam had fully departed from anything that resembled Phish 3.0 and was instead residing now in a category all its own. Riding the menacing groove to what appeared to be a proper, fading conclusion, Phish had one more surprise up their sleeves. As Trey stepped back and allowed the loops to build and fade on their own, Gordo stepped up and threw down one of the funkiest and most powerful bass licks of 3.0. The rest of the band jumped on the new direction continuing the jam, this time with a harder, more rock-based movement before it led fluidly into “Meatstick.” A joy to hear at any show, this “Meatstick” worked as a humorous bridge, leading the band out the darkness of “Rock & Roll,” before leading into a bass-led theme that would ultimately bring them to “Boogie On Reggae Woman.” The triumvirate was completed with the Stevie Wonder classic, a song which moved from it’s bubbly theme into staccato beats before filtering off in a wall of loops, and ultimately leading into “Farmhouse.” An absolutely stunning piece of music, Phish proved on the first night at The Gorge that “The Storage Jam” hadn’t been all for naught, and that thanks to that hour locked in the shed, they were a band reborn, ready to explore the ethers like they hadn’t in years.

“Light” – Stateline, NV – 08/09/2011

Along with “Backwards Down The Number Line,” no song has meant more to Phish in 3.0 as “Light.” Emerging from a heroic “Tweezer” at Fenway Park back in the Spring of 2009, “Light” quickly became Phish’s go-to jam vehicle during the Summer and Fall of 2009. Peaking with versions on 08/07/2009, 11/01/2009 and 12/02/2009, the song once-again led the way in 2010 with it’s 08/07/2010, 10/19/2010, and 10/26/2010 journeys. However, after a lackluster version on 12/30/2010, the song seemed plagued by a rushed jam segment leading to an awkward transition into another song for the entirety of June. The speed bumps were completely forgotten by the time the band reached Lake Tahoe in early August and threw down a version that joins not only the other two played nearly a year, and two years to the date prior to this, but also the other peak versions of “Light” played throughout 3.0. Reminiscent of the rhythmic experimentations Phish took the song on the previous fall, the Tahoe “Light” blended plinko jam themes with “Storage Jam” – esque noise and textures, creating one of the more mind altering, and unique jams of the summer. Highlighted by Gordo and Fish throughout, the jam was akin to 1997 jams in that Trey and Page’s main roles were to litter the top of the jam with a flurry of ideas and contributions, rather than full on leads. Combined with the Gorge “Rock & Roll,” the UIC “Waves -> Undermind” and the Dick’s “Piper,” the Tahoe “Light” put on high display the affects of “The Storage Jam,” and proved how innovative Phish could still be when diving deep into the depths of the netherworld.

“Waves -> Undermind” – Chicago, IL – 08/15/2011

Seven years to the day after the dream of Phish seemingly died in a drug-induced muddy field in Northern Vermont, the band played one of their defining shows of the modern era, directly contrasting their farewell festival, yet subtly nodding to the sounds of the bygone era. Midway through the second set of the band’s opening show in the storied UIC Pavilion Phish crafted a 25-minute masterpiece comprised of two of 2.0’s staples. Emerging with the third “Waves” since the transcendent Bethel version, the band looked to build upon that version, though instead of focusing on the blissful melodies that naturally grew out of the song’s theme, this time Trey was dead set on crafting a more rock-based, guitar laden jam. Seamlessly flowing into a percussive beat that hinted at “Undermind” four minutes prior the official segue into the song proper, it was Trey’s jam to dominate before he and Mike finally guided the band into only the 11th version of the 2.0 song. Playing a far looser version of the song than had been heard before, Phish wove in and out of each verse with something of wild abandon, giving the song it’s closest alignment to it’s origins. Yet it was when they fully departed from the song’s theme that the real magic happened, and one of the best jams of the year emerged. By turning the song’s rhythmic nature on it’s head, Trey began interlacing the beats with subtle funk chords, moving the melody further and further away from it’s origins. Yet before anyone could latch onto the funk, the music faded, Page traveled over the Theremin, and Trey began lacing together a melody that was fit for a sleeping child. Using the Theremin to coat the music, rather than dominate, the UIC “Undermind” is the best example of the Theremin being incorporated with the band’s sound since they first brought it out in “The Storage Jam.” Allowing the theme to fade off in the ether, one of the most unique jam sequences of the summer, and of 3.0, disappeared into “Steam,” thus continuing the elements set.

“Tweezer” – Denver, CO – 09/03/2011

After two years in which “Tweezer” dominated the 3.0 jam scene, culminating with one of the best jams of 2010 on 12/30/2010, the legendary jam vehicle fell flat during the early part of 2011. Sure there were some promising versions here and there – 06/05/2011 immediately springs to mind – but more often than not, the song would get “Horse’d” or “Julius’d” before it ever had a chance to really be explored. That is until it emerged seamlessly out of a “Down With Disease” jam on the second night of the band’s final stand of the summer in Denver, CO. Moving rapidly out of the funk-based origins of the song into a more melodic and uplifting theme, the jam took on a unique quality all its own, one that would soon evoke memories of the band’s style from the Fall of 1999. With near perfect precision, Trey built a soulful solo above the powerful drums of Fish and Page’s heroic baby-grand. Much like the phenomenal “Light” from 10/19/2010, it was clear the band loved the musical zone they’d discovered as they spent the entirety of the jam residing in it. Rather than moving swiftly from one theme to another as most 3.0 jams do, Phish opted to play within a singular theme, crafting ideas from within it. The result is one of the most sublime and organic jams of the era, a nod to their patient past, and a hopeful sign of things to come in the future. Dissolving into a gorgeous ambient movement, the jam came in for a soft landing before emerging in “Golden Age.” An emotive piece that summed up the band’s place at the end of their summer tour, the Dick’s “Tweezer” is the kind of jam Phish could only play after months of consistently playing together, and shows the benefit of their time and dedication to the road.

“Piper> Harry Hood” – Denver, CO – 09/04/2011

On the final night of their summer 2011 tour, Phish threw down a jam midway through the second set that hit all the highs that had occurred throughout the tour, and celebrated all they’d accomplished over the previous four months. Playing easily the best “Piper” of the year to that point, the band dove into the raging theme of the song before moving at a blistering clip into a playful and danceable section which featured Trey and Fish singing some unknown rhyme in unison with the beat. Building the jam out of it’s goofy interplay, Page stepped to the Theremin for one more go around of the summer as the band engaged in some serious “Storage Jamming.” The nod towards the seminal moment of the summer allowed Phish to bring the jam to natural conclusion before fading into their legendary piece of music, borne out of Trey’s near-death experience in Italy: “Harry Hood.” A song that, while always welcome in 3.0, has time-after-time struggled to live up to the lofty expectations built by it’s just incredible performances throughout the 90’s, the Dick’s “Hood” finally saw Trey in particular nail the song’s ethereal solo, resulting in the best pure version since certainly 2003, but probably since sometime in the mid-90’s. An absolutely sublime moment that resulted in a full on peak of the song’s emotive theme, the Dick’s “Hood” was a celebratory version of the song, capping off an incredible summer tour, and an incredible finale to the tour.

“Piper” – New York City, NY – 12/30/2011

Midway through the second set of probably the weakest show of the 2011 New Year’s run, Phish threw down a “Piper” that clearly built off the stellar version in Colorado four months early and gave a promising sign to fans that “Piper” would once again be used as a regular jam vehicle. Moving through multiple themes at a breakneck pace, much like the “Down With Disease -> What’s The Use?” from 08/14/2010, this version of “Piper” put on high display how connected the band is after almost three years of playing together again, yet all the more making fans scratch their heads over why the NYE run felt so underwhelming. Dramatically moving from chaotic interplay to a blissful melody at 9:19, the band changed on a dime for the wide open soundscapes that defined many of their best jams of the year. Building through siren exchanges from Trey and Page, Gordo filled out the blossoming jam with a massive tug at his envelope filtered-bass, filling the arena with fuzzy bass. Page then took charge of the jam while Trey opted to sculpt walls of sound, giving the chairman of the boards a fitting moment in the sun after a year in which he absolutely dominated the majority of their best jams. Fading into “Twist” the jam which had covered so much ground over 15 minutes, ended with a whisper, a symbolic reference of sorts to Phish in 2011.

Honorable Shows

Merriweather Post Pavilion – Columbia, MD – 06/11/2011

Set I: Daniel Saw The Stone*, AC/DC Bag>Ocelot, Access Me, Vultures, Wilson>Sand>Roses Are Free -> Reba, On Your Way Down>Run Like An Antelope#

Set II: Birds Of A Feather>Tweezer -> The Horse -> Silent In The Morning>Waves>Chalk Dust Torture##, Rock & Roll>Albuquerque>Piper -> Wading In The Velvet Sea -> 2001>Stealing Time From The Faulty Plan>Suzy Greenberg

Encore: Show Of Life>Tweezer Reprise

* First “Daniel Saw The Stone” since 08/03/2003

# “Run Like An Antelope” contained “On Your Way Down” teases from Trey

## “Chalk Dust Torture” contained “Birds Of A Feather teases

After 2010’s epic “Saw It Again”-laced Set II, expectations were high leading up to Phish’s return weekend at Merriweather Post Pavilion. Honoring the fun-filled 06/27/2010 show, the band opened with the traditional rarity, “Daniel Saw The Stone” for the first time since the 2003 IT festival. Mixing the first set with punctual takes on the band’s classics – “AC/DC Bag,” “Wilson,” Reba,” “Run Like An Antelope” – and inspired versions of other rarities – “Access Me,” “Vultures,” “On Your Way Down” – Phish crafted the ideal summer first set. During a week when they struggled to both consistently play with energy and purpose, the first night of Merriweather Post displayed a band at ease and having fun. Mixing surprises with excellent standards, the set just sounds like a June Phish show. For their second set, the band opted for a song-based movement, mixing some of their best jams vehicles – “Tweezer,” “Rock & Roll,” “Piper” – with a few quieter, more introspective songs – “The Horse -> Silent In The Morning,” “Albuquerque,” “Wading In The Velvet Sea”. On paper it took the appearance of some of their less-loved “recital” shows of 3.0 – Hampton 09, 08/15/2009, 10/15/2010, 12/30/2010 – yet when one listens, it is a set that flows perfectly; the amount of songs keeps the listener engaged, rather than frustrated. Highlighted by a psychedelic and distorted take on “Rock & Roll” – subtly hinting at The Gorge’s epic version later in the summer – which smoothly lands in the always welcome “Albuquerque,” a torrid “Piper”, and an absolutely blazing “2001>Stealing Time From The Faulty Plan>Suzy Greenberg” to end the set, the show’s interwoven dichotomy makes it a keeper in 2011.

 

The Gorge Amphitheater – George, WA – 08/06/2011

Set I: Possum, The Moma Dance>Sample In A Jar, Limb By Limb, Ocelot, Poor Heart, On Your Way Down, Wolfman’s Brother# -> Maze>Wilson>Fluffhead

Set II: Chalk Dust Torture>Tweezer>Prince Caspian>Sand -> Tweezer>Birds Of A Feather, Waste>Golden Age>Reba>Run Like An Antelope##

Encore: Suzy Greenberg>Sanity>Tweezer Reprise

# “Wolfman’s Brother” contained a “Heartbreaker” tease

## “Run Like An Antelope” contained “Reba” whistling, “Tweezer,” “Tweezer Reprise,” “Sand,” “Nellie Kane,” and “Golden Age” teases

The night after blowing apart the minds of their fan base with the masterful “Rock & Roll -> Meatstick -> Boogie On Reggae Woman” jam sequence, Phish returned for their second night at The Gorge and played a far more straight forward, rocking show, yet one which displayed better overall flow, particularly in set II. Opening with a string of tunes that one would have expected to have been played the night before, the first set took a while to get off the ground, regardless of how good the band sounded, particularly in “Limb By Limb” and “Ocelot.” Yet when they dropped the Little Feat rarity “On Your Way Down,” the show started in earnest as the final four songs that followed were not only fan favorites, but top notch versions at that. Highlighted by a phenomenal “Wolfman’s Brother” that touched on Led Zeppelin’s “Heartbreaker” before moving on to a disjointed groove, the song was the first genuine experimentation of the night. Seamlessly segueing into “Maze,” the two mid-90’s classic were united in the most random way, yet it worked and set off a firestorm within the crowd. Closing the set with a classic “Wilson>Fluffhead,” the crowd was at a fever pitch heading into setbreak. Opening set II with “Chalk Dust,” it’s first such appearance since it was taken to the netherworld on 06/25/2010, it appeared the band was poised to give their angst-ridden classic the storage treatment. However, the set’s theme was to be tightness, thus when the song came to a roaring end, Trey immediately launched into a “Tweezer” that set off an explosion within the open-air theater. Building the jam around fall-back funk themes the jam held little weight on it’s own, but when it led into a unique and lilting “Prince Caspian,” a shred-fest within “Sand” and ultimately a perfect segue back into “Tweezer,” all was forgiven. The other high point of the set came in the set closing trio of the TV On The Radio jam, “Golden Age” and the contrasting classics, “Reba” and “Run Like An Antelope.” Appearing in the second set for the second time this summer, and only the fifth since 2000, the song gave band and audience alike an opportunity to step back and reflect of the incredible weekend it had been. Finishing the set with an “Antelope” littered with teases of almost every song in the set, the band sent a message of how much fun they’d had at the Gorge, only further emphasized with the “Suzy>Sanity>Tweezer Reprise” encore that almost shook the hill into the Columbia River. Similar to 06/11/2011 in it’s ability to show Phish’s excellence even when they don’t jam, 08/06/2011 is yet another one of those shows that just sounds like Phish in the summer time.

 

Madison Square Garden – New York City, NY – 12/28/2011

Set I: Free*, Glide>Possum, Cities, The Ballad Of Curtis Loew, Stash, Contact>Sample In A Jar, Kill Devil Falls>Bathtub Gin

Set II: Birds Of A Feather, Carini -> Tweezer# -> My Friend, My Friend&>Rock & Roll -> NICU>Bouncing Around The Room, Harry Hood##> Bug

Encore: Tube>Rocky Top>Tweezer Reprise

* First “Free” opener in history

# “Tweezer” contained a “Streets Of Cairo” tease

## “Harry Hood” contained a “Free” tease at the end

& “My Friend, My Friend” was unfinished

The first night of Phish’s 2011 New Year’s Eve run, 12/28/2011 proved to be the most inspired show of the underwhelming end to the year. Opening with “Free” for the first time in the band’s history, followed by the first “Glide” since MSG 2009 – only the second since the Coventry debacle, and only the fourth in eleven years – the stakes were set mighty high as many thought this run would carry over the inspired playing of the summer of 2011. A jam off of “Cities” in the clean-up spot only pushed the crowd to a roaring peak as Mike and Trey locked in for a jam akin to the one of the same Talking Heads cover at The Greek Theater in August 2010. The rest of the first set was full of tour opener set I standards – “Stash,” “Sample In A Jar,” “Kill Devil Falls” – a couple rarities – “The Ballad Of Curtis Loew,” “Contact” – and a stellar type-I jam in “Bathtub Gin” to close out the first frame. The second set proved to be me the most fluid and experimental set of the entire four-show run, highlighted by a perfect segue from “Carini -> Tweezer,” and a rhythmic jaunt through “Rock & Roll” which found an ideal landing in the least likely of places: “NICU.” Closing the set with a “Harry Hood” that matched the sharpness of the Dick’s version followed by the emotive ballad “Bug,” the band walked off the stage triumphant. Encoring with an unexpected trio of “Tube>Rocky Top>Tweezer Reprise” it appeared Phish could do no wrong and would surpass their past two NYE run’s with ease. However, after the following night’s “The Sloth>You Enjoy Myself” opener, nothing, aside from 12/30/2011’s “Piper” would approach both the song selection, experimentation, nor wild abandonment that defined much of 2011, and 12/28/2011 in particular.

 

The Top Ten Shows Of 2011

Bethel Center For The Arts – Bethel, NY – 05/28/2011

Set I: Theme From The Bottom, NICU, Cities>Halley’s Comet -> Runaway Jim, Gumbo>Quinn The Eskimo>Limb By Limb, Horn, Bathtub Gin -> Manteca# -> Bathtub Gin##

Set II: Down With Disease &-> Free>Backwards Down The Number Line###>Makisupa Policeman+ -> Harry Hood>Cavern>David Bowie

Encore: A Day In The Life

# “Manteca” contained “Golden Age” teases

## The ending of “Bathtub Gin” contained a “Manteca” tease

### “Backwards Down The Number Line” contained a “Dave’s Energy Guide” tease from Mike

& “Down With Disease” was unfinished

+ “Makisupa Policeman” contained references to the band member’s houses, thus originating the tour-long gag, and referenced Trey’s favorite TV show: “House.”

On the second night of Phish’s 2011 Summer Tour the band played an absolute gem of a show, one in which many would expect to come two weeks into a tour, rather than right off the bat. However, after rehearsing extensively on the hallowed grounds of Woodstock in the week leading up to the tour, the band was primed and ready from the get-go, resulting in two highly inspired, exploratory shows out the gates. Opening with “Theme From The Bottom” the show got off to a unique start as the tour had kicked both night’s off with rare openers. Playing a perfect summer set, Phish dove right into the jams with a thick “Cities,” followed by a dreamlike jam in “Halley’s Comet” that spilled perfectly into “Runaway Jim.” Complimenting the rest of the set with tight versions of “Quinn The Eskimo” and “Limb By Limb” the peak of the set came with the closing jam out of “Bathtub Gin.” Typically a type-I shred-fest in 3.0, Trey in particular locked onto a groove right as it sounded as though the band was reaching the final peak and instead diverted the jam in a mash-up of the rare “Manteca” and the theme to “Golden Age.” Toying with the crowd, they wove in and out of this jam before finally bringing it back into “Gin” for a climaxing conclusion of the first set. Opening the second set with the expected “Down With Disease,” the band went on to craft one of their most connected, fully flowing sets of the summer. Taking “DWD” down a softer, more ambient-based path Trey wove lyrical riffs around a porous foundation before stepping back and allowing it to dissolve in a wall of sound. Taking their time to build out of “DWD” and into “Free” the segue was a far cry from the rushed segues into the song throughout much of 3.0. Dropping into “Backwards Down The Number Line” signaled the second significant jam of the set as Trey spent serious time playing around the comeback anthem’s theme before peaking it in a glorious celebration that is really how the song deserves to be played literally every time. Adding some Phish humor midway through the set by way of the first Phish song, “Makisupa Policeman,” the “House” gag that would follow the band throughout their June leg was born out of a story on Trey getting high at each of the guy’s houses. Closing out the set with a classic “Harry Hood>Cavern>Bowie,” plus an always welcome “A Day In The Life” encore, Phish left the stage at the top of their game. A stunning opening weekend to the Summer 2011 tour, the first two nights in particular would go down as some of the best music the band played all year.

 

DTE Energy Music Theater – Clarkston, MI – 06/03/2011

Set I: Wolfman’s Brother, Funky Bitch, Sample In A Jar, NICU#, Mike’s Song -> I Am Hydrogen>Weekapaug Groove, Tela>Chalk Dust Torture, The Wedge

Set II: Down With Disease#% -> Fluffhead -> David Bowie, Waste>2001##>Cavern

Encore: Good Times, Bad Times

# “NICU” and “Down With Disease” contained “Happy Birthday” teases

## “2001” contained a “Sex Machine” tease

% “Down With Disease” contained a jam centered around “A Love Supreme”

There are certain Phish shows when all involved – band and crowd – know going in it’s going to be a classic. A week into their summer 2011 the band dropped into the Motor City for a birthday show for Gordo and played a fully-flowing show that featured a fun-filled Set I, the longest jam of 3.0 in “Down With Disease” and a classic set II, only six-songs long, reminiscent of the band’s experimental throwdown’s in the 90’s. Opening a show for the first time since 2000, “Wolfman’s Brother” provided insight into the energetic and exploratory show the band was about to embark on. A song that really blossomed the previous Fall after a year and a half run as the most consistent tune of 3.0, the version from Clarkston, while remaining relatively contained to its structure, certainly displayed the band’s willingness this early in the tour to pushing their song’s past their 3.0 limit. Filling the set with powerful takes on first set standards – “Funky Bitch,” “Sample In A Jar,” “NICU,” “Chalk Dust” – along with a notable “Mike’s Groove” and a surprise “Tela,” the set grabbed the crowd, and although it didn’t explore too much new territory, showed how sharp the band was in the early part of summer. It was the second set though, that would be remembered for both the incredibly diverse, blissfully stunning jam out of “Down With Disease,” the segues into the classic’s “Fluffhead” and “David Bowie” that followed, and the overall length of the set, all of which combined to make it the early favorite set of the year. After the nearly hour-long triumvirate, the expected breather in “Waste” felt a whole lot more appreciated by the crowd, stunned by what they’d just witnessed. Yet showing how keenly aware they were of the set they were playing, the band capped off the show with a “2001>Cavern” chock full of James Brown teases, and a raging “Good Times, Bad Times” encore. A special show for both band and crowd, Clarkston provided an early peak for the summer tour, one that would be matched by the following night in Ohio, but one that wouldn’t be surpassed until exactly one month later at Super Ball IX.

 

Blossom Music Center – Cuyahoga Falls, OH – 06/04/2011

Set I: Kill Devil Falls, Guyute, Fuck Your Face>Foam, Ocelot, Rocket In My Pocket, Back On The Train>Guelah Papyrus, Tube+>Run Like An Antelope#++

Set II: Birds Of A Feather, Possum -> Steam^ -> Piper -> The Lizards, Sneaking Sally Through The Alley##>Harry Hood -> Have Mercy -> Harry Hood###>Character Zero####

Encore: Slave To The Traffic Light

+ “Tube” referenced Page’s House

++ Trey mentioned different band members including Toph before the “Marco Esquandolas” section

^ “Steam” made it’s Phish debut

# “Run Like An Antelope” contained a “Streets Of Cairo” tease

## “Sneaking Sally” contained a “Manteca” tease

### The second part of “Harry Hood” contained a “The Lizards” and a “Have Mercy” tease

#### “Character Zero” contained a “Smoke On The Water” tease

A night after playing their most exploratory jam to this point in 3.0, Phish put on a show that, while it was the antithesis to 06/03/2011, proved that when Phish is really feeling it, it doesn’t matter what kind of show they play. With a first set that contained some uneven flow as the band toyed with rockers – “Kill Devil Falls,” “Back On The Train,” “Run Like An Antelope” – compositions – “Guyute,” “Foam” – and rarities – “Fuck Your Face,” “Rocket In My Pocket” “Guelah Papyrus” – it still retained the magic from the previous night, and proved to be one of those puzzling sets that shouldn’t have worked, but somehow did. In a similar manner, the second set was a far more song-based affair that the previous night, though the band used the format to show off their ability to jam within their songs, as was heard in the disjointed climax in “Possum” and the “Harry Hood -> Have Mercy -> Harry Hood” that gave the set it’s emotional peak. However the set’s true highlights came in the debut of the year’s lone new original, “Steam,” the sublime jam that emerged from “Piper’s” rage and spilled smoothly into “The Lizards,” and the contrastingly menacing jam that built from “Sneaking Sally” and segued brilliantly into “Harry Hood.” Closing the show with a stunning take on the classic, “Slave To The Traffic Light,” the show was proof of how dexterous of a band Phish had become throughout 3.0, and along with the previous night made the June midwest run the band’s best until their UIC trifecta over two months later.

 

Verizon Wireless Ampitheater – Charlotte, NC – 06/17/2011

Set I: Mike’s Song -> I Am Hydrogen>Weekapaug Groove, Bouncing Around The Room>NICU+>Sample In A Jar, Col. Forbin’s Ascent -> Fly Famous Mockingbird, Axilla I>Wolfman’s Brother, Scent Of A Mule#, Stealing Time For The Faulty Plan

Set II: Backwards Down The Number Line>Rock & Roll## -> Ghost>Free>Reba, Icculus*, Hold Your Head Up>Bike**###>Hold Your Head Up, Chalk Dust Torture, You Enjoy Myself

Encore: Wilson>Loving Cup

+ “NICU” referenced Leo’s House

# “Scent Of A Mule” contained a “Tra La La” tease from Page

## “Rock & Roll” contained a “A Love Supreme” tease from Mike

### “Bike” contained a “Somewhere Over The Rainbow” tease from Fish

* First “Icculus” sing 08/14/2009

** First “Bike” since 06/18/2009

After ten days worth of mostly forgettable shows, defined by recital setlists, aborted jams, and an overall puzzling disconnect from the band, Phish played a rarity-filled, fully flowing summery show in Charlotte, NC that still remains one of the highlights of June, and of 2011 in whole. Opening with the first “Mike’s Groove” opener since 08/15/2004, the band sent a clear message out the gates that they were stoked and ready to throw down a memorable night. Filling the first set with punctual versions of first set standards – “NICU,” “Sample In A Jar,” “Stealing Time From The Faulty Plan” – alongside a heated jam in “Wolfman’s Brother,” and the first “Col. Forbin’s -> Mockingbird” since 07/04/2010, by the time the band stepped off the stage they had completed one of the top three sets of the summer thus far. In the second set, the same ideas that made Set I so much fun spilled over as the band engaged in one of June’s best improvisational moments in “Rock & Roll -> Ghost,” before throwing down a surprise Set II “Reba” – it’s first appearance in a second set since 09/22/2000 – and then engaging the crowd in the ultra-rare “Icculus” – first since 08/14/2009 – and Fishman sung Syd Barrett tune, “Bike” – only the second since 2000. Closing out the show with a raging “Chalk Dust Torture,” followed by the increasingly rare “You Enjoy Myself,” along with the energized “Wilson>Loving Cup” encore, the band kicked off the final weekend of their June run with a memorable show that far surpassed much of the music played during the meat of the tour, and left many wondering why the band had strayed so far from their focus and energy in the first two weeks of the tour in the first place. In any sense, Charlotte is the kind of show that shows Phish comfortable deep within a tour, simply having fun, loving playing in front of their fans. A great show to sum up the overall sentiments of 3.0.

 

Super Ball IX – Watkins Glen, NY – 07/03/2011

Set I: Soul Shakedown Party>AC/DC Bag>The Curtain*>Col. Forbin’s Ascent -> Fly Famous Mockingbird**+, Destiny Unbound>Big Black Furry Creature From Mars#>Wilson##>Mound, A Song I Heard The Ocean Sing&, Time Loves A Hero, Reba### -> David Bowie

Set II: Big Balls^>Down With Disease&& -> No Quarter>Party Time, Ghost>Gotta Jibboo>Light, Waves -> What’s The Use?>Meatstick>Stealing Time From The Faulty Plan, The Star Spangled Banner

Encore: First Tube

* First “The Curtain” without since 09/09/2000

** First “Fly Famous Mockingbird” with narration since 09/30/2000

+ The narration in “Fly Famous Mockingbird” referenced the previous night’s “Storage Jam” and explained how the band got locked in a storage unit on their way to Colorado in 1988, and that everything since, including the entire SBIX weekend had been a mental projection from the band to their fans.

# “Big Black Furry Creature From Mars” contained a tease of “The Twilight Zone” and “Leave It To Beaver” theme’s from Mike

## “Wilson” contained a tease of “Mind Left Body”

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

& “A Song I Heard The Ocean Sing” was unfinished

&& “Down With Disease” was unfinished

^ “Big Balls” (AC/DC) made it’s Phish debut

Hands down, the single best show Phish has played since their return in March 2009. Sure, you could make an argument for 01/01/2011, or 08/07/2010, or 10/20/2010, or even 08/07/2009, but none of those – while phenomenal shows in their own right – have the combined energy, wackiness, exploratory spirit, and overall anything-goes Phish that has defined so much of their career, all packed into one show, quite like 07/03/2011. The result of the previous night’s secret “Storage Jam,” Phish emerged on the final day of their Super Ball IX festival totally relaxed, completely enthralled with their playing, and ready to throw down a show, the likes of which it’s fan base hadn’t experienced in years. Particularly in the first set, it felt as if the band could do no wrong, any song they played, any direction they took it worked, sculpting a first frame full of unique and inspired versions of classics – “Wilson,” “Reba,” “David Bowie” – and rarities alike – “Destiny Unbound,” “Mound,” “A Song I Heard The Ocean Sing.” Starting in earnest with the first “Curtain” without since 1.0, the band dove into “Forbin’s -> Mockingbird” and delivered the first narration for the Gamehendge-era tune since Vegas 2000. Crafting a tale about how the band got locked in a storage unit on their first tour outside of Vermont in 1988, Trey messed with the crowd in classic form, revealing that the band just kept playing music while locked inside, that everything they did between then and 2011 was actually a mental projection from them to their fans. A wholly connected moment for the band and the fan base, the story evoked memories of the wacky stories Trey would tell when the crowd was a mere fraction of the size it’s grown to today. From that point forward the rest of the set was absolute fire, with a best-of-3.0 version – and a few top-10-ever versions thrown in there – that you simply have to hear to believe. Summed up in the “Reba” whistling outro that the band butchered horribly, but used the mistake to distort the gaily music into an eerie “David Bowie,” the set is truly Phish at their finest. Set II was more than anything, the icing on the cake. Opening with the appropriate first time cover of AC/DC’s “Big Balls,” the set featured expansive jams in “Down With Disease,” “Light,” and “Waves,” along with another stellar cover of “No Quarter,” and a deep second-set appearance for “What’s The Use?” Capping off the set with the expected and welcome “Star Spangled Banner,” the boys displayed their incredible musical fortitude by nailing their a cappella cover. A show for the ages, 07/03/2011 took the massive culmination of 2 years as a band that was “The Storage Jam” and showed their fans they were not only keenly aware of the side of Phish they all craved, but that after all these years, and after so much unknown, they were still that band. As would be seen with the August and Dick’s runs, the turning point that was “The Storage Jam,” was not all for naught.

 

Lake Tahoe Outdoor Arena At Harvey’s – Stateline, NV – 08/09/2011

Set I: Party Time, The Oh Kee Pa Ceremony>AC/DC Bag>Mellow Mood, Rift>Punch You In The Eye>Meat, David Bowie, Bouncing Around The Room, Horn, Water In The Sky, 46 Days

Set II: Gotta Jibboo>Light#>Chalk Dust Torture##& -> Slave To The Traffic Light>Free, Rocket Man^, Harry Hood>Walls Of The Cave

Encore: Bug>The Squirming Coil

# “Light” contained a tease of “Timber” and “Tweezer”

## “Chalk Dust Torture” contained a tease of “Dixie and Hedwig Theme”

& “Chalk Dust Torture” was unfinished

^ “Rocket Man” (Elton John) made it’s Phish debut

Since the onset of 3.0, two trends have held true: the August run combines the energy and excitement of uneven June shows with a commitment to exploration, and, the West coast produces some of the loosest Phish this side of 1997. Fresh off their transcendent performance at The Gorge – featuring The jam of the era in “Rock & Roll,” along with one of better shows of the year on 08/06/2011 – Phish arrived in the parking lot-turned amphitheater, right in between a casino and Late Tahoe, poised to give their fans a uniquely crafted show that balanced a recital approach in Set I, and a fully flowing, experimental set II. Kicking things off with “Party Time,” “Oh Kee Pa> AC/DC Bag>Mellow Mood,” the show carried the kind of fun-filled summery feel that harkened back to 08/14/2010’s masterful performance. Using the set as a means to highlight some of the band’s best proper songs – “Rift,” “Water In The Sky,” “Horn” – while still saving some time for the funk in “Meat,” diving deep into psychedelia in “David Bowie,” and capping things off with a torrid “46 Days,” it was a diverse outing, one that retained incredible flow. A strange phenomenon in the band’s recital shows, the first set seemed to be eternally connected like an album, regardless of the fact that some of the songs were written more than twenty years apart. Set II was a fully-flowing machine, complete with groundbreaking improv in “Light,” a classic segue for the ages in “Chalk Dust -> Slave,” and a gimmicky first-time rendition of Elton John’s “Rocket Man,” a direct response to the loads of hand-held light-up rockets seen amongst the crowd. Capping things off with a blissful take on “Harry Hood,” a song which has once again returned to it’s role as the emotional peak of whatever set it’s played in, followed by a raging “Walls Of The Cave,”  the set was among the more hooked-up moments for Phish in a year full of them. Closing out the night with an emotive “Bug>Coil” encore, Phish walked off the stage having played one of their more diverse, understated shows of the year. A show which let the music speak for itself, the first night of Tahoe was the epitome of west coast Phish.

 

UIC Pavilion – Chicago, IL – 08/15/2011

Set I: Back On The Train>Rift>Guelah Papyrus, Scent Of A Mule, Jesus Just Left Chicago, Wolfman’s Brother, Anything But Me, Babylon Baby^, Reba>Alumni Blues+ -> Letter To Jimmy Page -> Alumni Blues

Set II: Sand -> Light -> Dirt>Waves -> Undermind% -> Steam>Fire

Encore: Camel Walk, Guyute, The Horse -> Silent In The Morning, Harry Hood

^ “Babylon Baby” made it’s Phish debut

+ Prior to “Alumni Blues” Trey said, “That green ball came up here just enough times.”

% “Undermind” featured Page on the Theremin

After 27 shows, two and a half months on the road, 18 cities, 12 states, and one festival, Phish arrived at the hallowed UIC Pavilion in Chicago, IL about as well-oiled a machine as they had been in all of 3.0. As a direct result, the six shows played between Chicago and Denver to close out the 2011 summer tour is some of the most memorable, consistent, and on-point Phish any of us had heard in years. Playing without restrain, the term 3.0 need not apply to any of the UIC or Dick’s shows, as each displayed a band on top of their game once again, and each would be a highlight in any year.  Four of the six shows from the run round out this list, the other two, while they didn’t quite make the cut, are still incredibly memorable shows in their own right. Simply put, were I making a top five list of the year, it’d be the following four shows only narrowly edged out by 07/03/2011. The culmination of Phish’s entire two-year re-birth, reformation and reclamation process, UIC and Dick’s is Phish at their most consistent, zaniest, and absolute finest. Kicking things off with a highly energized set featuring explosive type-I jams in “Back On The Train,” “Jesus Just Left Chicago,” “Reba,” and the surprise set closing classic of “Alumni -> Jimmy Page -> Alumni,” Phish reined in the fever pitch of a crowd gathered in the first indoor shows since 01/01/2011. Rounding things out with a divergent jam out of “Wolfman’s,” plus a heartfelt take the Round Room ballad, “Anything From Me” – only the second since Coventry – the set flew perfectly thanks to it’s rock spirit, yet kept things interesting with both surprise song choices, and inspired moments of variety. Set II however was about as perfect a second set as the band has played since possibly 08/02/2003. Traversing through their Earthly “element” songs, the band kept things tight with a six-song set, allowed the improvisational music that emerged from the songs to craft a tale the band hadn’t flirted with since 2.0. Anchored by a fully hooked-up jam within “Waves -> Undermind,” the set also featured a seedy “Sand,” and the band’s best performance of the 2011 debut, “Steam,” until 12/31/2011’s sinister take. Walking off the stage after “Fire,” many, while incredibly satisfied, were confused at to why the band chose to end the set after only an hour. Yet, fucking with their fans as they may, Phish treated the crowd to a five song encore, featuring the ultra-rare – “Camel Walk,” – the massive composition – “Guyute” – and the most ethereal Phish song of them all – “Harry Hood. A show for the ages, 08/15/2011 kicked off a run of shows that were played in a way we hadn’t seen nor heard since 1.0.

 

UIC Pavilion – Chicago, IL – 08/16/2011

Set I: Dinner And A Movie, Ha Ha Ha>Chalk Dust Torture, Mexican Cousin, Walls Of The Cave>Runaway Jim>Foam, I Didn’t Know, Ocelot, Ginseng Sullivan>The Wedge, Limb By Limb>Let It Loose

Set II: Down With Disease#& -> Twist>Backwards Down The Number Line>Theme From The Bottom>Golden Age -> A Day In The Life>You Enjoy Myself##

Encore: Heavy Things>Slave To The Traffic Light>Rocky Top

# “Down With Disease” contained “Leave It To Beaver” teases from Mike

## “You Enjoy Myself” contained “Walk This Way” teases and Darth Vader quotes in the vocal jam

& “Down With Disease” was unfinished

A night after playing one of their most connected, on point improvisational sets in years, Phish returned to the UIC Pavilion and played a much more structured and song-based show, yet one that flowed just as well as it’s predecessor. Cruising out the gates with two gag openers – “Dinner And A Movie,” “Ha Ha Ha” – followed by an atypical take on “Chalk Dust Torture,” it was clear the energy from the previous night hadn’t subsided. Yet, where most of the band’s notable recital shows featured standard takes on standard tunes – just more of them – this set wove through various eras and styles of Phish, keeping listeners on their toes for it’s entirety. Featuring jams in “Walls Of The Cave,” “Runaway Jim” and “Ocelot,” along with humorous breaks in “Mexican Cousin” and “I Didn’t Know,” the boys threw a curveball by ending the set with the emotional, late-in-the-evening styled Stones’ tune, “Let It Loose,” seen for the first time since Indio. Returning to the experimental innovation that carried the second set the previous night, Phish came out blazing with a stunning “Down With Disease,” one that was only surpassed by the 06/03/2011 version this year. Moving seamlessly into “Twist,” it sounded as though the band was going to revive the once-jam monster, however, after an extended take on it’s blues themes, the flow of the overall set took over. Filling out the meat of the set with strong renditions of “Number Line,” “Theme” and “Golden Age,” the latter of which segued effortlessly into the always welcome, “A Day In The Life” – a show with a Beatles and Stones cover is never one to complain about – Phish ended the set with only the sixth “You Enjoy Myself” of the year. A song which had been used to close out literally every run in 2009 and 2010, it’s sudden rare quality made it far more appreciated than it had become in 3.0. Playing yet another extended encore the band treated the crowd to some of Trey’s best guitar work of the night in “Heavy Things” and “Slave,” before saying good night with “Rocky Top.” Carrying over the inspired playing of the previous night, 08/16 proved that at this point in the summer of 2011, it didn’t matter what kind of show they played, for whatever they played, they fucking nailed.

 

Dick’s Sporting Goods Park – Commerce City, CO – 09/03/2011

Set I: Possum, The Moma Dance>The Wedge, Ocelot>The Divided Sky, Funky Bitch, Axilla I>Llama#, Fast Enough For You, Wolfman’s Brother

Set II: Down With Disease& -> Tweezer##>Golden Age>Limb By Limb, Kill Devil Falls -> 2001>Light### -> Down With Disease>Julius>Cavern>Run Like An Antelope####

Encore: Sleeping Monkey>Tweezer Reprise####

# “Llama” contained a “Streets Of Cairo” tease

## “Tweezer” contained “Green-Eyed Lady” teases from Page and a “Golden Age” tease from Fish

### “Light” contained “Dirt” teases from Mike and “Down With Disease” teases from Trey

#### “Run Like An Antelope” and “Tweezer Reprise” contained “Down With Disease” teases

& “Down With Disease” was unfinished

The second night of the Labor Day Weekend Finale to the 2011 Summer tour featured a balanced Phish firing on all cylinders. Mixing rock with jams and gimmicks in a fully flowing setlist that displayed the entirety of their catalogue, the band continued the fire which started in Chicago, carried over to 09/02’s “Sssssss” show, and would see them end the summer at the top of their game. Opening with a string of well-played, first set standards, the show popped with an energy one wouldn’t expect with a “Moma,” “Ocelot,” “Funky Bitch” showcase. Yet things really began in earnest once the band dropped the rare “Axilla I,” and followed it with the triumvirate of “Llama,” “Fast Enough For You” and a raging “Wolfman’s Brother” to close things out. Ending on such a high note, it was reminiscent of 08/06/2011’s first set which started in much the same way, and ended just as hot. Opening Set II with the second-ever “Down With Disease -> Tweezer” – the first since 08/02/1997 – was about all the sign anyone needed as to what kind of set we were in for. Developing into an absolutely transcendent jam, “Tweezer” quickly wove from an A-minor funk-fest into a dreamlike Fall-99-esque passage that showed off Trey’s chops and displayed the band’s full-on connection this late in the summer. Peaking numerous times before dissolving into “Golden Age,” the jam continued the Summer 2011 trend of risk and reward with various types of jamming in the world of Phish. Highlighting the middle of the set was a searing “Kill Devil Falls” that warped into a swill of ambient noise before moving with ease into “2001,” the sequence displayed Phish’s career-spaning ability to meld styles that don’t appear to fit at first listen, this time with barroom rock and space-aged funk. Moving into “Light,” the song stopped briefly in a blissful theme before rising back into a full-on “Down With Disease” jam, thus sandwiching the first half of the set. Bringing the show and set to a fiery finish with “Cavern>Antelope,” along with a classic “Sleeping Monkey>Tweezer Reprise” encore, the show ended on a peak, one that would spill over to the following night, the final night of the tour. A mix of jams and energy, 09/03/2011 was reminiscent of the second night of tour way back in May, in it’s fully-flowing spirit, and moments of transcendent improv.

 

Dick’s Sporting Goods Park – Commerce City, CO – 09/04/2011

Set I: Maze*, Back On The Train#>Rift>Bathtub Gin##, The Way It Goes^###, Halfway To The Moon, Gumbo, Halley’s Comet -> Tube####>Timber>Roses Are Free>Chalk Dust Torture

Set II: Rock & Roll -> Come Together**& -> Twist##### -> Piper######%>Harry Hood>Roggae, Ghost####### -> Guy Forget -> Ghost, Walls Of The Cave########

Encore: Backwards Down The Number Line

# “Back On The Train” contained a “Sneaking Sally Through The Alley” tease from Trey

## “Bathtub Gin” contained a “Low Rider” tease from Trey

### “The Way It Goes” contained a “Streets Of Cairo” tease from Page

#### “Tube” contained a “Charlie Chan” tease from Trey

##### “Twist” contained a “Low Rider” jam

###### “Piper” contained a “Roadrunner” tease

####### “Ghost” contained an “Oye Como Va” tease

######## “Walls Of The Cave” contained “Rock & Roll” teases from Page

^ “The Way It Goes” (Gillian Welch) made it’s Phish debut

* First “Maze” opener since 12/09/1995

** First “Come Together” since 12/08/1995

& “Come Together” was unfinished

% “Piper” featured Page on the Theremin

A journey that began on the site of the original Woodstock Festival way back in May, over Memorial Day Weekend, concluded in a soccer stadium, in the industrial offshoot of Denver, CO, over Labor Day Weekend. Thirty-three shows deep, Phish used all the time committed to playing together throughout the summer to throw down one more show that will stand the test of time in 2011. A true two-set affair, Set I was all about the energy, while Set II was a fully flowing beast of jams and gimmicks, rarely stopping, displaying the band’s total connection and ability to go in any direction with their music. Opening with the first “Maze” opener since the legendary 12/09/1995 show that features maybe the greatest “You Enjoy Myself” of all time, the band seized upon the palpable energy of the crowd, and exploited them for all they were worth. Tearing through the Rift-era shot of adrenaline, they moved swiftly into a trio of “Back On The Train>Rift>Bathtub Gin,” the latter of which featured a jam so heated, it brought back memories of the 05/28/2011 “Ginteca” affair. Pausing briefly for a one-time take on Gillian Welch’s “The Way It Goes,” and the Page-penned gem “Halfway To The Moon,” the band revived the energy in earnest with a six song sequence of adrenaline that read: “Gumbo, Halley’s>Tube>Timber>Roses>Chalk Dust.” It was the kind of set that, upon ending, left all in the crowd wondering what had just happened and how in the world the band would top that. As they’d done throughout the entire year though, just when one thinks they’ve reached their peak, Phish has dug deep to wow their fans even more. Set II’s of tour closer’s are generally reserved for the band to revisit the song’s and ideas that brought them the most success throughout the year. Thus, it was incredibly appropriate for the band to open their 2011 tour-ending set with their cover of “Rock & Roll,” after playing such memorable versions on 06/07/2011, 06/11/2011, 06/17/2011, and 08/05/2011. Building the jam to it’s raucous peak, the band brought it down into a wholly groove-based segment before easing into a welcomed surprise of The Beatles “Come Together.” Albeit a sloppy version, the sheer fact the band had discovered this Lennon-gem by way of The Velvet Underground, for the first time since playing it on the fifteen-year anniversary of Lennon’s death, made the sequence of music all the more special. Allowing “Come Together” to bleed right into “Twist,” the band united their music with that of the past, a respectable move, and one they’ve gained the ability to do after so many years. Melding the Ghost-era jam vehicles, “Twist” and “Piper” together as they’ve been so many times before, the band took “Piper” on a ride it hadn’t experienced since 06/27/2010 in Merriweather. Landing in a full-on jam based around The Modern Lovers’ – and one-time Phish cover (09/11/2000) – “Roadrunner,” before launching into a “Storage Jam” centered around Page’s Theremin the jam was insanely diverse and displayed Phish’s uncanny ability in 3.0 to jump from idea to idea without wasting time hooking up. Honoring the style that was discovered in the wee-hours of 07/02/2011, “Piper” concluded a month’s worth of jams that explored the dark side in ways the band simply couldn’t up until now. Fading into “Harry Hood,” Phish played their old reliable emotional peak of sets with a precision, and a drive that they hadn’t in years. Capping off the first part of the set, this “Hood” was the culmination of a journey that began with the first “Hood” with Trey’s Ocedoc back on 08/07/2010. Honoring the simple, building quality of the song, Trey played within the theme like it was 1995, waiting for just the right moment to return with the “You can feel good…” conclusion. “Roggae” followed which gave everyone a chance to step back and breath, before “Ghost” kicked off the final segment of the set. Shifting quickly into a major-keyed jam like so many “Ghost’s” have since 12/31/2010’s peaking gem, the jam built around a thunderous theme, hinting at something within the vast memory bank that is Phish, finally materializing into the second-ever live version of “Guy Forget.” Not played since 10/01/2000, the gimmicky tune about the tennis star, injected the jam with some serious humor, without compromising the musical integrity. Sandwiching the song in “Ghost,” Phish closed out the set with the 2.0 masterpiece, “Walls Of The Cave,” before encoring with the 3.0 anthem, “Backwards Down The Number Line.” The absolutely perfect song to close out the show, run, and tour with, “Number Line” signifies everything Phish in their current state is about: family, friends, and the overall joy of playing music. Closing out the meat of their 2011 touring season with an absolute barnburner, Phish showed how far they’ve come since their humble comeback weekend in Hampton, VA back in March 2009. While the rest of the year featured either no Phish, or less-than-amazing Phish, none of it matter, for 2011 will go down as one of the better years of Phish when all’s said and done. Constantly building since their return, one can only imagine where they’ll go from here once they kick off the 2012 tour.

——–

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

The Best Of Phish – 2010

——– Back in 2010 I managed a blog titled The Suffering Jukebox. While it was a general music blog first, I used the opportunity to push my thoughts on Phish through the medium. These next two posts are a look back at my writings on Phish in 2010 and 2011. Part revisionist/Part preview of the Best of 2012 post I have in the works. More than anything, they offer us a look back at how far Phish has come in 3.0 ——–

With their year-long reunion tour behind them, many within the Phish community looked towards 2010 as the year when Phish would once again reclaim the title of “Best Goddamn Band On The Planet” that they had earned throughout the 1990’s, yet strayed from for much of the past decade. With a serious, back-to-basics campaign throughout their entire reunion year, all signs pointed towards the band evolving in much the same way they did in the early 90’s. To listen to a Phish show from 2009, one could take away many similarities to their sound in 1991 and 1992. There were very few jams, shows were very song-based, and for the most part, they nailed each of their complex compositions. This kind of dedication towards playing their songs right was a far cry from the sloppy, yet heavily experimental Phish that fell apart with such lack of care in 2004. Yet while many could argue that the playing was tamer and less adventurous than the band had been from 1994-2004, those with a keen ear towards their past knew that there would have been no heavy experimentation from the band without the years of tight, jam-less shows, where the band focused on chemistry, and hitting all their changes, rather than exploring the ethos.

Thus when the band concluded 2009 with an energized, fully-flowing, and yes, experimentally-heavy four-show New Year’s run in Miami, many saw this as a microcosm of the band’s evolution in the 1990’s. Many expected 2010 to kick off with a bang, as the band – a year of getting comfortable with each other on stage, and with playing their material, under their belt – could now relax and combine energized, sharp-playing, with the improvisational creativity that harkened back to their glory days of the mid-90’s.

And yet, as can be with art, not everything went as planned. While Phish opened 2010 with arguably their best tour opener since 1999, their string of shows throughout June hit multiple speed-bumps due in large part to Trey’s inability to relax on stage and let a jam build organically. Along with this was his overwhelming reliance on the Whammy Pedal – known affectionally throughout the community as the “Whale Call” – an effect which shifted pitches on his guitar creating more soundscapes rather than melodic guitar lines. While definitely a choice effect for ambient/noise-laced jams, many fans took issue when seemingly every composed piece, and every jam – no matter the style or direction – was suddenly bombarded by the whale. By the time the tour closed with a gimmicky 4th of July show, many were openly questioning the band’s direction, and why they seemed to be so lost after a year of such promise.

Returning to the stage in early August, for an eleven-show run that crossed the country, hitting only five-venues, many were skeptical, beginning to expect Phish to underwhelm them, rather than blow them away like they had so many times before. Yet mid-way through the first set of the band’s second show of the tour, everything clicked. Maybe it was the confined, archaic Greek Theatre, maybe it was the cool Bay Area air wafting up to the stage, maybe it was the spirit of the Grateful Dead, maybe it was the new guitar Trey was playing – one that held a deeper tone, thus making pitch-shifting less of an ideal effect, thus forcing him to play lead guitar once again – maybe they had just been together long enough once again, and everything finally fell into place. Whatever it was, when the band launched into their cover of the Talking Heads’ classic, “Cities,” they settled back into a groove that built through eleven funky minutes, culminating with a pristine segue into “The Moma Dance.” Listening to a live stream of the show, one could literally hear Trey sit back and let Mike and Fish build on a theme, while he and Page offered staccatoed licks over the gooey foundation. Realizing what they were witnessing, the crowd let off an astounding roar, pushing the band further into the unknown. What had once been commonplace within a Phish show was realized once again, as the band seemed to reawaken once again to everything that could happen on stage if they just allowed the music to carry them.

The entire paradigm of Phish 3.0 changed in those eleven minutes. Late in the second set, the band took “Simple” on a fifteen minute ride that touched on melodic ambient themes, moving through multiple segments before segueing into “Backwards Down The Number Line.” The next night the band topped themselves with an energized, classically flowing show that featured what many considered to be the jam of the year in “Light.” For the remainder of the tour the band re-discovered their improvisational spirit, crafting memorable jams out of “Carini,” “Down With Disease,” “Prince Caspian,” “Drowned,” “Backwards Down The Number Line,” and more. Combining their renewed spirit for simply playing their songs with the adventurousness that defined their latter years, many began to openly pronounce that we were on the verge of witnessing the greatest incarnation of Phish there was.

Building off of this energy, Phish played a fourteen-date Fall Tour in October that not only confirmed the renewed innovation in their playing, but in many ways, far surpassed anything they had done in all of 3.0. Returning to many smaller arenas they hadn’t played since 1994 & 1995, there was a noticeably youthful flair that dominated many shows on the Fall tour resulting in a combination of energy, gimmickry and improvisation, thus putting the stumbling blocks of 2009 and early 2010 far in the band’s rear view mirror. Be it their perfectly flowing, pristine setlist from the second night in Charleston, or their playful sets, full of rarities and back-and-forth segues in Augusta, Utica, Manchester, and the second night of Atlantic City, or their all-around solid shows – that year ago would have been duds – from the third night in Broomfield,, Providence, or the first night in Amherst, no longer did it matter what Phish played, for how they played seemingly always came through. Full of surprises, energy and power, the Fall Tour reminded every Phish fan why this band had captured them so many years ago. Topped off with a top-notch Halloween cover of Little Feat’s Waiting For Columbus, an album that perfectly matched the band’s current style, Fall Tour ended with Phish fans more excited for the future of Phish than any time since 1998.

Closing the year off with an unprecedented five-night New Years run in Worcester, MA and New York City, the band condensed the energy and excitement of the monumental year, into five shows, each with stand-out performances. While the Worcester shows offered a more mellowed affair, mixing rarities with more emotive jams, by the time they stepped on stage at Madison Square Garden on 30 December, the band was fully-oiled, and ready to explode. Throwing down memorable jams in “Tweezer,” “Ghost,” “Walk Away,” “Sand,” “Walls Of The Cave,” and “Simple,” the band sounded far more mature and capable than they had just one year earlier when they had taken their talents to South Beach. And fusing their past and present through one of their best New Years gags in years – bringing the 1994 hot dog out of retirement to ride around the Garden, while a chorus of international dancers sang the “Meatstick” – the band reminded anyone still wondering, that they were still the same goofy pranksters from Burlington, now just a few years older. Playing one of the best shows of the last year on their first ever New Years Day performance, the band sent a message that 2010 was not a definitive culmination, but was once again part of a climaxing process that will lead to yet another peak in their career. Who knows exactly what 2011 will bring for Phish, but one thing is certain: the band has regained their energy and is fully comfortable on stage again, and can annihilate full arenas through their music in the same way they did fifteen years ago. However one plans on seeing shows in 2011, be it on tour, or on couch tour, look forward to what’s certain to be an excellent year from The Phish From Vermont.

Below is a list of my Top 10 Jams and Top 10 Shows of 2010. Each list contains three honorable mentions. These are not simply shows/jams 11-13, rather they are shows/jams that were excellent in their own right, and helped to build the foundation of Phish in 2010, yet didn’t crack my final ten. Each list is organized chronologically to ensure flow from the start of 2010 to the end. There is no ranking, these are simply the best ten shows/jams of the year. Below each show is a download link, and there is a link after the entire list of jams.

Hope everyone enjoys these shows and jams! Happy New Year!

The Best Of Phish 2010

Honorable Jams

“Cities” – Berkeley, CA – 08/06/2010

The much-needed kick in the ass to Phish 2010 came five songs into the band’s second show at the intimate Greek Theatre, via their longtime cover of the Talking Head’s “Cities.” A song that had once been a guaranteed trip into the netherworld, “Cities” had been demoted to first set filler throughout much of 3.0, always certain to ignite a crowd through it’s infectious grooves, yet constantly leaving much to be desired. All of this changed in Bay Area this past August when Trey – known to rush the end of every jam – sat back on a thumping groove from Mike, and let the jam build organically. What ensued after the composed section of the song was a four minute clinic in groove, fooling anyone listening that it was the summer of 1998 rather than 2010. While there were more exploratory and innovative jams from the band in 2010, without the “Greek Cities,” one has to wonder the direction the band would have gone in for the remainder of the year.

“Reba” – Augusta, ME – 10/19/2010

Played as an encore for the first time in eleven years, Phish dropped this normally first set composition after playing one of their most inspired sets of the young Fall tour. While “Reba” had improved considerably throughout the summer, resulting in some of the most inspiring Type-I jams of the era, the “Augusta Reba” was a whole different beast all to it’s own. Departing completely from the structure of the rising solo, Trey directed the band into a darker realm, resulting in yet another tease of the elusive “Manteca.” Extending the jam through five minutes of unknown territory, the performance sent out a bold message that the antics of the second set, and the accomplishments made thus far throughout the tour were not all for naught, and that the band was keenly away of their inspired playing. Representative of the “anything goes” spirit of Fall Tour, the “Augusta Reba” shocked the hell out of everyone when it was first played and has had lasting power over many jams from the rest of the year.

“Seven Below -> What’s The Use?” – Worcester, MA – 12/27/2010

The first significant piece of improv on the New Year’s run came in the form of the weather-apt “Seven Below,” and it’s smoothly executed segue into the ambient “What’s The Use?” A song everyone knew was coming as a result of the horrid travel conditions for most fans heading to Worcester, when “Seven Below” dropped midway through the first set of the run, many anticipated a huge musical moment coming. Moving through a percussive section that still retained elements of ambient themes, the jam in “Seven Below” matched both the song’s title and weather in it’s icy feel. As it became more melodic, Trey began teasing the theme of “What’s The Use?,” ultimately segueing into it some nine minutes later. Always a welcome treat since it’s bust-out a year before in Miami, “What’s The Use?” finds itself on this list twice, both times perfectly matching the jam it emerged from and the mood of the set it was placed in.

The Top Ten Jams Of 2010

“Tweezer” – Hartford, CT – 06/18/2010

Midway through the second set of the first complete show of 2010 came the “Tweezer” everyone was waiting for. While much of 2009 had been reserved for a back-to-basics approach throughout their songs, anytime the band played “Tweezer,” everyone knew a powerful and inspired jam would emerge. Thus when they kick-started “Tweezer” in Hershey, PA, three nights into their summer tour, many expected a massive jam to be played. However, the version was more underwhelming than anything else, ultimately petering out into “Twist.” Less than a week later however, Phish played “Tweezer” again, this time giving it it’s proper 2010 due. Patiently entering the jam, Trey allowed Mike to build a solid and funky base, creating a dance-party throughout the Hartford Meadows. Yet the jam truly took off in it’s second section when Trey began offering more melodic leads, building the jam into a major-keyed, triumphant jam. Pushing the song to its extreme, Trey allowed the theme to wither away slowly, extending a contemplative ambient section far longer than he normally would. When it finally emerged in “Theme From The Bottom” some seventeen minutes after its inception, no one could utter a word.

“Chalk Dust Torture” – Camden, NJ – 06/25/2010

One of the rare Phish songs to serve as both an arena rock anthem and a free form improvisational excursion, “Chalk Dust” had seemingly been regulated to show opening rocker for 3.0. That is, until the second night of Camden this summer. Midway through an ultimately underwhelming tour, Phish was in search of inspiration in anyway they could find it. In effort to find a new, bold direction, the band opened the second set of the show with “Chalk Dust Torture,” a song that was normally played in the first set of shows. Immediately latching onto a searing minor theme once the song’s final chorus had been sung, Trey harnessed the powers of his Whammy Pedal, sculpting a wall of sound that allowed Mike, Fish and Page to build a groove-based jam. Yet the real hero of the jam was the bass-weilding mastery of Mike Gordon. As the jam began to lose direction fourteen minutes in, Gordo hit his envelope filter and unleashed a disco-infused theme that carried the song to yet another peak, before it dissolved. Once again proving his MVP-status throughout 3.0, Mike took this jam from simply a welcomed experiment, to one of the strongest musical moments of the entire year.

“Simple” – Berkeley, CA – 08/06/2010

While the “Cities” played in the first set of the second night at the Greek Theatre sent shockwaves throughout the Phish community, at the time no one knew if this was a one-and-done moment of inspiration or a theme that would carry throughout the remainder of the tour. After all, a year before, the fanbase witnessed as Phish took us on a fifty-minute excursion in Albany through “Seven Below -> Ghost,” only to see them reign in their improv considerably by the very next show. Yet as the composed section of “Simple” fell away, listeners could distinctly hear Mike and Trey hooking up through a looped melodic theme that Page and Fish quickly latched onto. Building on this playful theme for a few minutes, the band took the jam on a bubbling ride that peaked with choice and bright tremelo chords from Trey. Building through fifteen minutes of upbeat jamming, the song came to a proper conclusion as it spilled over into the appropriate “Backwards Down The Number Line.” While the “Cities” jam may have been the spark that lit the flame, the “Simple” reassured a fanbase desperate for creative playing from Phish.

“Light” – Berkeley, CA – 08/07/2010

Far and away, the song of the year, the version of “Light” at the Greek ranks up there with the best jams of 2010 and of the entirety of 3.0. Bursting out of the conclusion of “Wilson,” “Light” traversed through nine minutes of tension-and-release soloing from Trey before opening up into a vast ambient landscape that displayed an interplay and patience from the entire band, unseen prior in 3.0. Ditching his whammy pedal entirely, Trey latched onto the emotive theme established by Mike, offering choice licks around his swirling bass lines. Complimented by a renewed, rhythmically-charged Jon Fishman and beautiful fills from Page, the jam moved effortlessly through the unknown, reminiscent of the band’s playing from 1998-2000. In the midst of the band’s creative reawakening, the “Greek Light” is unsurpassed in terms of its role in pushing the band further into the unknown, while giving them direction and a foundation to build on for the remainder of the year.

“Down With Disease -> What’s The Use?” – Alpine Valley, WI – 08/14/2010

The centerpiece of one of the band’s best shows of 2010, the jam out of “Down With Disease” that effortlessly segued into “What’s The Use?” stands out as representation of the renewed exploratory spirit that overtook the band throughout August. After tearing through a blistering and precise solo, the band jumped on one percussive theme after another, resulting in a constantly unwinding, relentlessly exploratory jam that pushed further and further into the unknown through full-band interplay. Easily the most diverse jam the band has played in all of 2010, the song moved with such a frenetic pace that it’s hard to zero in on a single theme that reigns supreme. More than anything, the most impressive aspect of the jam, aside from the connectivity the band played with, was the fact that the segue into the airy “What’s The Use?” literally sounded composed. It is the most graceful segue the band has played in all of 3.0, one that came out of nowhere but fit perfectly as an extended fade after the relentless climb that was the seventeen minute “DWD.”

“Backwards Down The Number Line” – Wantagh, NY – 08/17/2010

Ever since it was used to kick off the first second set of Phish’s reunion show in Hampton, VA back on 06 March 2009, “Backwards Down The Number Line” has in many ways represented everything that is Phish in it’s 3.0 incarnation. A song of celebration and friendship, the song was originally a poem Tom Marshall wrote to Trey on his birthday in 2007, in attempt to reestablish contact with his recovering friend. Within five minutes Trey had given the song a melody, and in that moment the first hopes for Phish’s renewal were born. Yet for as emotionally uplifting as the song is, it has also become something of an enigma through its performances. At times an eight-minute Type I guitar solo, at others a fifteen-to-twenty minute excursion into the unknown, each time the song emerges, the entire crowd is left wondering what kind of “# Line” they’re about to hear. The version played on the first night of Jones Beach this past summer is without a doubt the song’s best, for the band combined the uplifting, melodic quality of the song’s theme, with an extended jam that lasted for fifteen glorious minutes. In the midst of one of their most unique, best flowing sets of the summer, “Backwards Down The Number Line” shone as the most inspired moment of the night, and one of the most enjoyable jams to re-listen to in 2010.

“Light” – Augusta, ME – 10/19/2010

My vote for jam of the year, and for the best jam of the entirety of 3.0, the “Light” played in Augusta, combined the exploratory spirit of Fall Tour with the highly energized, thematic jamming that was everywhere throughout their shows, in a jam that displayed connection and patience unlike any other. Moving rapidly through the song’s post-lyrical segment of tension and release, the band settled down by eight minutes in, into a melodic and bouncing theme that they would use to build their most connected jam of the year over the course of the next six minutes. Stripping away the fat, the band focused on Trey’s melodically staccatoed riff, building with him with the unison of a four-instrumented beast. Yet where in the past they would seek to build the theme quickly before quickly moving onto a new segment or song, the beauty of this “Light” is in the fact that the band took such noticeable pleasure in the theme, playing within it for five minutes of glory. Without a doubt the most inspired theme the band had stumbled upon to that point, the jam was a watershed moment in the tour, pushing them to continue searching for more hidden moments throughout the vast unknown of improv.

“Split Open & Melt -> Have Mercy -> Piper -> Split Open & Melt” – Utica, NY – 10/20/2010

While their show in Utica is generally renowned for the “Guyute,” “David Bowie -> Guyute -> David Bowie -> Wilson -> David Bowie -> Wilson -> David Bowie, Wilson -> Guyute -> Wilson” monstrosity in Set I, the true brilliance of the show came late in Set II through the “Split Open & Melt” sandwich that contained “Have Mercy,” and “Piper” within it. Since their comeback in 2009, no song has been as controversial as “Split Open & Melt.” A dark and seedy song by nature, the band has used it as their sole excursion to the disjointed and dark side, resulting in either terrifically nasty jams, or overall distorted, collapsing failures. Loved or hated, there has been no middle ground for “Split Open & Melt” in 3.0. So when it appeared late in the second set of the runaway show of the tour, there were those who rejoiced, and those who cringed at what was to come. By the end of the segment, literally all fans would be blown away by the musical craftsmanship displayed by the band throughout twenty torrid minutes. Dropping out of the rising theme almost immediately after the composed section finished, the band directed “SOAM” towards the abstract and ambient before Trey emerged with a gorgeous theme, soon recognized as the elusive cover of “Have Mercy.” Played for only the second time since 1999 – and the fourth since 1994 – the song was a welcome bright spot in the jam, with every fan noting it’s significance. Yet almost immediately after Trey stopped singing, he reverted back to the disjointed theme that typically dominates “SOAM,” signaling what many figured would be a segue back into the song. However, Trey had other ideas, stretched the jam out for seven minutes before cuing up fan-favorite “Piper.” A song whose jam has become increasingly nonexistent, Phish took this version on a powerful ride, teasing the jam of “Birds Of A Feather,” before locking into the theme of “Split Open & Melt” and directing the jam back to the origin of the excursion. While certainly no one would argue that the song was without some serious sloppiness, the greatness of it came in it’s harnessing of Phish’s playful spirit, and the twisted territory it explored. A jam that stands up to it’s gimmicky show, the “SOAM sandwich” was one of many moments from the Fall tour that sounds as good on speakers as it looked on paper.

“Tweezer” – New York City, NY – 12/30/2010

The Set II opener of the band’s first of three shows at Madison Square Garden, “Tweezer” was exactly what the show needed after a fun, albeit awkward first set. Building through two distinct segments, the jam was patient, it was incredibly exploratory, it was dark and seedy, and it was representative of everything the band had accomplished throughout 2010. After a funk jam led the song out of its gates, Trey brought the band back through a noise-laced ambient jam that didn’t fit the bill as your typical ambient fade into a new song. Instead, Trey allowed Mike and Page to build a theme over Fish’s percussive beats, emerging a few minutes later in a heated groove-based jam that harkened back to 2003. The last kind of jam anyone would have expected to come out of the greatest hits-type show the band played on New Year’s Eve Eve, the “Tweezer” blew everyone away, both those inside the Garden, and the thousands watching on the live streams from their couches. A possible new direction for the band in 2011, the “MSG Tweezer” more than anything displays that the band still is possible of conjuring up demons and playing as if locked in Hades, something many thought was far behind them.

“Ghost” – New York City, NY – 12/31/2010

Right smack in the middle of the best set of the New Year’s run came a jam that seemed to sum up the overjoyed emotion throughout the Phish scene, thanks to the band’s rejuvenated playing in 2010. After nailing the rhythmic break back into the song – something that took the band over a year to accomplish – Trey directed the jam out from it’s funky theme into a brighter and more melodic territory, one that would result in the most impressive and soaring jam Trey has led in all of 3.0. Locking in behind his spirt and theme, Mike, Fish and Page simply provided a base, allowing for Trey to display his regained chops in a solo that he would have simply been unable to play six months ago. Words really can’t describe this jam. It’s gorgeous in it’s building melody, in the peaks it bursts through, and then bursts through again. An explosion of energy from the band and all watching matched the jams peak, as everyone shared in the celebration of how far the band had come in a year, let alone since they reunited in March 2009. If there was any question how high of a regard the band held this jam immediately after it’s conclusion, it came in the set-closing performance of “You Enjoy Myself,” the seminal Phish song, and one most figured would be held off until the following set or the New Years’ Day closer.

Honorable Shows

Hershey Park Stadium – Hershey, PA – 06/13/2010

Set I: Gotta Jibboo, Chalk Dust Torture, Fluffhead, Funky Bitch, Runaway Jim>NICU>Horn, It’s Ice>Bouncing Around The Room>Sparkle, Split Open & Melt

Set II: Drowned>Tweezer -> Twist>Piper>Free, Wading In The Velvet Sea, You Enjoy Myself

Encore: Bold As Love

The final show of the first weekend of Phish 2010, everything came together at Hershey Park on a perfect summer day that was punctuated by an old-school show, and a flowing second set. Boasting a first set with no songs written after 1993, aside from the opener, Phish came out with a laid-back feel that matched the season and the half empty stadium. Gelling for the first entire show of the year, Hershey Park felt like the moment when the band finally adjusted to being on tour, settling back for the long haul. In the second set, Phish sought experimental groove-based jamming in “Drowned,” “Twist” and “Piper,” intermixed with rock in “Tweezer” and “Free,” and a late-set breather in “Wading In The Velvet Sea.” While at times disjointed because of Trey’s ADD-shifts from jam to new song, the show was the first complete show of the tour, topped off by a relentless, fire-breathing “You Enjoy Myself.”

 

Susquehanna Bank Center – Camden, NJ – 06/25/2010

Set I: Alumni Blues* -> Letter To Jimmy Page** -> Alumni Blues, Big Black Furry Creature From Mars, Runaway Jim, Army Of One, Free Man In Paris^, Summer Of ’89, Split Open & Melt, The Sloth, Time Turns Elastic, Golgi Apparatus

Set II: Chalk Dust Torture>Prince Caspian -> Heavy Things>Alaska -> 2001#>Light -> Possum>Character Zero

Encore: Shine A Light

* First “Alumni Blues” since 24 July 1999

** First “Letter To Jimmy Page” since 15 July 1994

^ Debut of “Free Man In Paris” – Joni Mitchell

# Multiple Michael Jackson-inspired teases throughout “2001” on the first anniversary of his death

A strong show that burst out of the gates with two bustouts in “Alumi -> Jimmy Page -> Alumni” and a rarity in “BBFCFM,” before easing into a more contemplative summer’s evening set, the second night of Camden was one of the few truly memorable shows from June mainly thanks to the powerful and flowing second set. Dominated by one of The Juke‘s jams of the year in Set II opener “Chalk Dust,” the show flowed through impressive playing by Trey in “Prince Caspian,” “Heavy Things” and “Alaska” before things turned experimental again with a segue into “2001.” A song that once meant a twenty minute journey to the outer realms of the galaxy, “2001” has been relegated to mere five minute late-set filler since 2003. However, on the one year anniversary of the death of the former King Of Pop, Phish turned the grooving jam into a journey through Wacko’s greatest hits. Teasing “Wanna Be Startin’ Something,” “Billy Jean,” and “Thriller,” the song had everyone at the show going crazy, while offering a classic and re-listenable dance party for all who weren’t in south Jersey for the show. The performance did wonders to rejuvenate “2001” for the remainder of the year, and each successive version was filled with an energy that had seemingly been lost. Segueing into a powerful and percussive take on “Light,” Phish used the performance as another opportunity to build the 3.0 anthem towards the glories it would realize later in the year. A dark-horse show in 2010, the second night at Camden saw Phish take far more risks than they did at most shows during the June run. The results would speak for themselves throughout the year.

 

The Greek Theatre – Berkeley, CA – 08/06/2010

Set I: Chalk Dust Torture, Guyute, Ocelot, It’s Ice, Cities -> The Moma Dance>Bathtub Gin, Stealing Time From The Faulty Plan

Set II: Rock & Roll> Ghost>Mike’s Song>Simple>Backwards Down The Number Line, Show Of Life, Seven Below -> Weekapaug Groove, You Enjoy Myself

Encore: Good Times Bad Times

Highlighted by the jams in “Cities” and “Simple,” which I discussed in the Top Jams segment, the second night at The Greek was the awakening the band needed in order to have the kind of revolutionary tour they had in August. With a strong setlist, and a fully flowing second set, powered by a diverse “Mike’s Groove,” the show never let up, showing a confident side of Phish many wondered if still existed throughout the inconsistent June run. To point out how killer this show was, consider the fact that the “Rock & Roll” jam would be a highlight at any other show, but here was the third best jam. After opening the August run with a solid, albeit safe show, Phish chose to make a statement on the second night of their three-night stay at The Greek. While night three would eventually surpass this night in terms of playing and song choice, for at least 24 hours, the second night reigned supreme as THE show of the year. I still get chills whenever I hear those jams, for this show was the breaking point between the first half of 3.0 and everything that has resulted since.

 

The Top Ten Shows Of 2010

The Comcast Theatre – Hartford, CT – 06/18/2010

Set I: Fee>Rift, Wolfman’s Brother, Summer Of ’89^, Foam, Possum>The Moma Dance>Julius, Reba, Cavern

Set II: Halley’s Comet>Light -> Billy Breathes, Tweezer -> Theme From The Bottom>Harry Hood -> Wading In The Velvet Sea, Stealing Time From The Faulty Plan

Encore: Sleeping Monkey+>Tweezer Reprise>Tweezer Reprise++

^ “Summer Of ’89” Made it’s Phish debut

+ Played for a fan who brought a sign requesting it the previous night

++ Played again to make up for the lack of “Reprise” at Hershey

A week into what was becoming an incredibly inconsistent tour, Phish threw down a perfect summertime show that carried an excellent setlist, patient, full-band jamming, and the kind of playful gimmickry that has long been associated with some of the best Phish shows. Opening with the old school combo of “Fee>Rift,” “Wolfman’s Brother,” the entire Meadows knew that the second night in Hartford would not only surpass the uneven first night, but would also go down as one of the shows of the tour. Playing an old school first set, akin to Hershey, the band followed a similar formula in Set II, by focusing on improvisation. However, where Hershey featured lots of improv within a somewhat uneven set, the second set at Hartford flowed like a river through jams, breathers and rock gems. Kicking things off with fan-favorite “Halley’s Comet,” the band took their first excursion in an ambient-laced “Light” that segued beautifully into the increasingly rare ballad, “Billy Breathes.” After the short stop, Trey kicked the set into full gear with a “Tweezer” that has stood the test of the entire year as one of the most powerful jams the band has played. The next highlight came in a beautiful “Harry Hood,” one that worked to build on the success of Blossom’s version, foreshadowing the great “Hoods” that would be seen later in the year. A quick burst of adrenaline in set closing “Stealing Time From The Faulty Plan,” ended the show on a high note, with everyone expecting a quick encore before making the drive to SPAC. However, in classic Phish fashion, the band used the encore to put their stamp on an epic show, playing fan-requested “Sleeping Monkey,” before diving into the “Tweezer Reprise Reprise.” Always an energetic and killer closer, Trey kicked the energy way up by announcing that they were going to play the song again in honor of not playing it in Hershey. The crowd lost it, Trey fed off the energy, jumped off his speakers, got on his knees, and sent everyone into the night absolutely crazed with excitement. The next night in SPAC, the band appropriately opened and closed the show with “Tweezer Reprise,” thus carrying the energy over and infusing the June run with the kind of excitement it so desperately needed.

 

Merriweather Post Pavilion – Columbia, MD – 06/27/2010

Set I: Walfredo*, Mellow Mood, Stealing Time From The Faulty Plan>The Divided Sky, Tela, My Soul, Ginseng Sullivan, Sample In A Jar> Bathtub Gin, Brian & Robert, Run Like An Antelope

Set II: Wilson>Meatstick& -> Saw It Again>Piper#>Ghost# -> Jumpin’ Jack Flash^ -> Saw It Again>Contact, You Enjoy Myself#

Encore: Fire#

* First “Walfredo” since 30 September 2000

& “Meatstick” contained Japanese lyrics

# “Piper,” “Ghost,” “You Enjoy Myself,” and “Fire” contained “Saw It Again” quotes

^ Debut of “Jumpin’ Jack Flash” – The Rolling Stones

Just when it appeared Leg one of Phish’s 2010 summer tour was going to be full of underwhelming shows, with a few solid ones dispersed throughout for good measure, Phish threw down an epic classic on their second night at Merriweather Post Pavilion. Opening with the rare, rotation song, “Walfredo” for the first time since 2000, followed by the just as rare, Bob Marley cover, “Mellow Mood,” sent a message that the show would be a keeper. With a first set full of solid performances of some of the fanbase’s favorite tunes, everyone was hunky dory as the band emerged for what would become one of the top sets of the year. Opening with “Wilson,” before moving into “Meatstick,” it appeared gimmickry was at work, and with the return of the Japanese lyrics to the song, everyone could tell Phish was having fun on stage. Moving into an ambient jam out of “Meatstick’s” theme, it appeared as though the band might take the song for an improvisational journey for the first time since 1999. However, a choppy segue into the rare, but always welcome, “Saw It Again,” threw that off, setting the table for a powerfully flowing second set that put the rest of the tour to shame. Out of the end of “Saw It Again” came a torrid “Piper” that built on percussive themes over sixteen blazing minutes, reminding many of the epic jam that emerged from the song in the same venue twelve years prior. Segueing into “Ghost,” the band road the song’s theme for ten minutes before moving effortlessly into the one-time cover of The Stones’ “Jumpin’ Jack Flash.” A song that had been teased many times in “Ghost” jams through the years, it was a fitting cover, coming some nine months after the band played Exile On Main Street in full the previous Halloween. Clearly overtaken by the energy of their surprise debut, the band built into a thrilling jam that moved back into the climactic peak of “Saw It Again,” before landing in the fan favorite classic, “Contact.” Closing the set out properly with a “Saw It Again” – infused “You Enjoy Myself,” the show ended on a high note with the seminal song toying with the thematic gimmick of the show. When they encored with “Fire,” a song reserved for shows worthy of it’s name, it was all but a given that this would go down as The Show Of The First Leg.

 

The Greek Theatre – Berkeley, CA – 08/07/2010

Set I: AC/DC Bag>Foam, Gotta Jibboo, Reba, Sleep Again, Army Of One, Poor Heart>46 Days>Tube, Character Zero

Set II: Wilson>Light -> Twenty Years Later>Harry Hood -> Theme From The Bottom, 2001>Suzy Greenberg>Slave To The Traffic Light

Encore: The Lizards, First Tube

Building on the experimental successes of the second night at The Greek, Phish came out firing on all cylinders on 07 August 2010, playing what many believe was the jam, and set of the entire year. Exactly a year after playing one of their best shows of 2009, the band played a balanced affair, featuring a flowing, energized and emotive first set and a greatest hits, patient second set that flowed perfectly from note one through its conclusion. The peak of the second set came in five specific places – the nine minute ambient jam that emerged out of “Light,” and was documented earlier in The Top Ten Jams of 2010, the beautiful build within the “Harry Hood” jam that featured some of Trey’s most inspired playing of the year, the bouncing, groove-heavy “2001” that echoed the Michael Jackson-themed version from Camden earlier in the summer, the jam in “Suzy Greenberg” that built out of the frenetic energy of the set and extended the song through ten dance-heavy minutes, harkening back to the powerful “Suzy” jams from the early part of the decade, and the set-closing “Slave To The Traffic Light” that saw Trey use the emotive playing in “Harry Hood” to create a gorgeous peak in the classic Phish number. The kind of show that would be a classic in any era, night three at The Greek immediately reestablished the line between a good show and an epic show in Phish 3.0

 

Alpine Valley Music Theatre – East Troy, WI – 08/14/2010

Set I: Tube>The Oh Kee Pa Ceremony>Suzy Greenberg, Funky Bitch>Reba, Fuck Your Face, Alaska, Back On The Train>Taste>When The Circus Comes, Lawn Boy, Sparkle, Gumbo>Run Like An Antelope

Set II: The Sloth, Down With Disease -> What’s The Use?>Scent Of A Mule, Mike’s Song>Dirt>Sneakin’ Sally Thru The Alley> Weekapaug Groove, Bug

Encore: Quinn The Eskimo

By the time Phish reached the midwestern Mecca of Alpine Valley in mid-August, they were a well-oiled-machine, one ready to blow the lid off the 40,000-person strong hillside amphitheater. Tearing out of the gates with a six-song opening segment that featured rarities – “Tube,” “Fuck Your Face” – the idyllic summertime composition – “Reba” – and high octane classics – “Suzy Greenberg,” “Funky Bitch” – by the time the band finally stepped back to figure out their next song to play, a good forty minutes had already passed by and the crowd was completely enthralled. It was really no wonder that the band basically had to be forced into setbreak after a fourteen song, nearly two hour first set. Yet, for as rocking as the first set was, it was the second set of the first night at Alpine that solidified the show as one of the peak performances of 2010. Opening with the rare, “The Sloth,” sent a wave of darkness spiraling through the venue, topped only when Mike began sending out the distorted waves that introduce “Down With Disease.” A song that has appeared in every Phish weekend at Alpine since 2003, there was really no question that the song would turn in the jam of the night. As described in the Top Ten Jams Of 2010 segment, the jam featured all four members working like a single unit, pushing the jam further and further into the ethos before finally caving into the heady bliss of “What’s The Use?” Taking a breather with “Scent Of A Mule,” Trey showed off his much improved chops, destroying the Mule dule, resulting in a resounding applause throughout the venue. At this point in the show, the band could have really done anything, and few would have groaned had they signaled the start of a ballad, yet when they dropped “Mike’s Song,” the place erupted, and Phish responded with one of the most inspired “Mike’s Song’s” in years. Filling the “Groove” with the contemplative “Dirt,” and a funk-throwdown in “Sneakin’ Sally,” the band capped it off with a fast-paced, collective jam in “Weekapaug Groove,” before closing the set with an epic and soaring guitar solo out of “Bug.” Choosing the Dead’s favorite cover, “Quinn The Eskimo” – a song that had been busted out after eleven years in Telluride, CO just a week prior – to encore at their favorite venue was a warm message to the fans that the show was a special one for everyone involved. Small wonder they decided to release it DVD just four months later.

 

Jones Beach Theatre – Wantagh, NY – 08/17/2010

Set I: Fluffhead, Kill Devil Falls>Cities, Funky Bitch>Wilson, Reba, Walk Away, Wolfman’s Brother>Possum

Set II: Lengthwise -> Maze, Halley’s Comet>Mike’s Song>Simple>Backwards Down The Number Line>Prince Caspian>Rock & Roll -> Weekapaug Groove, Loving Cup

Encore: Show Of Life, Golgi Apparatus

On the second to last show of Phish’s triumphant August run, the band threw down a fully flowing show, highlighted by great song selection and excellent jamming throughout. Along the same lines as night three at The Greek and night one at Alpine, Phish clicked from the moment they walked on stage, never once letting up. Choosing to open the show with “Fluffhead” for the first time since it reintroduced the fanbase to Phish in back in March 2009, the band sent a wave of energy through the venue, symbolically stating they understood the significance of their vastly improved playing throughout the run. Tearing through a high-energy first set, the band hit peaks in a thick “Cities” jam, a soaring late-set “Reba,” and a funky, bubbling “Wolfman’s Brother.” When they emerged for the second set, Phish seamlessly blended humor – “Lengthwise -> Maze” with a jam-packed “Mike’s Groove” centered around one of the best jams of the year in “Backwards Down The Number Line.” Throwing a curveball with a late set “Rock & Roll” – a song normally reserved for the Set II opener slot – the band locked into the theme of the song, building a powerful jam out of it, before segueing right into “Weekapaug Groove.” A show that put on high display the accomplishments of August, while still building towards the eventual peak of the year in the Fall, Jones Beach night one was one more memorable outing for Phish in the inspiring month of August.

 

North Charleston Coliseum – Charleston, SC – 10/16/2010

Set I: Kill Devil Falls>Guelah Papyrus, The Curtain With>The Mango Song>Sand, Limb By Limb, Sneakin’ Sally Thru The Alley, Uncle Pen, Pebbles & Marbles, Cavern -> David Bowie

Set II: Crosseyed & Painless>Dirt>Fluffhead>2001>Tweezer>Show Of Life, You Enjoy Myself

Encore: I Been Around, Quinn The Eskimo>Tweezer Reprise

After playing four shows on their Fall Tour, it was clear something was missing. No question the shows were solid, but the magic the band had conjured up through innovative and creative improv in August was nowhere to be found throughout the Colorado stand and the first night in Charleston. All this changed on a Saturday night in South Carolina, and when the band left the stage that night, they were a completely changed organism, never once looking back as they absolutely demolished the remainder of the tour. Kicking things off with the new school/old school combo of “Kill Devil Falls> Guelah Papyrus,” the band came out with an energy and tightness that had yet to be seen thus far. By the time they had reached the ethereal jam of “The Curtain With” it was clear the show was going to be a memorable one, one that would shape the remainder of the tour. Throwing out a mid-set surprise in the form of “Sand,” the show carried the “anything goes” vibe that normally accompanies tour highlights. Building an atypical jam, Trey backed away from his seedy licks, allowing the jam to be led by Mike and Page, forming a more melodically infused jam where normally a tripped-out electro-jam would unwind. Filling out the first set with well-placed rarities in “Sneakin’ Sally,” “Pebbles & Marbles,” and “Uncle Pen,” the band closed things out with a nasty combo of “Cavern -> David Bowie,” the later which built on the fantastic version in Colorado, blisteringly closing the set out like it used do on a regular basis. The second set however was on a completely different level. Flowing from note one, Phish blew the lid off the Coliseum with a raging cover of “Crosseyed & Painless,” before settling into a classic run of “Fluffhead>2001>Tweezer.” The latter two songs provided the musical highlight of the evening as the entire band engaged in minimalist playing, toying with varying themes and building single-minded jams that fused both the creativity of the August run, with the energy developing in the Fall. Closing the set with the appropriate, first “You Enjoy Myself” of the tour, Phish left the stage a more confident band than they had been when they first took it, playing what is still regarded as one of the best shows of the year. Encoring with the playful, reborn rarity, “Quinn The Eskimo,” only further emphasized the band’s renewed spirit. Fall Tour would never be the same.

 

Utica Memorial Auditorium – Utica, NY – 10/20/2010

Set I: My Soul, Stealing Time From The Faulty Plan, Vultures, Wolfman’s Brother# -> Cities>Guyute, David Bowie##, Wilson###>McGrupp & The Watchful Horsemasters>Saw It Again -> Run Like An Antelope

Set II: Drowned -> Sand -> Theme From The Bottom>Axilla I>Birds Of A Feather, Tela, Split Open & Melt -> Have Mercy -> Piper#### -> Split Open & Melt>Slave To The Traffic Light

Encore: Good Times Bad Times

# “Wolfman’s Brother” contained a “Streets Of Cairo” tease

## “David Bowie” contained multiple “Guyute” and “Wilson” teases

### “Wilson” contained a “Guyute” solo

#### “Piper” contained a “Birds Of A Feather” Jam

A night after playing a breakthrough set in Augusta, ME, one that fused gimmicks of lore – “Fuck Your Mike’s Groove” with the jam of the tour – and possibly the year – in “Light,” Phish came out with straight fire from the start crafting a humorous, fully-flowing, jam-packed show that has gone down as one of the heavily debated shows of the year. Boasting two complete sets, each with massive amounts of energy, musical prowess and gimmickry from the band, Phish harnessed the energy of a random Wednesday-night show in northern New York in the same way they had made a career out of for so long. Packing heat with a “My Soul,” “Stealing Time,” “Vultures” opening frame, the show got going in earnest with a funky stroll through the jam section of “Wolfman’s Brother,” which featured a distinct “Streets Of Cairo” tease from Trey before effortlessly melting into “Cities.” Answering the calls for the band to play “Guyute,” most notably from a masked man in the front row, the band tore through the composed tail of the ugly pig before getting down right dark and sinister in a fade into “David Bowie.” Looping the thematic solo from “Guyute” into the hazy “Bowie” hi-hat intro, Phish extended the intro like they hadn’t in years, creating a twisted, psychedelic wall of sound, before busting into the song proper. Pulsing with energy and excitement, Trey and Mike latched onto the similarities of “Bowie’s” breakdown to that of the intro of another classic, “Wilson.” Before anyone knew what was happening, the arena was chanting “Wilson,” in the middle of “Bowie,” giving all listening the trippy uncertainty of whether or not we were existing in 2010 or 1995. When they brought the jam back into “Bowie,” the band gave the song a fitting tribute, patiently building the theme before annihilating the peak. Fittingly, as soon as “Bowie” ended, Trey signaled the start of “Wilson,” carrying over the set’s theme, while stirring the crowd into a frenzy. Infusing the thematic solo of “Guyute” into the middle of “Wilson,” Trey brought to life the kind of distorted Phish humor that has long been missing from their shows. Fading into the old-school rarity, “McGrupp & The Watchful Horsemasters,” the band gave the nod of approval to the show, with a song that seems to only appear in the best shows. Yet for as entertaining as the middle segment of the set was, the final two numbers may have surpassed it all in terms of musical prowess and adventurousness. Playing “Saw It Again” for the first time since the famed Merriweather Post Pavilion show, the band extended the song’s demented ending into the ether before segueing into “Run Like An Antelope.” A song that had certainly lost some of its former fire in 3.0, Phish made sure to expand this “Antelope” to lengths and musical dimensions many had forgotten it could go. Reminiscent of the experimentation on “Reba” in the previous night’s encore, the “Antelope” that closed the first set was the reassuring sign that Phish was completely on top of their game, playing with an energy and spirit many had thought was a thing of the past. After playing such a powerful first set, the band could have very well thrown down a dud in Set II, and no one would have thought anything of it. However, while the second set doesn’t live up to the first set’s full on energy and musical precision, it was certainly a gem in its own right. Opening with the back-to-back jam combo of “Drowned -> Sand,” the band fused their collective jamming for close to twenty minutes before moving into more energized/rock territory with “Theme From The Bottom>Axilla I>Birds Of A Feather.” At a point when the band could have played the expected “Waste” or “Prince Caspian,” they opted for a breather in the old school “Tela,” a song that just breathes of youthful, idealistic Phish, and can only make one nostalgic for the amphitheaters of Summer Tour. After the break, the band kicked into one of the Top Ten Jams of the year in “Split Open & Melt -> Have Mercy -> Piper -> Split Open & Melt,” before closing things out with a beautiful, peaking “Slave To The Traffic Light.” A full show, front-to-back, Utica was the kind of special show that occurs once or twice a year, generally on a random night in a random town when no one is even considering a good show being thrown down. A powerful statement that reminded all that Phish certainly still has it, Utica 2010 will long live in Phish lore whenever people talk about “had to be there” moments.

 

Verizon Wireless Arena – Manchester, NH – 10/26/2010

Set I: After Midnight*, The Sloth, Alumni Blues -> Letter To Jimmy Page -> Alumni Blues, Mellow Mood, Access Me, Llama, All Of These Dreams, The Curtain With, Scent Of A Mule, A Song I Heard The Ocean Sing, It’s Ice>Walls Of The Cave

Set II: Possum>Light>Mike’s Song -> Simple> Makisupa Policeman -> Night Nurse^ -> Makisupa Policeman>The Wedge, Ghost -> The Mango Song>Weekapaug Groove# -> Llama

Encore: Show Of Life

* First “After Midnight” since 31 December 1999

^ Debut of “Night Nurse” – Gregory Isaacs

# “Weekapaug Groove” contained a “Can’t You Hear Me Knockin'” Jam and subsequent teases of “Ghost” and “Night Nurse”

For close to thirty years, Phish has made a career of playing their best at the most unexpected times, thus continuously staying under the radar while at the same time keeping their biggest fans constantly on their toes. Playing tour highlights in random towns in the middle of the week, or many times, just prior to a heavily anticipated show, Phish has long required that fans show up to each show, knowing full well that the one show you choose to skip could be the one people discuss for years. Thus when the setlist started rolling across the internet on a Tuesday night in late-October – Phish playing in tiny Manchester, NH, three nights away from their Halloween blowout in Atlantic City, NJ – it was fitting that their first set contained few songs played prior that tour. Opening with the Clapton cover, “After Midnight” for the first time since their all-night NYE Millennium blowout in Big Cypress, FL, everyone knew Manchester was going to be one of those shows. Tearing through rarities – “The Sloth,” “Alumni Blues -> Letter To Jimmy Page -> Alumni Blues,” “Mellow Mood,” “Llama,” “A Song I Heard The Ocean Sing” – while offering incredible musical adventurousness in a beautiful “The Curtain With” and a raging “Walls Of The Cave,” the first set was the kind that blew everyone away, and had all buzzing about what the second set might hold. Coming out on a mission, Phish opened with one of the fiercest “Possum’s” in recent memory before unleashing another stand-out “Light” in a tour full of them. Harnessing a percussive theme that was reminiscent of Augusta’s masterful version, while still venturing out into it’s own unique realm, the band crafted yet another improvisational memory for the tour. Opting to use the remainder of the set for another expansive “Mike’s Groove,” the band took an opportunity by way of the always welcome “Makisupa Policeman” to pay tribute to the recently deceased reggae legend, Gregory Isaacs. Segueing seamlessly into his classic “Night Nurse,” the band interwove a musical highlight with a telling sign of gratitude. The final musical highlight of the night came in the surprise late-set “Ghost” which built out of it’s seedy origins into a powerful, melodic jam that brought the bright and shiny “The Mango Song” out from hiding, before it too segued into “Weekapaug Groove.” A song that has been a constant gem since Phish’s 2009 return, the band took “Weekapaug” on a wild ride in Manchester, evolving it into a jam on “Don’t You Hear Me Knockin'” that featured teases of “Night Nurse” and “Ghost,” before speeding the jam up to an absurd pace, segueing it into a full-on reprise of “Llama.” Capping off a night of rarities, jams and all-out Phish-fun, Manchester was the last proper show of Fall Tour, and one that capped off an incredibly powerful three weeks on the road for the band. On to their three-night Halloween party in Atlantic City, Phish was cruising on the kind of peak they hadn’t been on in years. All was right in the world.

 

Boardwalk Hall – Atlantic City, NJ – 10/30/2010

Set I: Kill Devil Falls>Cavern>Foam, Guelah Papyrus>Chalk Dust Torture -> Whole Lotta Love* -> Chalk Dust Torture, Ha Ha Ha#>Walk Away, Wolfman’s Brother -> Undermind>Bathtub Gin, The Squirming Coil

Set II: Tube>Possum#&>Tweezer# -> Heartbreaker^ -> Tweezer -> Ramble On** -> What Is And What Should Never Be^>Tweezer -> Stairway To Heaven^$, Halley’s Comet -> 2001 -> David Bowie, Show Of Life>Backwards Down The Number Line>Good Times Bad Times

Encore: Sleeping Monkey>Tweezer Reprise#

* First “Whole Lotta Love” since 01 March 1991

** First “Ramble On” since 12 August 1998

# “Ha Ha Ha,” “Possum,” “Tweezer” and “Tweezer Reprise” all contained “Whole Lotta Love” quotes

^ Debut of “Heartbreaker,” “What Is And What Should Never Be” and “Stairway To Heaven” – Led Zeppelin

& “Possum” contained a “Sneakin’ Sally” tease

$ After “Stairway To Heaven” Trey say’s “Happy Halloween! See you all next year.”

The night before THE night. Similar to Phish’s reputation for throwing down huge shows in the middle of nowhere, they’ve also garnered the reputation of a band that will play the best show, the night before a holiday/highly anticipated show. From 12/30/1993 to 12/29/1995, 08/14/1996 to 12/30/1997, 12/01/2003 to 12/30/2009, time and time again, Phish will blow fans away with a massive show the night before they were supposed to. In keeping in line with their prankster past, this has become something of a game for fans, always left in the dark as to what nights will be THE show until it happens. When Phish took the stage on 10/30/2010, their second night of a three-night stand at Atlantic City’s Boardwalk Hall, the feeling of a big show resonated throughout the entire fanbase, and boy did the band come through. Tearing through an opening four-song segment of “Kill Devil Falls>Cavern>Foam, Guelah Papyrus,” the crowd rang with such approval, responding with a massive – not to mention unheard of – glowstick war in the middle of “Guelah.” Sensing their opportunity, with the crowd in the palm of their hand, Phish tore into a rocking mid-set “Chalk Dust Torture” that segued fluidly in-and-out of Led Zeppelin’s “Whole Lotta Love.” With little fanfare surrounding the upcoming Halloween cover album, fans had been left to their own imaginations leading up to Halloween, with many surmising that Led Zeppelin’s Physical Graffiti was the ideal choice for the band this year. A cover of “The Rover” that the band destroyed from June only seemed to further confirm this. Yet before the crowd or the fanbase could properly react, Phish launched into the rare, Fishman-penned “Ha Ha Ha,” all but promising there would be no Zeppelin the following night. The end of the set featured more stand-out performances of “Walk Away,” a nasty segue of “Wolfman’s Brother -> Undermind,” yet another soaring, Type I “Bathtub Gin,” and a contemplative “Squirming Coil” to send the crowd into setbreak musing over the Rock fest that just went down. Yet in perfect Phish fashion, the band took the successes of their first set and crafted a powerful monstrosity that only furthered their gag on the crowd, while continuing to redefine their relationship with their fanbase. Coming out swinging with a “Tube>Possum>Tweezer” opening segment, it was clear the band was on for another legendary set. However, as they moved out of the song structure of “Tweezer,” and into the jam, the band latched onto the theme of “Whole Lotta Love” yet again, a theme which would take them on a trek through some of Led Zeppelin’s biggest songs, all within the confines of “Tweezer.” In a fifteen minute rock & roll sandwich, the band played “Heartbreaker,” “Ramble On,” “What Is And What Should Never Be,” and “Stairway To Heaven,” all but disposing any hope that they’d play Physical Graffiti the next night, yet giving their fans something they’d always wanted. While clearly unrehearsed, somewhat sloppy, and more humorous than anything, the “Tweezeppelin” sandwich was yet another creative way for the band to not only toy with their audience, but also give them a performance many had been begging for for years. Even more, Phish was now one of the few rock bands to break the code by playing both “Freebird” and “Stairway,” yet the ways in which they’ve placed them in their shows – “Freebird” is always sung accapella – says tons about their creativity and playfulness. Finishing off the set with a spacey “2001” that segued into yet another blistering “David Bowie,” the show was capped off by the eternally classic encore: “Sleeping Monkey>Tweezer Reprise.” While there were far more impressive musical outings throughout 2010, 10/30/2010 was the kind of show that put on high display the humor of the band, and the playful spirit they continue to share with their fanbase.

 

Madison Square Garden – New York City, NY – 01/01/2011

Set I: My Soul, Tube>Runaway Jim>Foam, Guelah Papyrus>The Divided Sky, Round Room*>Walk Away>Gotta Jibboo, Reba, Walls Of The Cave

Set II: Crosseyed & Painless>Twist>Simple>Sneakin’ Sally Thru The Alley>Makisupa Policeman -> David Bowie

Encore: Fee, Frankenstein&

* First “Round Room” since 13 July 2003

& Page was on the Keytar for “Frankenstein”

While technically played in 2011, Phish’s first ever New Year’s Day show will always be viewed as a culmination of the 2010 sound. The fact that it was played on the first day of 2011 will only display forward continuity and progress when looked back at, midway through their summer tour. Featuring a killer setlist with literally no breather’s or throwaway songs, Phish came out to play on New Year’s Day, their fifth show in six days, and their last before an almost certain six month break in touring. Anyone wondering if this would shape up to be the dud of the tour was hushed when during the bluesy opener “My Soul,” Trey all but refused Page’s reentry to the song, opting to instead extend his powerful solo a minute longer. From there the band tore through classics – “Runaway Jim>Foam,” “The Divided Sky” – and rarities – “Tube,” “Guelah Papyrus,” “Round Room” – before closing the strong set off with blistering renditions of “Gotta Jibboo,” “Reba” – probably the best pure version of the year – and the revived 2.0 anthem, “Walls Of The Cave.” Fusing all the right elements for a classic show, Phish emerged from setbreak, ready to unleash yet another perfectly fluid second set, one that rivaled the mastery of 10/16/2010 and 08/07/2010. Opening with the “Crosseyed & Painless” – a song that until a year ago was generally a once a year affair, the song has somewhat slipped into the band’s rotation, producing strong and raging jams each time around – the band made it known right away that they were ready to tear the Garden a new one. Segueing into “Twist,” the band built on the rhythmic grooves that had dominated the year, crafting a dance-heavy jam that morphed into the arena rock of “Simple.” A song that offered us one of the top ten jams of 2010 back in August, this version, while not nearly as dynamic and expansive, grew effortlessly from the song’s theme into a bubbly and melodic jam that somehow led right into the chunky grooves of “Sneakin’ Sally.” Tossing the now-common vocal jam onto the end of the lyrical segment of the song, Phish used sparse and funky beats alongside a strutting rock melody to extend the jam before they found themselves in the cool reggae of “Makisupa Policeman.” A version reminiscent of the airy space of Champaign, IL’s 11/19/1997 version, Trey offered the comedy line of the night in: “Went back home last night after doing the New Year’s stunt / I laid back on my couch and rolled myself a blunt,” to great approval from the audience and Page. Clearly relaxed by this point in the show, Trey allowed the jam to be reduced to nothing before building a placid wall of ambient noise and sound. The musical highlight of the set and the show, the band rode the ambient wave perfectly into the hi-hat intro of “David Bowie,” capping off the set with one final blistering version for the calendar year. For the encore, the band celebrated the return of the megaphone to “Fee,” something that had been unveiled over the summer in Deer Creek for the first time since 1997, and used throughout the Fall. Tying in the playfulness of the year, the song was the perfect lead-in for the all-out arena rock of “Frankenstein” complete with Page on the keytar. A proper conclusion to such a massive year of growth, development, creativity and newness within the Phish community, 01/01/2011 bridged the gap between the year that was, and all that is to come for Phish in 2011. A fitting conclusion for the year, and this list. Can’t wait to see what 2011 brings for Phish!

——-

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

The Three Decembers – 1995

image002

In the world of Phish, there are certain months held in a higher regard than all others. Months where the band seemed to tap into an intangible energy bigger than themselves, reach and sustain mediums of connection, and where, simply put, everything clicked. During these months, Phish wasn’t so much playing their music as they were existing within it. Featuring lengthy runs of wildly engaging shows, setlists that read as though they were plucked out of a fan’s notebook, and jams where Phish engaged in a lengthy, unending and fully flowing conversation. These months have come to define the style and sound of the multiple eras of Phish.

April 1992’s west coast tour is probably the first example of a sound being defined within a month, when the band allowed the wide open landscape and desolate valley’s to influence their developing musical experimentation, while highlighting their zany spirit, unyielding energy and psychedelically twisted humor. The breakout month of August 1993’s couldn’t have happened without the band’s mastery the “Hey Hole” jamming technique. 1994 featured dual gems in June and November, the former of which was an absolute apex of the fire and energy of the youthful Phish, and may represent the purest example of the sound Phish was trying to attain throughout their first eleven years of existence, and the latter which displayed a band that had summited the peak of their goals, and instead of plateauing, experimented with their sound, and, for the first time since the mid-80’s, explored what was possible beyond the confines of the structures they’d built and mastered. In this same regard, 1995 gave us two distinct months of brilliance: June which built upon the experimentations of the previous November, and then took the jams to a realm of no-man’s-land that they’ve only been brave enough to explore a handful of times since, and December, which we’ll get to later.

Since 1995, it’s been harder for Phish to produce this kind of consistent brilliance for a variety of reasons. They’ve toured and practiced less which means they’ve had less time to hone in on a new style and develop it, their tours have been shorter, meaning they’ve had brilliant weeks and brilliant shows rather than months, and at times their overall motivation and dedication has come into question. Even still, 1997 gave us the full realization of the funk/minimalist style they’d been searching for since 1995 in the Europe run during June, and the entire fall tour featured a band playing with as little effort yet as much intuitive communication as we’ve ever heard from them. December 1999 was an epiphany in the late 90’s/2.0 era, as the band fused beat-driven jams with minimalism, and combined it with a contagious energy that engulfed the entire fanbase as their millennium shows at Big Cypress approached. Add to it the right amount of darkness fueled by their growing desire to take a break, drug addictions that had taken ahold of two of their members, and a self consciousness that had begun to creep into their songwriting probably due to the previous two factors, and it’s one of the more puzzling, yet intriguing periods of success in their career.

The 3.0 era has produced two more months of unheralded prowess. phish10October 2010 was the first month where Phish seemed to fully shake off the rust of a five year break, and embrace what it meant to be Phish again. Particularly from the second night in Charleston, SC on, the combination of small East Coast towns, intimate venues and a resulting youthful energy, the tour was set ablaze with shows chock full of segues, teases, rarities, and some of the most concise, yet expansive jams since the early 90’s. Finally, June 2012 may take the crown as the best month of Phish since December 1997. With a stated goal of playing 200 different songs throughout their summer tour, Phish not only infused each show with fresh songs and setlists, but with some of the most diverse jamming we’ve ever heard out of them.

And yet here’s the thing, as great as all of the above months were in Phish’s near-thirty year history, December 1995 still ranks as the best month of them all, without question. Coming on the heels of 186 shows in 21 months, with essentially three albums worth of new material, December 1995 is the most polished, confident, and driven Phish there’s ever been. Totally focused on improving with each show, Phish still retained the youthful enthusiasm that had pulled them from obscurity as a college bar band, to theaters and open-air amphitheaters, to kings of the arena rock circuit in just six short years. With an unyielding conviction in the power of their locked-in, total connection concerts, a picture-perfect memory of their complex songs, and a refined approach to the vast exploratory jams of the last year, every show carried the potential to be the best show of the tour and year. As a result, there are no less than ten shows in the month that would find themselves ranked quite high in any list of the best shows the band has ever played.

Turn on any bootleg from December 1995 and the first thing you’ll notice is the torrid energy bursting from your speakers. Featuring 17 shows (including NYE) in their comfort zone of the Northeast, the crowds that came out to their shows were some of the most dedicated, diehard, and loyal fans that Phish has ever had. These were the fans that had seen Phish when they were the quirky yet irrelevant bar band in the 80’s. These were the fans that had traveled throughout New York State, up and down the Atlantic coast, in small towns throughout Pennsylvania, New Jersey, Connecticut, Massachusetts and Vermont, all in effort to support the band and spread word of their greatness. These were the fans who’d watched Phish take the seemingly hopeless risk of driving 2,000 miles to Telluride, CO for a month long stand in a boycotted bar, and then become a national sensation within four short years. These were the fans who packed into Boston’s Exhibition Hall at the World Trade Center to witness their 1990 New Year’s Eve show, only to now await the band’s headlining NYE performance at the most famous arena in the world: Madison Square Garden. These were the fans who’d been there from the beginning, and now were being treated to an entire month of Phish, a Phish that had reached their apex and was using their homecoming tour to throw a month long party.

————

Just for a minute step back and consider the multitude of events that had to go right to create a scenario for a month like December 1995 to occur for Phish, or for any band for that matter. First and foremost, Phish had to form, which means its four members – all from a variety of parts of the overpopulated Northeastern United States – had to meet each other, and see enough potential in their relationships to spend the time playing music together. Then they had to want to continue playing music together. Not want in the way of casually enjoying hanging out with someone, but fully believe that their other three counterparts were talented enough, passionate enough and driven enough to continue working – keyword: working – toward some obscure, intangible, somewhat undefinable goal. No matter what direction they would decide to take their music, they had to keep working at it to move forward. Working at it when all looked hopeless and they had graduated from college – burdened with the added pressures of adulthood and careers, mortgages and marriage, blah blah blah – and were still overjoyed when just 2000 people came out to see them play. One Time. Working at it when their hard work began to pay off, when they began to make money, and began to develop some sense of a national following, rather than allow the success to get to their heads. Working at it even when they surpassed probably their own wildest imaginations of what they could be, in April 1992, in August 1993 and again in June 1994. Working at it day in and day out in the way an elite basketball team works on defensive schemes long after practice was scheduled to end. Working at a craft in a focused and driven manner all in the name of creating the music that played in their heads in a live, improvisational setting.

lion

What’s more is that the decisions they made along the way, in the years and months leading up to December 1995, had to match both their practical needs as a band, and push them further along the path they’d traversed. Decisions such as Trey’s acceptance of Page into Phish in 1985, when, after stating that Phish was a “two-guitar band,” he realized that Page’s keys offered a different dynamic to his melodies, and would provide him with a partner to create multi-layered textures, intertwined conversation pieces, and rousing, anthemic jams over the rock-hard rhythms produced by Mike and Fish. Trey’s decision to halt his devotion to, and covering of, The Grateful Dead in 1986, a move that forced Phish to focus more on crafting their own sound. Their five performances of their mini-opus, Gamehendge in 1988, 1991, 1993 and 1994, along with their never-ending gags centered around songs that Fishman despised, and their insistence on including their fans as much as possible in their New Years and Halloween extravaganzas created a sense of unity, of brotherhood, an unbreakable bond between them and their fans.

Musically, their expansive sounds and jams of 1987 and 1988 gave way to a refined approach in 1989 through 1992 wherein which they wrote three albums worth of music – and then some – and focused on tightening their live sound. Demanding perfect communication, skillful agility, airtight segues, relentless energy, a heaping dose of tongue-in-cheek humor, and stop-on-a-dime precision, Phish transformed their sound to that of a well-oiled machine, crafting shows full of musical peaks, professional acumen and nonsensical gags. By 1992 one was more than guaranteed to be blown away walking out of a Phish show. A far more engaging experience than the lonerism spirit of the grunge scene, far less expensive and far more technically impressive than the big name rock and pop groups that catered to the masses. Phish wore their irrelevancy and isolation at the time like a badge of honor. And by the winter of 1993, their dedication paid off in full, as can be heard most notably in their February 20th show at the Roxy Theatre in Atlanta, GA. Taking a leap forward in the confines of a single show in a way they hadn’t ever before, 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.

From there the band would only continue to build upon their sound in an obsessive search to craft music that displayed the band as not four individuals playing music, but as a unified force playing as one. It is this goal which could only be realized after shedding their improvisation roots in 1989 and building themselves back up as a tight and edgy rock band, but wouldn’t be actualized in part until December 1995, and then in full in 1997. August 1993 gave the band their first headlining summer tour of the nation’s concrete, open air amphitheaters which in turn gave them the space to stretch their music in ways they hadn’t before. Moreover, their fanbase had more or less been solidified by now, allowing them the comfort and confidence that they’d have a passionate and loyal crowd awaiting their every show. From here they sought out new fans, infusing their shows with an array of popular covers, exploring the endless musical diversions their songs could traverse, and including everyone in the poignant and intriguing myths they’d crafted in their college years – from Col. Forbin climbing up the mountain to save Gamehendge, to Poster Nutbag and Jimmy’s unending battles against Harpua. Their shows were transformed from simply high-energy workouts to events that meant something, where anything-could-and-would-go. A single song that had been played with a similar enthusiasm for five years, say, “Bathtub Gin,” became, on nights like August 13th 1993, an unending journey into the unknown, opening up vast cavernous vaults of potential for exploration and mind-bending music.

And yet, they still kept growing. From the wide-eyed musical successes of phish_aquarium_set1993 came the renaissance of 1994. After taking the Fall and Winter of 1993 off – spare the historic NYE run that also served as a veritable THANK YOU!!! to the entire Northeast – to record Hoist, they booked themselves 123 shows, criss-crossing the country not once, not twice, but three separate times in effort to spread their collective energy, planned a Halloween show in which they would don a musical costume, crafted the blueprint for their eventual multi-show festivals, built upon the exploratory journeys unleashed the previous summer, played their first of now 27 shows in the world’s most famous arena, and ultimately compiled a year that would be considered far and away the best of any other band’s career.

One of the most important decisions the band made in 1994 was not a musical or stylistic one, instead it was a logistical decision that would help to alter the course of their music and career forever. In the previous ten years of their existence, they’d always used the Fall tour as a homecoming tour of sorts. After spending the majority of the year on the road spreading their sound, their tours would always wrap back to the confines of the Northeast – the 1992 Fall tour is the lone black sheep in this category, it concluded in Montreal, not exactly their home turf, but still, close enough to the Vermont border – a supercharged homecoming celebration of sorts. However, in 1994, following their monumental Halloween show in Glens Falls, NY Phish began a journey westward that would conclude over a month later in Santa Monica, CA, and wouldn’t bring them back for a show on the east coast until December 28th. The decision was reminiscent of their college-era practice sessions where they would lock themselves in a room for hours, jamming non-stop in effort to understand the musical tendencies of each other and the patterns they could create. By separating themselves from their home base, and traversing into the wide, expansive West, they released themselves from all expectations, and dove headfirst into a musical experiment they’d been training for since 1989. Using the open-ended structures written into some of their best known songs – most notably, “David Bowie” and “Tweezer” – they allowed themselves to be taken over by the possibilities that lay within vast portholes of their songs. A decision made, consciously or not when they wrote their earliest classics, pockets of space were left open within their complex structures that years later – after the band had reached a point of mastery within their songs – were suddenly thrust open and used to dive deeper into the unknown than they may have thought possible. The tour was a revelation into how far they could take their music, how lost they could get within the medium of a live concert, how far away from themselves, their own personal wants and needs, their own self consciousness they could go.

When they returned to the stage in June of 1995, Phish built upon this exploratory revolution to their sound, infusing the entire tour with an array of jams that stretched out further, wider, into deeper and darker realms than they ever had before, all in the name of a linear musical communication. Entire sets were sometimes engulfed in this singular goal, nearly every show contains a massive 25+ minute foray into the unknown, and for perhaps the first time ever, Phish played without a sense of care of anyone watching them. Most likely turning away a number of fans, the band believed that the decision to take such extreme risks each night would pay off in the future. Putting everything on the line every single night, Phish bared their souls to their audience in ways they never had before. No longer locked in a room together, no longer in search of musical perfection, no longer worried about sustaining themselves financially through their creativity, no longer worried about building a national following, Phish was completely free to use their shows Phish in Concert 1995 - Mountain View CAas an opportunity to dive head first into the unknown, fuck all the consequences. In the end the tour is one of the most divisive and controversial in their history. Some fans can’t stand the sound of the band 30-odd minutes into a “Tweezer”. Some can’t grasp the fact that their second sets started featuring less songs than fingers on a hand. Some fans wither in terror at the self-indulgent experiments, much of which produced music that many consider to be unlistenable. Yet others view it in reverence, the one moment where Phish was clearly at the top of their game in terms of musical chops, and blended it with a divine and twisted hurdle into the unknown. Whatever way you look at it, the decision to continue and expand upon the explorations of 1994 had a profound impact on the history of the band. This was Phish deconstructing themselves once again in front of our eyes. Yet where 1989’s house cleaning was conducted in effort to sharpen their catalogue and inject a massive supplement of energy into their shows, the purpose of June 1995 was to move past the music they’d written, and try to simply understand music from a basic level. The goal in all of this was the aforementioned search for a style and a sound that allowed Phish to play as a unified instrument of linear communication.

Tragically, the death of one of Phish’s greatest influences, and one of the most significant figures in the music they’d dedicated more than ten years to – Jerry Garcia – did more to bring Phish into the mainstream than anything they’d done themselves throughout their career. Suddenly there was a surge of fans who’d never cared much about Phish’s punky, aggressive and ironic approach to music that jumped on tour in search of the next party bus. With this onslaught came a need for larger venues, and their shows began to take on a larger than life feel. The fall tour that followed essentially featured two Phish’s. The first, in their October journey from California to Chicago, found them toning down the experimental diversions of the summer in favor of a sound that blended of the torrential energy of their ’89 – Summer ’94 shows, with a dose of psychedelia that overtook Summer 1995. They became a band in search of something once again, reaching it inconsistently, yet ultimately hinting at the brilliance that was just around the corner. In many of the same ways that Fall 1996 would hint at the organic cow funk that would fully bloom in 1997, October 1995 gave glimpses of how powerful Phish would be once they got rolling. Taking a ten-day break after their explosive Halloween show in which they flawlessly played The Who’s Quadrophenia was a key move to rest and prepare for the two month trek ahead of them.

Where Fall 1994 was a journey of westward expansion, Fall 1995 was a marathon from Atlanta to Lake Placid. Five weeks, 15 States, 29 shows, all concluding with a 13 show run through their New England homebase. It was the culmination of 13 years of practice, travel, more practice, unending energy, drive, commitment, friendship, trials, heartaches, weddings, shows in front of no one, more hungover drives across two states in one day than anyone wanted to remember, more practice, shitty food, a singular belief that what you were doing was right, loans, more practice, all leading up to a month in which the band played the best music they’ve ever played at the highest level they’d been at to that point, in front of the people who’d been there from the start: their friends, family and fans who’d given everything to hear the intoxicating, uplifting and uncompromising music of Phish.

————

Tearing through the southeast and up the Atlantic coast throughout November, every show, every week Phish was on the road seemed better than the last. To claim that December is superior than November is somewhat unfair when discussing the Fall 1995 tour. November is the overlooked calm before the storm. By all accounts, if the tour had ended on November 30th 1995 in Dayton, OH, it would have been heralded as a unanimous success. From the torrential energy of 11/11/1995, to Orlando’s second set dive into the unknown in “Stash” on November 14th – a jam which built into a take on “Manteca” that just might be the first example of the cow funk entering Phish’s repertoire – to the Carolina’s brilliant “You Enjoy Myself” and “Tweezer” on back-to-back nights, to the 30+ minute “Free” that took over the second set in Landover, MD on the 22nd, to their first show at the hallowed Hampton Coliseum in Hampton,VA during Thanksgiving week, to Bela Fleck’s memorable sit-in in Knoxville, TN on the 29th, to the 30th’s manic first set that spilled over into the masterful “Tweezer -> Makisupa Policeman -> Run Like An Antelope” in set II, there were more than enough memories and monumental performances throughout November to end 1995 on a high note.

Yet, this is what makes December 1995 so special: they just kept going. They’d harnessed the fire, and as they’ve proven so many different times, in jams, in tours, in shows, if they just keep going, if they just keep focused, if they keep searching for the next plane of creative bliss, sooner or later they’ll reach it, and when they do, look out. From the moment they stepped on stage in Hershey Park Arena on December 1st, to the last note of “Runaway Jim” seventeen days later in Lake Placid, from the first roll of the signature drum pop of “Split Open & Melt” in Worcester, MA on the 28th, through “Johnny B. Goode” in the early hours of 1996, everything Phish played carried a sense of grandeur, a greater collection of energy, a more meaningful purpose than most anything they’d played up until that point. Nearly every show is a classic. You can’t call any show a bad gig, you struggle to be overly critical of any show at all. Throughout the entire month, it mattered little what songs they actually played, every song, be it “Down With Disease,” “Tweezer,” “Scent Of A Mule,” “NICU,” even “Poor Heart” contained a burst of energy and an opportunity to be explored like never before. For seventeen glorious nights, Phish resided at the summit of the mountain, made even sweeter by the fact that they were performing nightly in front of the people who had supported them throughout their entire rise. There’s simply no parallel to the month in any other period of their career. Even December 1997 – a blissful return to the summit, which we’ll dive into in the next post – lacked the certain something that made December 1995 what it was. While the sound they’d worked so hard to build until 1992 – a sound that they would spend the next three years toying with, constantly one-upping themselves – would linger in some form through The Clifford Ball the next summer, it never quite sounded so rich, so powerful, so expansive and so tight as it did throughout December 1995.

– Jams – 

If one were to sum December 1995 up into a singular jam, one might suggest the 12/02/1995 “Tweezer” which builds in Type-1 tension & release fashion to a masterful explosion of guitar hose, or the 12/07/1995 rhythmic and soaring melodies “Mike’s Song -> Weekapaug Groove,” or perhaps the 35 minute “You Enjoy Myself” that engulfed the second set of the 9th’s show at Albany and featured such lock-tight connection that they were able to incorporate almost two minutes of silent jamming before reawakening the jam, or even the 31 minute “Down With Disease,” only the second time the song had been played since June, and the last exploratory version until the European Winter tour of 1997. And yet, for as remarkable, mind-bending, and infectious as those jams were, they are not Binghamton’s “Halley’s Comet -> NICU -> Slave To The Traffic Light” fromphish-02-big December 14th.

Playing a tiny minor league hockey arena where they’d played one of their best shows of 1992 – 03/20/1992 – the show carried that extra something that lingers in the air at all classic Phish shows. The frigid temperatures outside, the college crowd/forgotten rust belt vibe of the town, it’s geographic location: 90miles south of Syracuse and the 1-90 corridor, SE of the fabled Fingerlakes, the cramped, archaic and swampy conditions inside the venue, it was all a part of the culture that made Phish.

On paper the triumvirate doesn’t look that out of place – save for the direct segue into “Slave” – it appears as the kind of sequence one would envision happening without much fanfare at any number of shows. The burst into “NICU” out of a :30sec guitar build in “Halley’s” is none too uncommon during the 3.0 era. However, from the moment the lyrics in “Halley’s” conclude it’s clear the band is on a mission as Trey swiftly directs them away from the bubbly pop of the song into a high-octane charge into the unknown. Traversing through various speed-jazz phrases, Mike takes a step back and opens the space up considerably, before Trey reinvigorates the jams with an infectious and insatiably catchy riff to which each member hooks onto, thus shifting the jam into a rousing display of unity and communication. This riff, and the resulting jam – just over two minutes in length – represents everything about December 1995 that was so special. In the midst of a jam on a song that is normally treated as a quick punch for energy, the band embraces the unknown fully, allows one jam to develop but then cuts it off abruptly.  On a dime they are following each other, waiting patiently, and then, when they know Trey’s struck musical gold, jump on his new idea, building a segment of music out of it that features total engagement and sounds as though it were composed over a lengthy period of editing and rewriting. Were it prewritten would take away very little of it’s greatness, yet the fact that it’s a completely spontaneous event makes it all the more surreal to listen to and contemplate.

From there, Trey directs the band into “NICU,” a song that was notable for being something of a rarity at the time, yet one that few would expect to find buried deep in a second set. Receiving the same treatment as “Halley’s” as soon as the lyrics end, “NICU” goes on a wild adventure from 4:25 to it’s fade into “Slave.” Jumping on the exact same theme from “Halley’s,” Trey builds the song in much the same way as he did in it’s predecessor, though this time, instead of following his every note, Page, Mike and Fish add an atmospheric background to his melody, maturing the theme on the spot, and giving it a more well-rounded, structural feel. Deconstructing it after reaching its maximum potential, Page take’s the reins on the baby grand and guides the band out of fuzz-rock and into more refined and regal territory before Trey and Mike return with ambient phrasings, fading into a stirring, patient and ultimately fulfilling “Slave” to end the sequence and the set.

If the “Halley’s -> NICU -> Slave” trio is the undisputed jam of December 1995, then the “Bathtub Gin -> The Real Me -> Bathtub Gin” from December 29th is at worst, the undisputed jam 1a. After coming alive in the Murat Theater in Indianapolis back in August 1993, “Bathtub Gin” had cooled considerably, returning to it’s role as mid-first set Type I clinic is HOSE. Save for the rousing version sandwiched around the bust out of Mingus’s “Jump Monk” on 04/24/1994, the song remained quite contained for over two years. Yet as the band returned to the road on November 9th in Atlanta, they brought “Gin” back into the realm of improv as well. Both the 11/09 and the 12/05 version from Amherst left the “Gin” theme completely, engaging in, first, an anthemic hose section before stripping away excess noise and focusing on the infectious rhythms contained within the songs origins. The December 5th version then built upon the uncharted terrain, guiding the jam into an obscure, noise-ladened territory, allowing each member to explore the bottom ends of their instruments, while dissonant washes hung overhead.

1995-nye

Following a similar dance-heavy pattern of the previous two versions, “The Real Gin” pushed through various segments of high-octane hose before Trey discovered a tight riff that each of his counterparts jumped on, dedicated to building the theme ala the Binghamton “Halley’s.” The riff serves ultimately as a transition into a cover of The Who’s “The Real Me,” yet what makes the segment so special is the fact that the transition emerged out of a collective search for communication, and wasn’t until everyone jumped on the idea that Trey was trying to communicate that the segue unveiled itself to them. The perfect match for a “Bathtub Gin” jam, the energy within the room – both onstage and off – reaches almost unsustainable levels of pure joy and ecstasy. The band harnesses a power only previously reserved for the arena rock bands of lore, and for a moment epitomizes the entire sound they’d been searching for to accompany their transitional state from clubs to arenas. It’s the kind of music they could have never played in a small theater in 1992. It’s the kind of music they could never have played at the Gorge in the summer of 1998. It’s the kind of music they could never have played during the winter of 2003. It’s the kind of music they could never have played in August 2011. It’s wholly original and unique to where the band was in December 1995, and it represents the kind of elation and sustained energy that had overtaken Phish throughout the month. In the industrial heartland of Massachusetts, in the venue – The Centrum – that had housed one of the greatest shows of their first ten years – 12/31/1993 – two nights before maybe their best show of all time – 12/31/1995 – at the peak of their power, fully locked into their goals, with a purpose that you just don’t see out of a lot of bands once they’ve “made it,” “The Real Gin” represented yet another one of those moments where the band was simply a vessel for tapping into a higher power. Just listen to the way Trey screams “Can you see the real me?! Doctor?!! Whooooa DOCTOR!!” to a wave of continual cheers from the crowd before the band turns on a dime, breaks the song down to Fish and Trey and perfectly pivots into the second verse. A song they’d only played once before – two months earlier – a song that had probably not even been considered for the setlist, a song that emerged from a jam that wouldn’t have even happened had Trey not gone forward with a brief idea of his, and had his bandmates not latched onto his idea fully, thus building the “Gin” into “The Real Me.”

Then, as if the powerful segue, and surprise performance were not enough, the band took The Who on a wild ride through a torrential guitar solo, arena rock excess, before deconstructing it into a funk-laced jam that emphasized linear communication in its greatest sense. Finally, in the same way that “The Real Me” found it’s origins in the “Gin” jam, Trey directs the band into a rhythmic territory based off of a riff of his that bleeds patiently, yet flawlessly back into “Bathtub Gin.” A masterful moment in composition, it is as professional an assertion on the power and command of Phish in December 1995, of both their arsenal and knowledge of each other. A monumental excursion, a clear victory for both the band, and for the world of improvisational music. Proof that what they’re doing isn’t so much “jamming” as it is conducting into the unknown. A jam that has lived on in infamy, known simply as “The Real Gin” to fans, it’s yet another example of the power and supremacy that was Phish in December 1995.

– Shows –

As was stated above, there’s really no such thing as a bad show in December 1995. Even the weakest shows by most people’s standards – 12/04/1995, 12/08/1995, 12/16/1995, 12/28/1995 – are still really really good shows by any other month’s standards. More than anything, these four shows have the misfortune of being included in the conversation with December 1995. This embarrassment of riches creates a problem when attempting to sum the month up in a single show. There are simply too many good shows to discuss when talking about December 1995. You could talk about the 12/01 explosion of energy, full of incredible jams in “Mike’s” and “Bowie,” and the right dose of Phish mythology in “Col. “Forbin’s,” or the rarities scattered throughout 12/07, combined with a unique setlist and timeless jams in “Split Open & Melt,” and the “Mike’s -> Weekapaug” sequence. You could talk about 12/11’s return to Portland, ME, where a gag on “Dog Log” took over the first set, while the second set was dominated by a scintillating and electrifying “Bowie,” or the jam-packed tour finale in Lake Placid which opened with the absolutely torrid segment of “My Friend>Poor Heart>A Day In The Life>Antelope” and closed with a 20 minute jam out of “Tweezer” and led, for only the third time ever, directly into “Tweezer Reprise.” You could also talk about 12/29’s old school, celebratory explosion – a show that defines the ultimate feeling of a Phish holiday run, and continued the lore surrounding the 12/29 and 12/30 shows on a NYE run – or you could talk, however obviously, about the pure greatness of 12/31, from the fact that it was their first NYE show at MSG, to the near-flawless performance of some of their classics, to the diversity and multitude of jams in “Drowned,” “Runaway Jim,” “Mike’s Song,” “Weekapaug Groove” and “You Enjoy Myself.”

OLYMPUS DIGITAL CAMERAYet, to really sum up the entire month of December in one Phish, one should look no further than the insatiable command, and frantic explosions that emit from their one-night-stand in Philadelphia, inside the legendary Spectrum, on December 15th. Opening with “Chalk Dust>Hood>Wilson” is enough to straight blow the lid off the old bitch. But to then build the first set through a series of some of Phish’s most raucous songs, refusing to let enough time pass between the conclusion of one song and the start of another, so that the crowd only has an opportunity to react once the next song’s started, cultivated a live test in the amount of energy, pressure and elation one could unleash on a crowd before they would explode. “Maze>Ha Ha Ha> Suspicious Minds>Hold Your Head Up>Cars Trucks Buses>Bouncing Around The Room, Free>Possum” concluded a set that, like much of the rest of the month, mattered little for song choices, and instead relied totally on the ferocious output by the band. Opening the second set with “Tweezer Reprise” carried much of the celebratory vibe from set one to part two, and was sustained through a twisted take on “It’s Ice,” and a spirited “Bathtub Gin” that evolved into a beautiful “Rotation Jam” before seguing into the only known version of the Fishman ballad “Mallory.” Concluding with the classic combo of “2001>Bowie” – the latter of which exemplified the contained, yet exploratory nature of the composition – the show is full of literally everything that makes December 1995 the month it is.

If only to add to the musical mastery of the show was the locale. Born and raised in Princeton, NJ, Trey was a die-hard Philadelphia Flyers fan from a young age. No doubt won over by their back-to-back Stanley Cup titles in 1974 and 1975 – the first of which featured the first victory of an expansion-era NHL team over an Original Six franchise, when they beat the Rangers in seven to advance to the Finals before beating the Bruins in six to claim Lord Stanley – he grew up playing hockey and made the hour-long drive to Philly frequently to cheer on the great Flyers teams of the 70’s. What’s more is that Trey’s first live show was a Jethro Tull show at the Spectrum. A venue that was held in the highest regard until it’s closure and demolition in 2010, it was a favorite of many of the arena rock groups of the last forty years, and was the kind of venue one showed-up to whenever they’d booked a gig there. Legends were made there, and one did not look lightly upon a performance at a venue like this. Combine this personal history with the fact that the show was their 180th since April 1994,  near the end of their greatest tour ever, and it’s no wonder such magic was unleashed in Philly this night. It’s yet another example of the intangible power and energy that is unleashed during a Phish show. It’s a perfect microcosm to essentially sum up what made December 1995 so unique in their history.

Certain venues and cities bring out different qualities within Phish. The Gorge allows for them to be overtaken by the vastness of the surroundings and usually results in shows heavy in experimentation, Deer Creek is their inheritance from The Dead – an intimate amphitheater in the heartland of America – MSG is the pinnacle of their rock star personalities, used to punctuate another year gone by and remind all other bands of that untapped power of Phish. Philly’s Spectrum however is what Phish would be if they were a venue. Located in an often overlooked city – Philadelphia – under appreciated by the masses, unpreserved by those in care of it, understood and adored by those who take the time to truly appreciate its intricate nature, and lovable flaws. When they stepped inside of it for each of the nine show they would play there, the spirit and the energy of the venue overtook them, and – aside from two horrendously weak shows in 2003 – resulted in one of the best shows from its respected tours.

Fusing the telepathic communication of the members of Phish with the absolute mastery of their technique, the home stretch of their Fall 1995 tour with their location, their first performance in a venue of their dreams with the holiday season in full swing, and it’s no wonder that 12/15/1995 produced one of the most memorable shows of the tour and month. What’s more though is how it represents literally every aspect of Phish in December 1995 that made that era so special and so unique. Never before and never since has the formula added up in quite the same way as it did in December 1995. This is not to say that they haven’t produced music over stretches before or since that demand listening, but there is something to be said about the fact that December 1995 displayed a Phish at the absolute apex of their talents, yet still in search of a larger goal. In the region that bore them and raised them up, it all combined to create the best month Phish has ever played.