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.

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 – 2012

527217_10151001265221290_754712652_n

“To the victor goes the spoils.” – Sen. William Macy (1832)

When Phish announced their return on 1 October 2008 – four-plus years away from the world of sold-out arena’s, fully connected jams, and everything that comes with the Phish scene – there was both a collective sigh of relief and, resounding celebratory roar from anyone who’d connected with the band, and had hoped the demise of Coventry would not be the last time Phish would grace the stage. Four years of worn out Phish tapes, unfulfilling solo efforts, and quotes from Trey about his willingness to give up a testicle to play “You Enjoy Myself” all-day/every-day had made the fan base hungry, and desperate, for a do-over of the 2004 conclusion of Phish. What few realized, however, was just how long and arduous a process it would be for Phish to retain the sense of who they were when they finally returned to the road in the Spring of 2009. Five years removed from touring – not to mention at least ten years since their last serious practice session – Phish was noticeably rusty upon their return, and used much of 2009 and early 2010 as a back-to-basics campaign to relearn what it meant to be Phish. Determined to rebuild from scratch, the early part of 3.0 featured an inconsistent band who was accused by many of returning simply as a last grasp for a paycheck.

Gone were the unending jams of 1997-2004, gone was the zany spirit that had defined them in their early years, gone was the unpredictability that made every show a must-see, must-listen event. In it’s place was a band that appeared unsure of itself, intimidated by their fan’s expectations, and unable to consistently muster up the energy and magic that had come to be expected with a Phish show. First sets became extended recitals where the band sought to relearn their entire catalogue. Second sets – which had long been an opportunity for the band to dive head first into the unknown – were suddenly predictable. Featuring a handful of rotating “jam vehicles” to kick them off, yet provided little in the way of substantial experimentation, they almost always concluded with a string of high-energy classic standards, that, while certainly were fun to hear live, retained little replay value for anyone interested in listening to their shows. All the more frustrating was the sense that anytime Phish would play a show that was unanimously regarded with praise, they would essentially take two steps backwards by following it up with a dud. The entirety of 2009 and the June 2010 run is littered with shows that many loved, and still love – 06/07/2009, 06/19/2009, 08/01/2009, 08/14/2009,  11/24/2009, 11/29/2009, 06/18/2010, 06/27/2010 – only to be followed by shows that were among the weakest offerings of this or any era of Phish. Worst of all, Trey Anastasio, Phish’s leader – far and away the most talented member of the band during their best years – had seemingly forgotten how to play guitar. It appeared throughout the first 18 months of 3.0 that the Trey, who had so often taken charge in jams – who’s playing had inspired Carlos Stantana to coin the term “Hosing” to describe his style of jamming – had disappeared in a cloud of drug abuse and rehab. Replaced by a fumbling, awkward, mistake-prone guitarist who couldn’t get his tone right, cut jams short, ignored his bandmates, and valued contained energy over exploration, the band felt tame simply because their leader was leading with an emphasis on timidness. When they closed out the first leg of their June 2010 run with a high-energy, yet forced string of shows in Alpharetta, GA, there were more questions surrounding the direction of the band, than at any time in their career, save April 2004.

And yet, throughout all of the ups and downs, throughout all of the just bad shows, throughout all of the “Sand> Horse” moments that seemed to hang over Phish 3.0 in the first year and a half since their return, there were still many fans who held on to the belief that the entire process was a calculated one of rebuilding, one that would reward in droves once the band regained their footing. There had been too many signs of greatness – the “Fluffhead> Divided Sky” to beckon in 3.0, 06/07/2009, the gimmicks and jams that engulfed 06/21/2009, the entire Red Rocks run, the music created at the Gorge, Hartford, Festival 8, “Seven Below -> Ghost,” 12/30/2009, “Tweezer Reprise Reprise,” 06/27/2010, “Fuck Your Face” – for 3.0 to simply be a cash-grab. Phish had always been a band that relied heavily on a tight-looseness (loose-tightness). And this in-the-moment creativity was best delivered through practice, repetition and communication, something that the band hadn’t had in at least five years. Clearly they were aware that their music wasn’t on the level that many had come to expect from them. Clearly they were working towards a bigger goal. Clearly they hadn’t reunited, toured and spent so much time relearning their entire catalogue for nostalgic purposes. Clearly, Phish wasn’t a Greatest Hits band that would return to the stage only to be a stale shell of their former self.

The first sign that those who stood by the band’s 3.0 direction were right came on 08/06/2010. In the intimate Greek Theater Phish took a typically standard First Set “Cities,” latched onto a groove from Mike, and locked into a jam that could have been plucked right out of Summer 1998. The second set featured a blissful take on “Simple,” directing the ambient section of the song into a bubbling melody, resulting in some of the most organic music created in this era. “Light” from 08/07/2010 followed the trend, and from there, the band crafted easily the best tour of 3.0 at that time. Surpassed immediately by the Fall Tour that saw the band traverse throughout the Northeast in some of the most intimate and archaic venues they’d played since the mid-90’s, Phish rediscovered their zany spirit, and infused nearly every show with humor, energy, and intricate jams. Due in large part to the Ocedoc guitar that Trey received from their former sound technician/guitar craftsman, Paul Languedoc, prior to the August 2010 tour, Trey’s tone became much less abrasive overnight, and his playing immediately evolved into a more rhythm-oriented style, emphasizing the lead only when necessary. Concluding the year with a triumphant five-show run through Worcester, MA and New York City’s Madison Square Garden, Phish had clearly turned a corner in 2010, allowing all to look ahead to 2011 with gleeful excitement, rather than cautious optimism.

The overall sense surrounding 2011 is that while Phish made some of the greatest leaps forward in reasserting their brilliance, they still lacked the consistency that had defined them during the peak of their career. While there were moments that were far and away better than anything they’d been capable of during the first two years of 3.0, they were still just as prone to abandon exploration in favor of energy, and at times, could certainly be accused of mailing in performances, such as their incredibly lackluster 2011 NYE Run. Featuring a number of ups and downs, the year started off with a brilliant run in Bethel Woods, NY, and jam for the ages from “Down With Disease -> Fluffhead -> David Bowie,” outside Detroit. Yet, the June tour took the route of the 2009 and ’10 runs, sputtering as it moved along, and featuring a string of forgettable shows that left many questioning where the source of their initial energy had come from. The Super Ball IX Festival over Fourth of July Weekend on the other hand, featured the most important moment in 3.0 – “The Storage Jam” – followed by the best show of 3.0 in 07/03/2011, and helped to reinvigorate the band with a sense of wonder, and an intrigue in the unknown. As Trey said, “it kind of reignited us to open our minds a little bit.”

When they returned in August at the wide-open Gorge amphitheater in Washington, they kick-started a tour that would feature some of the darkest, most exploratory, and surreal jams since 2004, most notably the 08/05/2011 “Rock & Roll -> Meatstick -> Boogie On Reggae Woman,” 08/09 “Light” and 08/15 “Waves -> Undermind.” Closing out the tour with a celebratory, innovative and overall victorious three-day run at the intimate Dick’s Sporting Goods Park just outside of Denver was a send off to a summer that, while it had it’s moments of uncertainty and mistakes, had seen Phish take more risks and reap more rewards than any point during 3.0. All the more bizarre then, their New Year’s Eve Run at Madison Square Garden turned out to be a complete dud aside from the tepidly exploratory and genuinely fun opening show on the 28th. Without a Fall Tour to bridge Summer and the holiday’s, Phish sounded directionless, and for the first time in all of 3.0, truly appeared to be going through the motions. 2011, which had begun with such optimism, with so much joy over the state of the band, ended with a resounding sense of skepticism, backed up by the fact that 2012 was going to be a “lite touring year for the band.”

As the two summer tours were unveiled in the late winter, the offerings left much to be desired for they featured a string of shows in oft-played Northeastern venues, followed by a two-week scattering of one-off shows in August in-between a three-night stand in San Francisco, and the second-annual Labor Day Tour Finale at Dick’s. What’s more was the confirmation in April that the band would not release any more tour dates in 2012, meaning even fewer shows would be played in 2012 than 2011, only further worrying a fan base that the best of 3.0 had come and gone in a flash. Oh, but we were oh so wrong…

In one of the best scene’s in Phish’s 2000 documentary, Bittersweet Motel, Trey responds to a question about their Fall 1997 tour, saying, “Nobody’s paying any attention, and we’re having the best tour we’ve had in years.” This quote could aptly describe the Summer 2012 tour in the same way it did the legendary Fall 1997 outing. While sure, people were excited for the 2012 return of Phish, the sense of anticipation, the unbridled celebration, the endless discussions on what would happen this tour were all but absent from the Phish community in the weeks leading up to 7 June. For the first time Phish would begin a tour in 3.0 without much fanfare, hype or expectations. And in legendary fashion, they responded with easily the best tour they’ve had in years. Putting to rest the myth that their June runs were there to get the kinks out, the band spent a week rehearsing prior to their opening run in Worcester, MA. Resulting in an experimental-heavy tone to the start of tour, a string of rare songs, and standards in unique placements, the tour kicked off with an anything-goes spirit that wouldn’t let up once throughout first leg.

Turning conventional wisdom on it’s head, the tour featured a band excited about it’s music, excited about playing with each other, energized, and using every show as an opportunity to dig deeper than they had in all of 3.0. The growing pains were officially gone, this was finally the Phish we’d been waiting for for four years. To those who had hung around and believed even when the band threw a 06/20/2009, 08/15/2009, 11/25/2009, 06/17/2010, 10/15/2010, 10/24/2010, 06/10/2011, 08/10/2011, 12/30/2011 in our faces, 2012 was a revelation, a year of spoils to both band and fans alike. With a stated goal of playing 200 unique songs throughout June, the run was infused with rarities and a sense that any song could – and would – be played at any show. Add to it, the comfort the band felt with each other again, multiple jams would pop up in various shows, reigniting the band’s sense of exploration, and thus proving “The Storage Jam” was a turning point, rather than a on-off experiment. Combining these two aspects of Phish resulted in a tour for the ages, one that spilled over into August and featured a number of standout shows with a more polished approach to the wildness of June. Culminating with the Dick’s shows, the band once again capped off the tour with a celebratory run that emphasized exploration, delivered the best jams of the year, the best shows of the year, and gave 07/03/2011 a real run for it’s money.

In the same sense as the rest of 2012, Phish returned to MSG for their NYE Run far more prepared than they had a year earlier, resulting in a much better overall run. While it is clear that they do in fact benefit from a Fall tour, the band still managed to infuse their MSG shows with a determined and driven energy, stoked the exploratory fire lit at Dick’s, and gave all in attendance – and all listening at home through the much-refined couch tour – a reason to truly be happy about the state of Phish in 2012. As we look forward to the 30th year of the band’s career, there’s no reason anyone should question the direction, drive or focus of Phish. If it wasn’t clear before, it’s more than obvious now that the trials and errors of 2009 – 2011 have all but been overcome, and that Phish is in a healthier state than they’ve been since 1995.

As with the last two years, I’ve assembled a list of ten shows and jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. These are not simply shows/jams 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are assembled chronologically just like the last two years, thus reserving the title “Best Ever” as a subjective accolade. Hope everyone had a wonderful holiday season! Happy New Year! Can’t wait to see what 2013 brings to the world of Phish!

The Best Of Phish 2012

Honorable Jams

168255_10150835308206290_1526087427_n

“Boogie On Reggae Woman” – Worcester, MA – 06/07/2012

The first night of the 2012 Summer tour brought an array of surprises – from the bookending “Buried Alive” performances, to the quantity of jams in Set II including “Carini,” “Ghost” and “Harry Hood” – perhaps the greatest being the jam that emerged from “Boogie On Reggae Woman.” A song that’s been let out to run only a handful of times, it’s typically been called upon in 3.0 to showcase Mike’s bass talents, and inject a show with a dose of fun and energy. Yet on 7 June, after emerging from a rather demented and atypical “Ghost,” Trey jumped all over the “Boogie On” jam, building a raucous theme, and highlighting his reacquaintance with the “Hose.” All energy, all rock, all Trey, the Worcester “Boogie On” is neither the most exploratory, nor most original number of the night. What it is though, is that moment when everyone in the Phish scene realized the band had really brought out their big guns in 2012, a foreshadowing of the surprises and the overall greatness the band had in store for us fans during the summer of 2012.

539531_10150995832656290_1486852917_n

“Limb By Limb” – St. Louis, MO – 08/28/2012

For a song that had grown increasingly stale, and predictably tepid, the “Limb By Limb” from 28 August represented a revolutionary moment for Phish. Appearing deep in one of the best second sets of the year, it seemed initially that it would be used as a breather after the “Chalk Dust Torture -> Frankie Says -> Undermind -> Sand -> Walk Away” jamfest that had opened the set. Yet, once the band broke from the song’s structure, they left the theme completely, as Trey led them down a completely unique and untapped path, totally devoid of “Limb By Limb’s” original concept. At first, dark and rhythmically plodding, the jam built upon a celebratory melody, leading to a full band peak, which ultimately hinted at the jams that would emerge from “Light” and “Sand” at Dick’s the following weekend. Featuring fully realized licks from Trey, structurally supportive bass from Mike, a resounding organ fill from Page and proactive drum riffs from Fish, it was the kind of energized tension and release jam that had been the band’s bread and butter for so many years. Returning here, in type-II fashion to compliment one of their best lyrical songs – at a critical point during the show, and tour – it only further stoked the furnace that was burning within the band in 2012.

564311_10150999996291290_407443937_n

“Runaway Jim > Farmhouse” – Commerce City, CO – 08/31/2012

The first of five jams and two shows from the legendary 2012 Dick’s Run to appear on this list. When Phish left the structure of “Runaway Jim” to open the second set of 08/31/2012 – only the second time they’d done so since 2000 – everyone in the venue, and watching from the comfort of their couches knew it was on. The first set of the show had featured two fully realized jams in “Carini” and “Undermind,” a first set “You Enjoy Myself,” and a setlist that read: F.U.C.K.Y.O.U. Thus when they opted to see how far from home Jim would rome, rather than keep him chained up as he’d been for all of 3.0, it was a clear sign that the Dick’s run wouldn’t follow suit with the various criticisms and assumptions that had plagued much of the last four years of Phish. A jam that moved from it’s theme into a much darker realm, the Dick’s “Jim” might be most notable for it’s recovery from potential miscommunicated disaster from 12:00 – 12:24, resulting in an improvised funk-throwdown, the sorts of you just don’t get this side of 1998. Sveltely flowing into a melodic segment of psychedelia, the band displayed a desire to push jams beyond their typical resting places, a theme which would come to represent the entire run. Landing in “Farmhouse,” it appeared as though the gimmicks from set one were over. Yet, the band had other ideas. Needing to fit R.F.A.C.E. in the second set meant they had to keep the jams rolling, and once the theme of “Farmhouse” ended, they embarked upon a segment of Ambient washes and spacious noise that brought everyone back to the phenomenal “IT Waves” from 2003. An unlikely pairing of jamming partners in 2012, “Jim > Farmhouse” represented the realization at Dick’s that the Phish we thought we’d figured out, had once again duped us. A sense us fans were more than happy to accept.

The Top Ten Jams Of 2012

599941_10150850072196290_154726822_n

“Birds Of A Feather -> Back On The Train -> Heavy Things” – Atlantic City, NJ – 06/15/2012

Born out of Phish’s 1997 linear musical communication renaissance was a song that felt snagged from the discography of The Talking Heads. For it’s first seven years in existence, “Birds Of A Feather” worked a lot like “Chalk Dust Torture” in that it could alternate with ease between an exploratory jam vehicle and a short, punchy, determined rocker. Then 3.0 came around and the song’s edge seemed to be gone for good, as every version followed the same pattern of thematic soloing, high-energy payoff, end. At first it seemed the 15 June version was destined for the same short, unnoticed death, something which would have hailed an immediate end to a promising show. Yet, Trey held the final note of the song’s chorus out just long enough for his band members to latch on and ride the song out into the unknown. What followed was a blissful, weaving jam which displayed full band communication, startlingly gorgeous leads from Trey, and an intricate and patterned melody that sounded as though it had been composed. Building through melody, rather than noise or energy, the jam took on a sound much akin to the “Birds” jams of 1999 and 2000, retaining the song’s theme, and exploring within it. When Trey moved into a minor key the jam took on a harder feel, resulting in a rhythm-based jam that led seamlessly into “Back On The Train.” Remaining totally within the structure of the country-twinged song took nothing away from the segment, for when it bled into “Heavy Things” the triumvirate of the late-90’s songs had flowed so perfectly together, that the concept felt pre-planned. Ushering in the era of musical suites that seemed to defined 2012’s jamming structure, the “BOAF -> GBOTT -> H Things” was one of the early highlights of summer which reminded everyone that the successes of Worcester were not all for naught, regardless of the mediocre Bonnaroo show.

284430_10151001265331290_1088867019_n

“Twist” – Cincinnati, OH – 06/22/2012

Emerging out of the murky fade of “Kill Devil Falls,” “Twist” was a welcome addition mid-way through Set II of a show that had produced an absolute classic First Set – full of gimmicks and killer playing – and a Second Set that through “DWD> Guelah, Kill Devil Falls” was in danger of fading into predictability. A song that had been used almost solely as an vehicle for seedy improv in 1.0 and 2.0, “Twist” had become more of a slow-shuffling blues number in recent years, exciting fans more with it’s possibilities, rather than it’s delivery. Keenly aware of this, Page switched from his strutting piano fills to his organ at 6:13, followed immediately by Gordo hovering over an ominous tick-tock bass riff, solidified by Trey’s minored trills which dove the song into the nether world for the first time since Coventry. What followed was perhaps the darkest, seediest and evilest jam Phish had produced since the 08/15/2004 “Split Open & Melt -> Ghost.” If the knock on Phish has been that they can’t get dark in this era of drug-free, happy-Phish, then the Cincinnati “Twist” threw this theory into an abandoned pit and let it rot to the glee of everyone watching and listening. Highlighted by noise-induced guitar washes and a sinister duel between Mike and Trey from 8:54 – 10:20, the jam never rose above the underworld it embodied over fourteen minutes. A moment when Phish proved their ability to summon the demons of the past, the Cinci “Twist” would reemerge at least in theme in a number of other dark jams throughout the year, all of which owe a debt of gratitude to it for breaking the barrier.

7432769080_dcfda3f942_z

“Mike’s Song -> Simple> Light> Weekapaug Groove -> Seven Below” – Burgettstown, PA – 06/23/2012

Throughout their career there has been a suite of music that has hung around with their constantly evolving styles, and has reflected the current state of the band like few other songs could. “Mike’s Groove” as it’s affectionately referred to by their fan’s is a shape-shifting union of songs which can appear as simply as “Mike’s -> Hydrogren> Groove,” or “Mike’s -> Simple -> Hydrogen> Groove,” or, can morph into a completely separate entity, book-ended by “Mike’s” and “Groove,” but containing ideas within that can only be found within the confines of an era. Notable examples can be found on 12/30/1993, 06/22/1994, 12/01/1995, 12/07/1995, 12/31/1995, 12/02/1997, 08/15/1998, 08/06/2010 and 10/26/2010. The lone show of 2012 in Burgettstown, PA joined this elusive group with a “Groove” in Set II that seemed to sum up everything about the modern era of Phish that makes it special. Following a punctual “Mike’s,” “Simple” faded into the Ambient wonderland it’s become in 3.0 as Mike, Page, and Trey all built a wall of blissful noise, and Fishman continued to prove his worth with off-beat rhythms that kept the music constantly on it’s toes. The undisputed jam-champion of 3.0, “Light” once again was featured as the centerpiece in this suite and show, as Trey and Page guided it from a noise-ladened swamp into a calypso-themed dance-off, and finally a demented, rhythm-based soiree. One of the more connected versions in a year full of them, the “Light” itself is truly one of the top tier pieces of music produced by the band this year. “Weekapaug” picked up right where “Light” left off, diving head-first into staccatoed beats, Moog-induced rhymes, ambient washes, and a deconstructed fade to the 2.0 rare-classic, “Seven Below.” While not the extended journey it is constantly capable of being. “Seven Below” served as a proper conclusion to the suite, with it’s “Weekapaug” inspired jam, hints at the underworld, and contemplative pace that allowed everyone a chance to breath after the music that had just transpired. A fully realized fifty-minute suite of music the “Mike’s -> Simple> Light> Groove -> Seven Below” was one of the best overall moments of an incredible June run, and an incredible year of Phish.

484631_10150977214956290_1447660297_n

“Crosseyed & Painless -> Light -> Sneakin’ Sally Thru The Alley -> Crosseyed & Painless” – San Francisco, CA – 08/19/2012

On the third night of their massively hyped, yet so far underwhelming, run at the intimate Bill Graham Civic Auditorium, Phish not only put on one of the best shows of the year, but clicked for a 45-minute suite of music that rivaled the Burgettestown “Mike’s Groove.” Featuring the first truly extended and experimental “Crosseyed & Painless” since 05/27/2011, the set moved with determined precision, weaving through historical Phish themes, and crafting a fully-realized union of songs that would have highlighted any show in any era. Dedicating the final 7:45 of “Crossyed” to ambience, the band engaged in a jam that flowed with ease from one theme to another, pushing itself seamlessly from its origins. Featuring some of the best Mike, Page and Trey interplay, it was a blissful foreshadowing of the music that would come to dominate Dick’s and the best parts of MSG. “Light” took on a more aggressive role, initially teasing “Crosseyed” before moving into a fully-loaded, rhythm-based groove session. Packed tight with a rock breakdown from Trey and Page, Trey once again took the lead and engulfed the jam with fully-formed lyrical phrasings on the Ocedoc, harkening back to the aforementioned Burgettstown “Light.” Hinting at the “Tweezer Reprise” that was still on the table, Trey directed the torrid jam into “Sneakin’ Sally” crafting the second memorable version of the legendary cover of the Summer. From funk-rock origins the song descended into a groove that resided in the Set’s opener and before one realized it, suddenly they were back in “Crosseyed & Painless,” thus completing a massive sandwich of high-energy and exploratory music that achieved literally all the goals set out for by the band when they returned in 2009. A flawless segment of music, the “Crosseyed -> Light -> Sally -> Crosseyed” highlighted one of the shows of summer, and reignited summer tour as it moved into the Southeast.

228575_10151002926501290_1761768171_n

“Undermind” – Commerce City, CO – 08/31/2012

Deep in the best First Set of 3.0 came a top tier jam and immediately solidified the Dick’s run as the best of the last four years; even before it ever really got going. Completing the First Set F.U.C.K.Y.O.U. gag, which would spill over and engulf the entire show, “Undermind” took a wholly unique route the second it left it’s theme. Led entirely by Trey, the jam reflects the massive improvements he made as a guitarist throughout 2012, and is the culmination of the efforts he made all summer, starting with the Worcester “Boogie On.” Flowing through various themes before reaching an ethereal peak that closed out the set, it’s a perfect piece of improv, something Phish simply wasn’t capable of on this level prior to 2012. Whereas in the previous three years, any Trey-led jam would follow the route of predictable rhythm-based breakdowns, followed by ambient washes, the Dick’s “Undermind” has fully-formed ideas based around unique riffs that all sounded composed upon first listen. When it was happening, I was unaware of the gag occurring, simply thinking I was witnessing a totally different band than the one I’d listened to play a contained and predictable show in Oklahoma City two nights earlier. All’s I remember thinking is that this would be the perfect jam to end the set on, that we didn’t need a “Golgi,” “Character Zero,” or “Stealin’ Time” set closer proper. The fact that gag-or-no-gag, the band instinctively knew what they’d accomplished with this jam and decided to close out their phenomenal opening set at Dick’s with it, only goes to show just how important it was to them then. It’s replay value and ability to still surprise, proves it’s importance to all of their fans now.

408268_10151002928756290_991312000_n

“Chalk Dust Torture” – Commerce City, CO – 08/31/2012

The eternal Phish-rebellious-rocker, “Chalk Dust Torture” has been here before. One of the most unique numbers in their repertoire, the song spent the majority of it’s first eight years as a punctual rocker, used to open/close a show, or infuse one with a massive dose of adrenaline. Then, out of nowhere it started randomly being used as a launching pad for exploration. The 07/10/1999 version which spilt into “Roggae,” the 08/03/2003 masterpiece that seemed to fulfill the idea of what it would be like if “Chalk Dust” were originally written as a 25-minute song, and the elongated 08/09/2004 version that’s probably the only memorable part of the Hampton ’04 show. In 3.0 it returned to it’s historical place of a doors-busting rock anthem, used seemingly to open every other show in 2009 and much of 2010. Yet, when it opened Set II of 06/25/2010, something changed, the paradigm shifted, and the exploratory possibilities were renewed. Call it fate, call it destiny, but when the band stretched the 08/25/2012 version into “What’s The Use?” and the 08/28/2012 Set II opener into a spacey jam that ultimately landed in “Frankie Says,” everyone could sense that the version played at Dick’s would fully embrace the unknown. Thus when it was placed in the “C” slot of the F.A.C.E. part of the gag, only forty minutes into the second set, the band jumped all over a version that ranks up there with 07/10/1999 and 08/03/2003 as the best versions of the song ever played. Like the “Undermind,” Trey is in control of the entire jam. Yet what separates the “Chalk Dust” is his willingness to rely on off-beat rhythms in a way he simply couldn’t in years past; to fully communicate with his band members as they shifted through a multitude of themes. Each member shines in this version, and every fan owes it to themselves to watch the performance of it for themselves. You’ve just never seen Phish fully embrace the unknown and exploration in 3.0 in the way they do throughout the “Chalk Dust” jam. Surreal still now to hear it, something about Dick’s just brings whatever it is, out of Phish.

543621_10151001266261290_1182845659_n

“Prince Caspian> Light” – Commerce City, CO – 09/01/2012

After playing an impossibly brilliant show to kick off their run at Dick’s over Labor Day weekend, it seemed pretty certain that Phish just wouldn’t be capable of topping their 08/31 performance. Even a “Run Like An Antelope” opener, followed by a “Tweezer -> Fluffhead” in slots 3 and 4 didn’t seem up to the immeasurable task asked of them on this evening. Thus when Trey abandoned a potentially promising “Golden Age” jam for “Prince Caspian” it felt like a confirmation that they just couldn’t quite summon up what was needed to even attempt to push the show into the conversation with the “Fuck Your Face” show. Then, out of nowhere, “Caspian” went where it hasn’t gone in years; or, since at least 1999. Trey hooked onto a Hendrix-esque concept and drove the song far below the waters, infusing it with sinister lead, before breaking it all down, only to re-build the atypical jam with torrential focus and drive, summoning the demons. Brutal, evil, raging, it was the kind of jam that just wasn’t commonplace in Phish 3.0. It felt badass. It felt like the Phish of old where one couldn’t predict where or when their moments of inspiration would emerge. Fading into “Light” – the 3rd version of the song on this list this year – it was clear Phish was going to at least take a stab at competing with the previous night. And compete they did. A performance for the ages, “Light” – which had never crossed the 20-minute mark in it’s storied career as Phish’s go-to 3.0 jam vehicle – built through multiple, fully-conceived themes to a peak that’s honestly difficult to communicate in writing. Stylistically altering the fates of two remaining jams on this list, the Dick’s “Light” combined the exploratory zealousness of 2012, with their high-energy, Tension & Release jams of lore, patiently building over time to a peak that nearly tore the Colorado soccer field down. Sustaining the peak from 20:10 – 22:45, the venue was overwhelmed in the expansive lights, fist pumps, engulfing cheers, and shit-eating-Trey-Grins that have long represented the band’s most memorable moments. Honestly, a jam that needs to be heard to believed, this was Phish fully connected, refusing to abandon an idea when they knew they could sniff greatness, building towards a moment of ethereal bliss that felt like a brilliant cap on the summer, and confirmed that Dick’s was no one-show-pony.

524470_10151002927981290_1818174945_n

“Sand -> Ghost -> Piper” – Commerce City, CO – 09/02/2012

On the final night of their 2012 Summer Tour, Phish opened up their second set with a triumvirate of music, featuring three of their most historically brilliant jam vehicles. After playing two of their best shows of the year – and of the era – the band opted to treat the First Set of 09/02 like a Greatest Hits album, throwing down high-energy classics rather than traversing the unknown like the previous two nights. With so many songs still on the table, it seemed a certainty that they’d treat the final set of Summer in the same manner. Yet, when they left the confines of “Sand” seven and a half minutes into the song, they kicked off 50 straight minutes of unabridged music, the likes of which ranked with the best of the previous two days. The “Sand” itself is incredibly notable for the sheer fact that – aside from the adventurousness of 12/13/1999, 12/31/1999 and 06/07/2009 – no version has ever left the structure of “Sand” quite like this. Building from a sublime state of ambient pause, “Sand” went the rout of “Light” as it built into an absolutely epic peak, thus transforming the trance classic into an arena rock anthem, before bookending it with the “Sand” theme. Not to abandon what they’d built over the first 25-minutes of the set, Gordo directed the band from the jam’s conclusion seamlessly into “Ghost,” the first version since Long Beach. Directing “Ghost” in much the same way it’s been used in 3.0, the jam built through high energy exchanges from Trey with Fishman, supported by throttling bass and obedient piano fills from Page. Where it really got interesting was in it’s final 2:30, as it faded into an ambient fade that featured some beautiful and patient interplay between Mike, Trey and Page – fully utilizing the Rhodes – before emerging in “Piper.” Torrentially building the energy back up, “Piper” came out with one of it’s more unique performances of the year highlighted by it’s final 3:30 that featured some of the best Trey and Page interplay this side of the 07/01/2012 “Light.” A trio of modern classics, jammed out to full potential, the “Sand -> Ghost -> Piper” capped off the summer in victorious fashion, ushering everyone out into the Colorado night; bellies full, blissfully stoned, eager for more Phish.

68614_10151149070861290_641924915_n

“Tweezer -> Maze” – New York City, NY – 12/28/2012

The “Tweezer” we’d been waiting for all year from Phish. Fully embracing the style that was mastered over three nights in Central Colorado, “Tweezer” left the funky/bluesy comfort zone it had inhabited for much of 3.0, and for the first time in nearly ten years – including even the classic versions that have appeared on this list in years past – totally left the structure of “Tweezer” and carved out a new path in it’s unrivaled history. Flowing through fully conceived themes, “Tweezer” was the swift kick in the ass the MSG run needed after a painfully predictable first set. More than that, it immediately bridged the ideas of Dick’s with MSG, and proved that in 2012 – while literally everything produced this year was brilliant – there was a clear line between pre-Dick’s and post-Dick’s in terms of what the band was capable of. The final 11:45 are where the magic’s at, for when Page infuses the jam at 9:09 with a lilting piano fill, Trey latches on immediately, and off they go. Effortlessly blissfully, and suave improvisational mastery is one way to describe this new style of Phish; one which relies wholly on the communication they’ve built as a band over the past 30 years, embraces all of their styles, flows from one theme to another with ease, and emphasizes the sublime and ambient. Building to a satisfying peak, the MSG “Tweezer” followed suit with the concept established with the Dick’s “Light” and “Sand,” and forged a bridge between the modern, sub-tempo jams of 1997-2004, with their career-long dedication to Tension & Release. The sound of a band coming full circle, the “Tweezer -> Maze” used two classic Phish songs to open a Second set that helped to elevate MSG 2012 almost immediately from the catastrophic lows of their 2011 run.

2012_12_30_04

“Down With Disease -> Twenty Years Later> Carini” – New York City, NY – 12/30/2012

The musical peak of the 2012 NYE Run came at the start of the Second Set of the best show of the entire run. “Down With Disease -> Twenty Years Later> Carini” highlighted a forty-minute segment of music to kick off the best set of the run, and infuse the show with some much-welcomed evil Phish. In a year when “Down With Disease” stayed either noticeably contained, or failed to produce transcendent versions, the jam on 12/30 traversed as far from the structure of the song as any since 08/16/2011. Weaving through various segments of down-tempo, ambient bliss, the jam allowed for the band to just play, all to the delight of the MSG alum. While never producing any fully-realized sections of improv, what the “DWD” does better than any jam of the weekend, is display the diversity that Phish plays with now. Their jams are no longer long-winded, failed experiments that occasionally produce greatness, nor are they singular concepts that build through repetition. Instead, they are constantly evolving entities, which value shape-shifting, and melodically crafted music more than any previous era of Phish. Armed with 30 years of experience, there is no wasted space in Phish jams any longer. The one faux-peak of the jam came at 17:15 as Trey and Mike latched onto a simple, yet sinister riff, transforming MSG, for a moment, into a beckoning ground for the devil. A concept which would be fully realized two songs later, in “Carini,” the evil spirits that had invaded Phish so often in the late-’90’s and early-aughts returned with impassioned results. Fading into near silence, the “Carini” relied solely on industrial beats from Fishman, ambient washes from Trey and Page, and an all-engulfing bass from Mike. Summoning up the best noise they’d created this side of “The Storage Jam,” and doing their best Animals-era Pink Floyd impression, the jam goes deeper that the Cinci “Twist,” and is simply the evilest thing Phish has played in years. In an era when “Carini” has really stepped up as one of the premier jam vehicles, the 12/30 performance took the joke-metal song to completely new heights, unimagined when it was first performed back in 1997. A segment that will surely carry Phish fans through the long winter, “Down With Disease -> Twenty Years Later> Carini” will be hard pressed to be topped whenever Phish steps on stage again.

Honorable Shows

181053_10150837007561290_1753178411_n

DCU Center – Worcester, MA – 06/08/2012

Set I: Free, Kill Devil Falls, Roses Are Free -> Theme From The Bottom> Axilla I> Julius, Bouncing Around The Room, Maze, Bathtub Gin

Set II: Down With Disease&> Sand -> Nellie Kane, Mike’s Song> Makisupa Policeman+> Weekapaug Groove, Wading In The Velvet Sea, 2001#> Character Zero

Encore: The Oh Kee Pa Ceremony> Suzy Greenberg

& “Down With Disease” was unfinished

+ The keyword in “Makisupa Policeman” was “Sour Diesel”

# “2001” contained a “Sand” tease from Fish and “Sex Machine” and “Mike’s Song” teases from Trey

On the second night of Phish’s 2012 Summer tour, the band threw down a solid affair that built upon the brilliance of the opening night of tour. Featuring a high energy First Set, and a fully-flowing, jam-heavy Set II, it was an all-around great show, one which helped to establish a base from which to build upon throughout the tour. Highlighted by a blissful jam out of “Roses Are Free” – the first “Roses” jam since Big Cypress” – Set I featured unique versions of First Set standards, not to mention the second “Free” opener in history. Set II flowed through moments of darkness and light, crafting a complete set that never let up. Featuring a funky, ’97-esque jam out of “DWD,” an all-time segue in “Sand -> Nellie Kane,” a bit of humor in the “Mike’s> Makisupa> Groove,” and a top notch 3.0 version of “2001,” the set left little to be desired by a band that sounded as if they were deep into a tour only two days old. The surprise encore of the classic “Oh Kee Pa> Suzy” pairing topped things off, and finished the run off with an old-school feeling. While Worcester II was forgotten by most by year’s end, when listening back, it provides a clear foundation to the brilliance that would become commonplace just a week later.

523864_10150875834971290_1649855865_n

Deer Creek Music Theater – Noblesville, IN – 06/28/2012

Set I: The Birdwatcher, The Curtain With, Fuck Your Face, The Old Home Place, Pebbles And Marbles, Weigh, Chalk Dust Torture, Wolfman’s Brother, Cool It Down, Tweezer#, Tela, Stealing Time From The Faulty Plan

Set II: Mike’s Song> McGrupp And The Watchful Horsemasters> Back On The Train## -> Hold Your Head Up> Bike> Hold Your Head Up> Weekapaug Groove$, Prince Caspian& -> Waves, Bug> David Bowie###

Encore: Show Of Life> Tweezer Reprise

# “Tweezer” contained a “Fuck Your Face” tease from Mike

## “Back On The Train” contained a “Psycho Killer” tease

### “David Bowie” contained a “Bug” tease from Trey

$ “Weekapaug Groove” featured Trey & Fish switching instruments, and a drum jam between the two

& “Prince Caspian” was unfinished

By this point in Phish’s June leg of their 2012 Summer Tour, full sets had become so engulfed in the band’s determination to play 200 unique songs, that one had no clue what could or would be played during a single show. Calling upon their recital-type shows from 2009 and 2010, the band focused on songs during many of these shows. Yet, whereas in the past, the shows were full of heavy-rotation songs, in 2012 sets felt like putting Phish on shuffle, where any random song could appear. Probably the most complete, fully formed of these shows was the first night of Deer Creek. Featuring tour debuts tour in the first six songs of the set, plus “Cool It Down” and “Tela,” Set I was both unpredictable and unending, and helped to take the crowd’s mind off the torrid Midwestern heatwave billowing down on Central Indiana. Focusing heavily on songs, the only numbers in Set I to really move outside the box were a dance-heavy “Wolfman’s” and a peaking “Tweezer” that countered the temperatures for brutal heat. Set II is one of the most unique of the summer, featuring an elongated “Mike’s Groove,” an “HYHU” within the groove, and two phenomenal jams out of “Back On The Train” and “Waves,” the former which bled right into “HYHU.” Clearly in a playful mood, the “Weekapaug” featured Trey and Fish switching instruments, inspiring Trey to muse whether or not Phish would be a better band with this set up. The late-set “Waves” takes the medal for song of the night, emerging out of “Caspian,” producing an aggressively atypical jam that came close to making this list. Easily the best show of the Deer Creek-Alpine weekend, 06/28/2012 had just a bit of everything that was Phish 2012 all mixed together.

552563_10150894935056290_1892990834_n

Saratoga Performing Arts Center – Saratoga Springs, NY – 07/08/2012

Set I: AC/DC Bag> My Soul, Camel Walk, Sample In A Jar, Wilson> Party Time, Gumbo, Nellie Kane, Driver, Foam, If I Could, Split Open And Melt> La Grange*

Set II: Axilla I> Light> Twist#, Kill Devil Falls## -> My Friend, My Friend& -> Swept Away -> Steep, Piper -> Free -> Kung> Harry Hood###> Cavern -> David Bowie

Encore: You Enjoy Myself####

* First “La Grange” since 22 September 1999

# “Twist” contained an “In-A-Gaada-Da-Vida” tease from Trey

## “Kill Devil Falls” contained a “Jeopardy!” tease

### “Harry Hood” contained a “Kung” quote

#### “You Enjoy Myself” contained a “Flashlight” tease from Mike

& “My Friend, My Friend” was unfinished

Closing out the first leg of Summer with a three-night run at SPAC, Phish produced two of the best shows of the year, the final of which produced a massive bustout, and a fully-flowing, jam-heavy Set II. Coming out the gates with a string of standards, Set I got a boost from a high-energy “Wilson> Party Time” pairing, and a surprise twist at the end when everyone who thought they’d be closing things out with a seedy “Split Open & Melt,” were instead treated to the first “La Grange” since 1999. The real magic, however, is in Set II: a high-octane, jamming set which saw both “Light” and “Piper” go deep. In between were masterful segues of unlikely pairings – “Kill Devil Falls -> My Friend -> Swept Away -> Steep,” “Free -> Kung> Harry Hood” – which elevated the possibilities of the set. Never relenting energy, yet never sacrificing exploration for such energy it was a masterfully atypical set that simply couldn’t have occurred with as much success during any other year of 3.0. Concluding with a noise-ladened segue from “Cavern -> Bowie,” it was the kind of set that displayed a band at the top of their game: relentlessly attacking their catalogue with precision and youthful excitement. Capping off the tour with the only appropriate song left, “You Enjoy Myself” closed out Leg I on a classic note, ushering everyone into a month of no Phish with jam-packed must-listen-playlists. After the best June of 3.0, Phish closed it out with a memorable run at SPAC, and a tour finale that foreshadowed the music that was still to come in August.

The Top Ten Shows Of 2012

550819_10150850070631290_1340127131_n

Bader Field – Atlantic City, NJ – 06/15/2012

Set I: The Sloth, My Sweet One> 46 Days> Camel Walk, Tube> Cities -> It’s Ice, Ginseng Sullivan, Stash, Simple> The Wedge, Stealing Time From The Faulty Plan, The Squirming Coil

Set II: My Soul, Birds Of A Feather& -> Back On The Train -> Heavy Things, Twist> Piper# -> Billy Breathes, Sneakin’ Sally Thru The Alley -> David Bowie##

Encore: First Tube#

& “Birds Of A Feather” was unfinished

# “Piper” and “First Tube” contained “Twist” teases

## “David Bowie” contained “Stash,” “It’s Ice,” “Birds Of A Feather,” “Simple” and “Ginseng Sullivan” teases

Night one of the quasi 2012 Phish fest (If there’s a Ferris Wheel it’s a festy, right? Right?) produced easily the most complete show of the weekend and immediately raised the bar from the brilliant opening shows in Worcester the previous weekend. Opening with the random trio of “The Sloth,” “My Sweet One” and “46 Days” was really all the indication anyone needed that the night was going to produce the kind of magic one hopes to catch at any Phish show. The First Set enveloped into a lengthy recital of rarities and unique combinations – “Camel Walk,” “Tube,” “Cities -> It’s Ice,” “Simple>The Wedge” – and all around excellent playing, including perhaps the best “Stealing Time” we’ve ever heard from the band. Wholly embracing the 200-song challenge, Set I was both the exact kind of comeback needed after the Bonnaroo show, and the kind of reassurance that the band wasn’t simply going to play 200 different songs throughout the month; they were going to craft wholly unique shows while doing it. Set II was simply perfect. The aforementioned “Birds -> BOTT -> H Things” made way for the late set “Twist> Piper -> Billy Breathes” which kept the Farmhouse-era jams unravelling, and produced a segment of music that barely missed this list. Infusing “Bowie” with various teases of songs played throughout the night only further solidified it’s placement among the top tier of the summer. A show that felt like one of the best shows of summer right when it happened, 06/15/2012 never relented it’s placement among the best, regardless what came after it.

545317_10150864145521290_265219929_n

Riverbend Music Theater – Cincinnati, OH – 06/22/2012

Set I: Wolfman’s Brother> Peaches En Regalia, Shaggy Dog*> Runaway Jim#, Light Up Or Leave Me Alone, Wilson> Alaska, Stash, Llama, Buffalo Bill, Saw It Again -> David Bowie

Set II: Down With Disease&> Guelah Papyrus, Kill Devil Falls -> Twist##> Halley’s Comet> Sand -> Roggae, Carini> Chalk Dust Torture, Golgi Apparatus

Encore: Fluffhead**

* First “Shaggy Dog” since 29 October 1995

** First “Fluffhead” Encore since 3 November 1990

# “Runaway Jim” contained a “When The Saint’s Go Marching” tease

## “Twist” contained a “Eleanor Rigby” tease from Trey and a “Heaven On Their Minds” jam

& “Down With Disease” was unfinished

A must-hear, top-tier show of the summer, the band let it all hang out on the third Friday of the June leg, crafting a show full of rarities, segues, gimmicks, and one of the best jams of summer. A “Wolfman’s” opener is always a welcome sign, for it produces a no bullshit intro to a show, bringing the house down before anyone has a chance to catch their breath. Followed by the always welcome Zappa-cover, “Peaches En Regalia” and the first “Shaggy Dog” since October 1995 immediately gave the show an air of superiority over the rest of summer thus far. The rest of the First set contained even more rarities with “Light Up Or Leave Me Alone,” “Llama,” “Buffalo Bill,” and “Saw It Again,” the latter three which were results of a Fishman gaffe when the band tried to go into “Poor Heart” and “The Moma Dance,” leading to Trey joking they apparently needed to play a song that started with drums so their drummer could keep up. The energy spilled over from the “Saw It Again” fade into “David Bowie” resulting in another solid version for the summer. Set II started out with an abandoned jam in “DWD,” a welcomed “Guelah,” and a make or break “Kill Devil Falls,” which was oddly placed in the middle of the second set. Fortunately, Trey extended the end of “KDF” over two minutes, resulting in stunning ambient waves that bled into the best “Twist” of 3.0. A “Sand -> Roggae” crafted the second unique “Sand” segue of Summer, and the “Carini> Chalk Dust” added some extra adrenaline to the end of the set. A unique blend of classics, jams, darkness and light, the show ended with the first “Fluffhead” encore since 1990, a placement that all but confirmed the band’s enjoyment in Cinci. The show of summer until SPAC night one, Cinci kicked off an incredible run of music throughout the midwest, and, reignited Phish with their love of the dark side in one of the best jams of the era.

531563_10150885503551290_1960595003_n

First Niagara Pavilion – Burgettstown, PA – 06/23/2012

Set I: Funky Bitch> Backwards Down The Number Line, Gumbo> Maze#, Torn & Frayed, The Moma Dance> Scent Of A Mule+, 46 Days, You Enjoy Myself##

Set II: Gotta Jibboo> Mike’s Song -> Simple> Light> Weekapaug Groove### -> Seven Below, Bouncing Around The Room> Julius> Slave To The Traffic Light

Encore: The Lizards

# “Maze” contained an “Eleanor Rigby” tease

## “You Enjoy Myself” contained a “Scent Of A Mule” tease from Trey

### “Weekapaug Groove” contained a “Divided Sky” tease from Trey

+ The “Mule Duel” featured Page on the Theremin

A night after raising the bar on Summer 2012 with a standout show that focused on bustouts and rarities, Phish played another gem in one of their storied venues, only this time, consisting almost totally of standards, which allowed their playing to totally speak for itself. With a First Set that appeared brutally bland upon initial glance, the band offered top-notch versions of “Maze,” “Scent Of A Mule,” “46 Days,” and the first First Set closing “You Enjoy Myself” since 07/13/2003. Interweaving teases, the theremin, and a fully-connected jam in the set closer, the show lived and died on the band’s performance, something that would come to fruition in the brilliant Second Set. Opening with the always welcome “Gotta Jibboo,” the set can essentially  be summed up in five songs: “Mike’s -> Simple> Light> Weekapaug -> Seven Below.” The aforementioned “Groove” is one of the standout suites of 2012 – a 50-minute sequence of communication, connection, and brilliant playing that joined the echelon of “Mike’s Groove’s” throughout their storied career. Foregoing the 200-song challenge for at least one night, Burgettstown 2012 was all about the performance. With little-to-no breaks in flow throughout, the show is one of the tighter shows of 3.0,  and combined with the standout jamming in Set II, is in a lot of ways modeled after a 1.0 type of show than anything we’ve heard from the band in the last 10 years. Rounding things out with a solid “Julius,” a sublime “Slave To The Traffic Light,” and a “The Lizards” encore which added a bit of humor when Trey forgot the lyrics, the show finished in classic fashion. More than anything, the show was a reminder to all that Phish has reached a point where they don’t need bustouts or rarities to craft a memorable show in 2012.

295254_10150885501971290_356412333_n

Nikon At Jones Beach Theater – Wantagh, NY – 07/03/2012

Set I: Skin It Back*#> Possum##, Tube, Happiness Is A Warm Gun**, Mike’s Song -> I Am Hydrogen> Weekapaug Groove, Halley’s Comet> Axilla I> Ya Mar, Joy, Jesus Just Left Chicago> Backwards Down The Number Line> Golgi Apparatus

Set II: Chalk Dust Torture, Sand### -> Golden Age, Wolfman’s Brother -> Walk Away, Bug> Fluffhead####> The Wedge, Run Like An Antelope

Encore: Character Zero

* First “Skin It Back” since 29 July 1988

* First “Happiness Is A Warm Gun” since 31 October 1994

# “Skin It Back” contained a “Spanish Moon” tease

## “Possum” and “Chalk Dust Torture” contained “Skin It Back” teases

### “Sand” contained an “Izabella” tease

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

Jones Beach has produced some of the standout moments in 3.0. From their 2009 three-night run that allowed the band to settle in to the road, featuring a completely unique take on “Hood,” “Ghost> Antelope,” and a second set that rivaled all in 3.0 before it on 06/05/2009, to their 2010 Leg II closing affair that gave us the first “Fluffhead” opener since Hampton, the best “Backwards Down The Number Line” we’ve seen thus far, to their 2012 Fourth of July Performance, it’s been hallowed grounds in this era of Phish. Fitting then, that they’d use the East Coast hideout to bustout “Skin It Back” for the first time in nearly 24 years, after so many soundcheck jams featured the Little Feat classic. Fully embracing the 200-song challenge in this show, Set I is a full-on recital featuring another massive bustout in “Happiness Is A Warm Gun,” plus a solid “Mike’s Groove,” “Axilla I,” and “Jesus Just Left Chicago.” Set II reigns supreme in this show however, with a brilliant jam-combination occurring between “Sand -> Golden Age,” the former which produced hands-down, the best version of the TV On The Radio cover that we’ve ever heard. Dedicating it’s final 4:42 to blissful ambient soundscapes, it’s really the furthest the band has ever let the song traverse, and it’s the most patience they’ve displayed towards expanding it. With another peak in the “Wolfman’s -> Walk Away” combo that literally never gets old, the set finished in strong fashion with top notch versions of “Fluffhead” and one of the most torrential “Run Like An Antelope’s” we’ve heard this side of Utica. In the same realm as 06/15 /2012 and the first night of SPAC, 07/03/2012 used a lengthy, song-based Set I to ease them into a calculated, and professionally driven Set II.

531608_10150890877716290_1741429207_n

Saratoga Performing Arts Center – Saratoga Springs, NY – 07/06/2012

Set I: Runaway Jim, Ocelot, Heavy Things, Back On The Train, Funky Bitch, Tube -> Psycho Killer -> Tube, Hold Your Head Up#> Craklin’ Rosie> Hold Your Head Up, Stash, Bouncing Around The Room, Paul & Silas> Horn, Corinna, Light Up Or Leave Me Alone

Set II: Chalk Dust Torture> Carini> Sand> Roses Are Free -> Punch You In The Eye> Sneakin’ Sally Thru The Alley -> Ghost> Suzy Greenberg> Run Like An Antelope##+

Encore: Loving Cup

# “Hold Your Head Up” contained “Psycho Killer” quotes

## “Run Like An Antelope” contained a “Crosseyed & Painless” tease

+ “Run Like An Antelope” featured Tom Marshall and The Dude Of Life on vocals

On the opening night of the final weekend of the First Leg of their 2012 Summer Tour, Phish crafted an absolute masterpiece that still ranks as one of the best shows of the entire year. Once again, the 200-song challenge dominated as they threw down an unprecedented 17-song First Set. Opening initially with a string of standards – all of which carried an extra summer-flair – the set got going in earnest with a nasty “Tube -> Psycho Killer -> Tube,” thus marrying the best moments of 12/07/1997 into one surreal jam. Festivities continued with a humorous take on their “HYHU” gag, including references to the “Tucking” joke that had consumed Summer – by which Fish would tuck his gown into his underwear, and perform whatever song was asked of him; always a willing jester. Concluding with top-notch versions of rarities “Corinna” and “Light Up Or Leave Me Alone,” the set was a marathon 90-minute journey that left all eagerly anticipating how the band would top it in Set II. Focusing on energetic jamming, Set II produced a tight combination of “Carini> Sand,” and a sprawling, forceful and powerful jam between “Sneakin’ Sally -> Ghost.” “Sally” fully left the structure of the song for the first time since 08/07/2009, producing a driven and hard-edged jam, which deviated from many of the traditional funk takes on it. One of the final cuts for this list, the “Sally” displays just how unique and original Phish was willing to go in 2012, how far they were willing to push their jams to discover the unknown. Concluding with a classic pairing of “Suzy Greenberg> Antelope” – the latter which featured Tom Marshall & The Dude Of Life on vocals – the show fit the bill of it’s locale and placement in the tour. Feeling like a true homecoming show, SPAC I was, and is, one of the clear standouts in a year full of them.

547290_10150977215241290_469664228_n

Bill Graham Civic Auditorium – San Francisco, CA – 08/19/2012

Set I: Crowd Control, Party Time, Axilla I, Reba, Free> Mound> Walk Away, NICU, Back On The Train, Gotta Jibboo, Roggae, David Bowie

Set II: Crosseyed & Painless# -> Light## -> Sneakin’ Sally Thru The Alley## -> Crosseyed & Painless -> Theme From The Bottom> Rocky Top> Boogie On Reggae Woman -> Meatstick+, Bug, You Enjoy Myself

Encore: Ride Captain Ride> Tweezer Reprise

# “Crosseyed & Painless” contained a “The Cave” tease

## “Light” and “Sneakin’ Sally Thru The Alley” contained a “Crosseyed & Painless” tease; “Light” contained an “All The Single Ladies (Put A Ring On It)” tease

+ “Meatstick” included Japanese lyrics

Night three at the BGCA was a night to remember in 2012 and Phish 3.0. Featuring a classic first set – the kind where it literally did not matter what song was played – and a fully-flowing second set, including one of the best jam segments of the year, it was a standout show in the greatest regards. After two sub-par shows opened the overhyped, three-night stand at the intimate San Francisco theater, Phish clearly came out on the 19th on a mission. Crafting a killer show with apparent ease, listening to this show was without question, one of the most pleasurable experiences any Phish fan had with the band in 2012. Riding a scorching “Back On The Train,” “Gotta Jibboo,” “Roggae,” “David Bowie” segment into set break, the band came out on fire in Set II. With a six-song opening segment that read “Crosseyed & Painless -> Light -> Sneakin’ Sally Thru The Alley -> Crosseyed & Painless -> Theme From The Bottom> Rocky Top,” there was no let-up over the set’s first hour. Featuring intricate jamming, high-energy transitions, a gorgeous ambient breakdown, a massive “Tweezer Reprise” tease, and fluid song selections, it was a jaw-dropping section of music that left many wondering how the band was capable of putting on a show as discombobulated as 08/18 one night, and one as fully-connected as 08/19 the next. Riding the energy to the end, the show never let up as “Boogie On” and “Meatstick” continued their perfect tandem, and “You Enjoy Myself” closed out the set in strong fashion. Encoring with the second “Ride Captain Ride” of the summer – a song which includes references to San Francisco – it was the kind of rare treat that fit perfectly within the celebratory feel of the show. The “Tweezer Reprise” that followed, and closed out the run, blew the roof off the joint once more, providing the extra oomph that “Tweeprise” is always good for. Immediately launched into the discussion of “Show Of The Year,” 08/19/2012 is literally the exact show that everyone hopes to catch every time they see Phish.

184997_10150995833186290_1870235893_n

Chaifetz Arena – St. Louis, MO – 08/28/2012

Set I: Punch You In The Eye> Runaway Jim, Ocelot> Reba, I Didn’t Know+, The Curtain> Peaches En Regalia> Mound> Sample In A Jar, The Sloth, Camel Walk, Possum> Quinn The Eskimo

Set II: Chalk Dust Torture -> Frankie Says -> Undermind -> Sand -> Walk Away, Limb By Limb, Julius> 2001> You Enjoy Myself

Encore: Shine A Light

+ Before the vacuum solo in “I Didn’t Know,” Fish was introduced as The John Coltrane of the Vacuum Cleaner

On a Tuesday night during the last week of their 2012 Summer Tour, everything came together for Phish, crafting yet another classic on par with 06/22/2012, 07/06/2012 and 08/19/2012 for the best shows of the year at the time. With a first set that matched 08/19’s in terms of the irrelevance of songs played, “Reba,” “Peaches> Mound,” and “Possum> Quinn The Eskimo” all stood out as top-notch versions. The “Reba” in particular – the last performance of summer – was a stunning display of the beauty the song encompasses, as Trey crafted sublimed riffs and musical thoughts with the subtle backing on his band. It was the kind of First Set that, once concluded, everyone in the venue just knows will lead to a heated Set II. While on paper, Set II of 08/28 looked admittedly like a crapshoot, once one listened to the intuitive communication displayed by the band throughout it, it was clear we had an immediate classic on our hands. Containing fluid segues from one song to another that no one – not even the most clever PT-vet – could ever conceive of, the first forty minutes of the set were one unending jam. “Chalk Dust -> Frankie Says -> Undermind -> Sand -> Walk Away” all somehow found their way to one another – bridging the gap with masterful playing, where on paper, they appeared to be a choppy mishap. Concluding with a “Limb By Limb” that initially appeared to be a breather, the contemplative Ghost-era track broke ground and wound itself through layers of upbeat, Trey-led percussive jamming, finishing off with a massive peak before rediscovering the “Limb” theme. “2001> You Enjoy Myself” brought things home with a classic pairing of two songs that, while a bit tamed by 3.0, still retain the magic that brings the crowd to full attention and a rousing applause whenever they hit their ecstatic points. One-off encores can be tricky, particularly after a show with so much heat, but no one can argue with the importance of “Shine A Light” to the band in the 3.0 era, and whenever it concludes a show on par with 08/28, it fits perfectly, in the same way “While My Guitar Gently Weeps,” “A Day In The Life,” and even “Harry Hood” does. A killer show all-around, St. Louis sent everyone off to Central Colorado dreaming of seeing a show on par with it, and the best shows of summer that had come before it. Little did anyone know what they were in for…

400542_10151002928336290_1642949554_n

Dick’s Sporting Goods Park – Commerce City, CO – 08/31/2012

Set I: First Tube, Uncle Pen, Carini> Kill Devil Falls, You Enjoy Myself+, Ocelot, Undermind#

Set II: Runaway Jim&> Farmhouse> Alaska, Chalk Dust Torture&, Emotional Rescue> Fuck Your Face##

Encore: Grind, Meatstick++

+ “You Enjoy Myself” contained a “We all love Dick’s!” vocal jam

++ “Meatstick” contained Japanese lyrics

# “Undermind” contained a “Crosseyed & Painless” tease

## “Fuck Your Face” contained “Emotional Resuce” quotes

& “Runaway Jim” and “Chalk Dust Torture” were unfinished

There are certain shows that hold such superiority to the rest of Phish’s live catalogue, that words really do them no justice. They must be heard to be understood. Many of them, must have been seen to fully grasp. They are nights when the band is so on, when everything just comes together, that even Trey, Mike, Fish and Page couldn’t tell you why they were so good. In The Phish Book Trey said, “It’s Strange. There are some shows that crystallize into great experiences for bot us and the audiences, and I usually remember a minute of them.” 08/31/2012 was one of these such nights. In so many ways it resembles no single show that has appeared before it in 3.0, and who knows how long it will take them to reach this level again. With a goal set to play a show that read F.U.C.K.Y.O.U.R.F.A.C.E. the band had to somehow fit 13 songs (plus “Fuck Your Face”) into a three-hour show – something they hadn’t done since SPAC ’04. As the show unraveled from the fan’s perspective, it was clear something was amok. The “First Tube,” “Uncle Pen,” “Carini” – which included a blissful type-II jam – just didn’t fit with the 3.0 model. The fifth song “You Enjoy Myself” only threw people off more, and the glorious, set-closing “Undermind” had everyone celebrating like Phish had just won the World Series. As word spread through the venue that the first set had spelled out F.U.C.K.Y.O.U. the sense was that the band had caught onto the all crap they’d received over the lack of jams in 3.0, and were thus responding with an onslaught of exploration to the unassuming ears. The gag of course, would in fact spill over into set two, and the format would allow the band to reach even more sublimity through jams in “Runaway Jim> Farmhouse,” and “Chalk Dust Torture.” When all was said and done, the show was an instant classic. Regardless of the gimmick – something that’s come to dominate the first night of the Dick’s runs – the band stepped up and responded with a show for the ages. Full of top-notch jams – three of which made this list – a song selection that kept fans on the edge of their seats, and an all-time gag that messed with the crowd all night long, 08/31/2012 is without question the best show of 2012, the best show yours truly has ever seen, and the best show the band has played in 3.0 aside from 07/03/2011.

320267_10151001265161290_1774606948_n

Dick’s Sporting Goods Park – Commerce City, CO – 09/01/2012

Set I: Run Like An Antelope*, Backwards Down The Number Line> Tweezer> Fluffhead> Roses Are Free> Funky Bitch> The Moma Dance> When The Circus Comes, Theme From The Bottom> Golgi Apparatus, Stealing Time From The Faulty Plan

Set II: Golden Age> Prince Caspian&> Light#, Boogie On Reggae Woman> The Wedge, The Horse -> Silent In The Morning> Mike’s Song -> No Quarter> Weekapaug Groove

Encore: Sleeping Monkey> Tweezer Reprise

* First “Run Like An Antelope” opener since 26 January 1990

& “Prince Caspian” was unfinished

# “Light” contained a “Mercy Mercy Mercy” tease from Page

The night after THE night. After playing their strongest show of 2012, and one of their best of 3.0 overall, you would have been hard pressed to find anyone who thought Phish could in fact top the brilliance of 08/31. On it’s own, 09/01/2012 would have been endlessly praised, yet grouped with 08/31 it was unfortunately overshadowed, and has been hopelessly underrated by many in the Phish community. The truth is, 09/01 is one of the best shows of 2012. Opening with the first “Run Like An Antelope” opener since January 1990, and featuring a “Tweezer> Fluffhead” in the 3-4 slot, the show was a keeper just 45 minutes in. Rounding out Set I with a focus on First Set standards offered a nice breath of fresh air after a show-and-a-half of mind-altering music. The Second Set kicked off with a 50-minute sequence of music that read: “Golden Age> Prince Caspian> Light.” Featuring expansive, groove-based jamming in “Golden Age” – on par with the brilliance of 07/03/2012 – a deep, extensive and sinister “Caspian” and one of the the jams of the year in “Light,” the set opened with endless possibilities, assuring the entire crowd that the magic of 08/31 had in fact spilled over into Night II. Filling the middle of the set with crowd pleasers – “Boogie On Reggae Woman,” “The Wedge” – and a quick, contemplative breather in “The Horse -> Silent,” the set ended with a straight up nasty take on “Mike’s Groove,” with the Zeppelin cover “No Quarter” bridging the two classics. A welcome shock to everyone in the venue, the “No Quarter” built upon the rage of the “Mike’s” “jam” section, and fit the bill with the darkness that had engulfed so many of the jams throughout the weekend. Finishing with a raging “Weekapaug,” when the band reemerged for the encore, Trey informed the fans that they’d have to give them a minute, cause Fishman was simply too worn out from rocking out. When they finally did play, the classic pairing of “Sleeping Monkey> Tweezer Reprise” finished the show off right and sent a message to the fans that Phish had thought as highly of the last two nights as we did.

409530_10151149070811290_970378681_n

Madison Square Garden – New York City, NY – 12/30/2012

Set I: Runaway Jim#, Cities> The Divided Sky, Back On The Train, Ride Captain Ride, Ocelot, Ya Mar, Horn, My Friend, My Friend&> Run Like An Antelope

Set II: Down With Disease##& -> Twenty Years Later> Carini> Backwards Down The Number Line> Julius, Slave To The Traffic Light###

Encore: Harry Hood###, Show Of Life

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

## “Down With Disease” contained a “Woman From Tokyo” tease

### “Slave To The Traffic Light” and “Harry Hood” contained a “Little Drummer Boy” tease

& “My Friend, My Friend” and “Down With Disease” were unfinished

For the first time since 2009, Phish took the stage on a 30 December and played like they fully understood the implications of the date in Phish history. 12/30/1993, 12/30/1995, 12/30/1997, 12/30/1999, 12/30/2003, 12/30/2009; these are shows that are revered across years and eras for the anything-goes atmosphere that engulfs Phish on the night before THE night. After a 12/28 show that featured a fully connected Set II, and a rocking 12/29 show that never quite got off the ground, the energy was palpable in MSG, and Phish responded in classic fashion. A top-notch first set, chock-full of classics was really the definition of fun. It was the kind of set that, like 08/19 and 08/28, matter little what songs were played, for by setbreak everyone was raving about just how good the band had sounded. Whatever good feelings were crafted by the band in Set I, however, would quickly be reversed (for the better) with a three song jam segment that would ultimately be the most memorable aspect of the entire NYE Run. Reading: “Down With Disease -> Twenty Years Later> Carini,” the set started with an ominous dive into the netherworld, featuring some of the most abstract, beatless, egoless music the band has produced throughout 3.0. Akin to the best moments of Dick’s, the thing that separated the “DWD” and “Carini” was that they were devoid of any of the climactic peaks that defined the “Light,” “Sand” and the MSG “Tweezer.” Emerging from the reckoning with a killer version of the 3.0 theme-song, “Backwards Down The Number Line” and “Julius” brought everyone back to life, and kept the show moving, regardless of the song selection. Finishing things off with an emotive “Slave” set closer, and a gorgeous “Hood” encore was the perfect way to end the show of the 2012 NYE run, and veritably end the 2012 playing season. The NYE show the following night was by far their best NYE show since 2003, and a great show in it’s own right. However, 12/30/2012 was the exact kind of show that defined Phish 2012: solid song selection, high-energy, transcendent playing, and an intuitive linear music communication from four solid years of playing together which produced some of the best improvisation music crafted by the band in the last 10-15 years. After such a phenomenal year for Phish – a year that rose to the ranks with best the band has produced in the last 30 years – one can only wonder what the band has in store for us in 2013. A year of with another two-legged Summer tour, 30th anniversary events planned, Festival X, and yet another year-ending NYE Run at MSG, there is a resounding sense of hope surrounding the direction of the band. The ups and downs of 2009, 2010 and 2011 fully behind them, 2012 was without question the best year of 3.0. The year where people stopped wondering if Phish would ever regain their former glory, it was instead when everyone stopped critiquing and fully enjoyed the ride Phish was taken us all on.

——–

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