“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
“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.
“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.
“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
“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.
“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.
“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.
“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.
“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.
“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.
“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.
“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.
“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.
“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.
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.
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.
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
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.
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
* 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.
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.
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.
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.
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.
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…
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.
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.
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!