The Best Of Phish – 2013 – Part II

1376985_10151642180686290_587081184_n

Click Here For Part I

The Best Of Phish 2013

Honorable Shows

1017504_10151448849506290_1834474559_n

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

Set I: Kill Devil Falls, The Moma Dance> Sample In A Jar, Roses Are Free> Birds Of A Feather, Yarmouth Road^, Bathtub Gin, Nellie Kane, Army Of One> My Friend My Friend+> Cities -> David Bowie

Set II: Energy^^ -> Light -> The Mango Song#> 46 Days -> Steam> Drowned## -> Slave To The Traffic Light

Encore: Character Zero###

^ “Yarmouth Road” made its Phish debut

^^ “Energy” (The Apples In Stereo) Made its Phish debut

+ No “Myfe” ending in “My Friend My Friend”

# “The Mango Song” contained “Light” teases

## “Drowned” contained “Divided Sky” teases

### “Character Zero” contained “Jean Pierre” teases

——–

For all intents and purposes, this is the night Summer Tour began. If the overall goal of 2013 was that of both honoring Phish’s past, and projecting them towards their future through the crafting of whole-show, thematic experiences, then this show is the seedling from which the concept was born.

The first set is a mosaic of – and a homage to – the many eras and stylistic dimensions of Phish. Be it the arena-rock peak of the “Kill Devil Falls” opener and mid-set staples,”Sample In A Jar,” “Birds Of A Feather” and “Bathtub Gin,” the communal funk of “The Moma Dance,” the widespread reach and display of influence in covers like”Roses Are Free” (Ween) and “Nellie Kane,” (Hot Rize) the debut of the refined, reggae-spiced storytelling from Mike’s “Yarmouth Road,” or the haunting, and fanciful compositional approach of “My Friend My Friend,” the set worked as a overall Phish pastiche. Concluding with a subdued segueway from “Cities -> David Bowie” gave further hints at the bands improvisational intentions for the year, as each member hooked up around a simple melody in “Cities” and drove it forward into an expansive “Bowie.”

The second set, however, was where both band and fans alike discovered in unison, just what was possible with Phish in 2013. Opening with the debut of The Apples In Stereo cover “Energy” – a song that would go on to become the theme song of the tour – the band dove into a fully-flowing – and completely connected – 90-minute set that worked as a unified, conceptual piece. From the elemental origins of each song – Energy, Light, Fruit, Coal, Steam, Water, Motion – to the thematic musical passages that conjoined each of them, the set was something of a manifesto for Phish 2013.

In “Light,” “46 Days” and “Drowned” the band engaged in integrated and diverse jamming – ranging from melodic ambience, to downtown gritty funk, to demented trance – offering a peak into the range with which they’d approach their improv throughout the year.

Throughout 3.0 it’s become something of a trend for the band to tear out the gates of a tour with a series of strong shows, only to lose steam as the tour progresses. In 2013, Phish took a different approach, focusing on foundational setting in the tour’s initial weeks before peaking out West. Yet, regardless of their intended plan, in few tours have they ever been capable of connecting with as much depth and immediacy as they were here on the first night of SPAC’s three-night-run.

942411_10151477068446290_461141722_n

FirstMerit Bank Pavilion at Northerly Island – Chicago, IL – 07/21/2013

Set I: Dinner And A Movie+, AC/DC Bag> Maze, Mound, Funky Bitch> Bathtub Gin, Wilson> Water In The Sky, Boogie On Reggae Woman> Run Like An Antelope++

Set II: Energy> Ghost# -> The Lizards, Harpua+++> Run Like An Antelope

Encore: Character Zero

+ “Dinner And A Movie” was dedicated to a fan who had yet to catch it in 172 shows

++ “Run Like An Antelope” had to be aborted due to an impending rainstorm

+++ “Harpua” featured the cast of Second City and narration from Mike

# “Ghost” contained a “Seven Below” tease from Mike

——–

As Phish approached the three-quarter mark in their Summer Tour, two things had ultimately defined it thus far: foundational setting and rain. The rain had forced the re-scheduling of their 9 July show in Toronto, caused fans to take cover in Jones Beach, intruded on second sets in Merriweather Post and Alpharetta, and ultimately forced the cancellation of their first show on Chicago’s new lakefront venue midway through. Following an impromptu – and admittedly contained – three-set show on 07/20, one could sense a tipping point in the tour, and the year overall. Thus when Phish took the stage on their third Sunday of the Summer and opened with “Dinner & A Movie” – dedicated to a fan*, no less – there were many who called this the critical show of the summer.

The first set worked in many ways like those played on 07/07, 07/10, and 07/14 in that it was the kind of set that could have been plucked out of any past era of Phish. It was taught, it was nostalgic, yet it was incredibly fresh. Throughout – particularly in “Bag,” “Gin” and “Boogie On” – the band sounded electric. They were ready to put one more celebratory stamp on the first leg of their prolonged 30th Anniversary Tour before moving westward.

And then the rains returned…

When Phish reemerged for the show’s second set following an extended, rain-soaked setbreak, Trey noted “You guys are amazing…” Page followed assertively – lips curled upwards, hand resting on his belly – in his professorial way: “I told you we’d be back…” laughing, and then sardonically quipping, “Thank you for sticking around…” The band then unveiled an uninterrupted 35-minute segment of music that read: “Energy> Ghost -> The Lizards.”

In “Energy” and “Ghost” Phish played with deliberateness, moving as one through a dense array of musical passages with clarity and ease. A huge weight had seemingly been lifted. All the rain behind them, all the foundational setting set, this was the sound of a band, thirty years in, turning yet another corner in their career.

As “Lizards” faded, the band stepped to their mics and dove into the first “Harpua” since 19 June 2011. As with many of the best Phish-related moments throughout 2013, this too came layered with self-referential messages. It too would also become a heavily-discussed, intensely partisan event for many in the Phish community.

In the same vein as “Garden Party,” MOST SHOWS SPELL SOMETHING, Wingsuit, and the coverless NYERun, the Chicago “Harpua” was an example of the band’s attempts to pull back the curtain on their goals/aspirations/feelings throughout their 30th year. Inviting the cast of Second City on stage with them to pose as the type of fans who think they know the  right way in which Phish should approach their career, Phish lovingly reminded their entire fanbase to trust both the process and their own artistic evolution. A move that drew as much ire as it did praise, it was the kind of gag that could only work in the context of a band thirty years in, confident after so many artistic breakthrough, and peak periods, yet still incredibly self-conscious about themselves.

Closing the show with a complete, and torrid take on “Run Like An Antelope,” along with a solo “Character Zero” encore – a signal that asserted a particular show was a peak one throughout the year – the band bowed on their first three weeks, and pivoted westward with a refined determination and unshakeable focus.

*In reality, the “fan” was all part of the “Harpua” gag that would take place in Set II

1379602_10151664265926290_877258238_n

Boardwalk Hall – Atlantic City, NJ – 10/31/2013

Set I: Heavy Things, The Moma Dance> Poor Heart> Back On The Train> Silent In The Morning, Kill Devil Falls, Mound, Free> Camel Walk, Stash, Golgi Apparatus> Bathtub Gin

Set II: Wingsuit^+, Fuego^, The Line^, Monica^++, Waiting All Night^, Wombat^+++, Snow^++, Devotion To A Dream^, 555^ -> Winterqueen^, Amidst The Peals Of Laughter^++, You Never Know^

Set III: Ghost> Carini, Birds Of A Feather, Harry Hood> Bug> Run Like An Antelope++++

Encore: Quinn The Eskimo

^ All songs in Set II made their Phish debut

+ The end of “Wingsuit” featured Mike on a power drill

++ “Monica,” “Snow” and “Amidst The Peals Of Laughter” were played acoustic

+++ “Wombat” feature Abe Vigoda and the Abe Vigoda dancers

++++ “Run Like An Antelope” referenced Abe Vigoda and the Abe Vigoda dancers

——–

For much of 2013 Phish toured with a secret. No one knows how long they walked around with it; in all reality, we may never know. What we do know though – at least through hindsight – is that much of the year was orchestrated as a consistent build towards the unveiling of their new album, live on Halloween. All year long, starting with “Garden Party” on NYE 2012, Phish was informing their fanbase that their 30th year was going to be celebrated on their terms. It was going to be as much about honoring the past as it was about projecting themselves into the future. Perhaps nowhere is this heard clearer, than in the second set of their Halloween show, when Phish debuted Wingsuit.

Having handed out playbills prior to the show, there was something of a nervous energy being exchanged between fans and the band throughout Set I. Were they really going to buck tradition, many asked? What were the new songs going to sound like?

The playbill noted that Phish had lifted segments out of their best jams from the past two years as inspiration for the songs. Which jams? How would they translate into proper songs? Throughout Set I you hear a band struggling under the weight of impending pressure. They missed changes, the set featured little flow, and much of it felt like a prerequisite that just had to be completed. One has to empathize with the pressure the band must have felt at this moment.

Dropping into the weightless bliss of “Wingsuit,” Phish consciously moved from one era into another with everyone in their fanbase watching. An incredibly ballsy move by the band, the second set of the show felt like no other Phish show that had preceded it. What’s more is that this act represented a moment of complete control over the delivery of an artist’s product. In the digital age of music, this is almost unheard of. At a time when most artists’ must shrug and accept the fact that their new album is going to leak before its release date, Phish was able to craft an environment wherein which their album took on the role of a live, in-the-moment, completely unknown organism.

Over the course of 90-minutes, the band introduced their fans to the ideas and concepts that had been rolling around their heads – many of which were a direct result of the best improvisational moments over the past 18 months. Almost all of them full-band compositions; the first of their kind since The Story Of The Ghost.

Some of them immediately felt like keepers: the maniacal expansiveness of “Fuego,” “The Line’s” self-conscious indie-rock blaze, “Wombat’s” self-referential mockery and infectious beat, the subdued and organic “Waiting All Night” and “555,” and the infectious pop of “Monica”; these were the songs we’d be anxiously awaiting at MSG and in the Summer of 2014. Others – “Snow” and “Winterqueen” in particular – felt unfinished, or out of place. Regardless, the unified act spoke more to the purest roots of Phish – and to their growth potential in the next phase of their career – than any classic rock cover could.

In Set III the band “blew off some fucking steam” with a 35-minute tour through the diverse musical landscapes accessed within “Ghost> Carini.” Following it with an ideally crafted third set that featured a balanced approach of tried & true rock: “Birds,” “Antelope,” and emotive exploration: “Hood> Bug,” along with the first cover of the night in the “Quinn” encore, the band walked off stage and into a new era. Regardless one’s initial feelings over the band’s choice of a Halloween album, one can’t deny the importance of said record, nor the critical shift it initiated here in the band’s 30th year.

The Top Ten Shows Of 2013

1044687_10151462827871290_272826700_n

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

Set I: First Tube> The Moma Dance> NICU, Roses Are Free> Chalk Dust Torture, Stash, Scent Of A Mule+, It’s Ice> Tube#> Run Like An Antelope

Set II: Golden Age##> Twist> Backwards Down The Number Line> Light -> Boogie On Reggae Woman> Julius, You Enjoy Myself###

Encore: Loving Cup

+ “Scent Of A Mule” featured Fish on the Marimba Lumina

# “Tube” contained an “It’s Ice” tease

## “Golden Age” contained a “Third Stone From The Sun” tease

### “You Enjoy Myself” contained a “Set Controls For The Heart Of The Sun” tease from Mike

——–

Phearless. When Phish returned for the final set of their weekend stand at Merriweather Post Pavilion, they summoned the spirit of the T-Shirt Trey Anastasio wore, and delivered a pivotal set in the year. Having already crafted an overtly old school and thematic stanza in the first set, 07/14’s Set II represented the kind of musical moment where everything just clicks for the band.

Two hours earlier, “First Tube” and “The Moma Dance” kicked the show off with thick, cavernous beats, inviting everyone to shake their troubles and just fucking dance. Nothing says you’re at a Phish show quite like an immediate invocation to boogie. Midway through, “Stash” provided an insightful dive into the layered and harmonic jamming style that defined much of 2013. If you haven’t heard this “Stash,” it’s an absolute must. A window into the creative process at work throughout the tour’s first three weeks. Concluding the opening frame with a psychedelic take on “Scent Of A Mule” – complete with the debut of Fishman’s melodious Marimba Luminas – the first expansive “It’s Ice” of the year, and a romp through “Tube,” the show reflected the band’s celebratory, dance-driven, and forward-thinking intentions that would bear fruition come Fall’s peak.

In many ways the Merriweather Post run was the defining run of 2013. Through their song-selection and stylistic jamming approach, the band seemed to be insinuating to their fans – and to themselves – just what their intentions for the year were. The run carried a distinctly old school feel – 8-9 song sets, a heavy emphasis on classics, such as “Maze,” “Split Open & Melt,” “Down With Disease,” “Harry Hood,” “Mike’s Groove,” “Chalk Dust Torture,” “Stash,” “Run Like An Antelope,” “You Enjoy Myself” – interspersed with some of their most relevant new songs, like “Twenty Years Later,” “Halfway To The Moon,” “Yarmouth Road,” “Light,” threaded by a jamming approach that valued whole-band communication, rather than individual exploration. If there are two shows one should listen to in effort to understand the goals of 2013, these two are it.

Opening Set II with “Golden Age” the band carried over this communal revivalist approach through a song that has etched itself into the core of their 3.0 message. It was in the 20-minute excursion in “Light -> Boogie On Reggae Woman,” however, where everyone involved was rewarded for the band’s efforts thus far in 2013. Honing in on a demented zone of abstract rhythmic breakdowns, “Light” became a musical playground for absurdist groove-based jamming. Finding pockets and holes to explore around seemingly every bend, the jam took on the feel of the sparse, Fall 1997 jaunts. To hear this jam is to hear the origins of the Woo some three weeks early. In seemingly every moment of minimalist and rhythmic connection the band has reached since – think, 07/31 “Tweezer,” 08/02 “Seven Below,” 08/05 “Harry Hood,” 08/31 Chalk Dust Torture,” 10/27 “Golden Age,” 11/02 “Piper,” 12/29 “Carini” – the discoveries made in this “Light” can be found.

Closing out the show with the anticipated brilliance of their seminal piece, “You Enjoy Myself,” the band concluded one of their cornerstone weekends of the year. A fully-flowing, thematic unit of nostalgically rich, forward-thinking music, Merriweather Post was one of the hallmark stop-gaps for Phish in their 30th year.

994230_10151489069061290_1293990735_n

The Gorge Amphitheater – George, WA – 07/27/2013

Set I: Architect, Golgi Apparatus, The Curtain With, Kill Devil Falls> The Moma Dance> Maze, Beauty Of A Broken Heart, Roses Are Free, Say Something^, Ocelot, After Midnight

Set II: Down With Disease& -> Undermind+ -> Light# -> Sneakin’ Sally Thru The Alley -> 2001> Walls Of The Cave> Fluffhead> Run Like An Antelope

Encore: Show Of Life> Good Times Bad Times

^ “Say Something” made its Phish debut

& “Down With Disease” was unfinished

+ “Undermind” featured Fish on the Marimba Lumina

# “Light” contained a “Sneakin’ Sally Thru The Alley” tease from Mike

——–

The second night at The Gorge is akin to a carefully crafted rock album in the live setting. Every song flows in thematic propensity to the song that preceded it and that which follows it. It’s both referential and full of risk. There’s a warmth throughout it that reflects the awe-inspiring setting it was crafted in. In short, it’s one of the most complete concerts the band has delivered in the five years since they reunited. This is one of those shows one doesn’t simply toss on for a spare highlight here or there. Rather, this is a complete artifact. One that must be heard in whole to fully grasp.

The opening trio of “Architect,” “Golgi Apparatus,” and “The Curtain With” initially fuels the show. The three songs share few commonalities. Yet with the sun setting an auburn glow over the Central Washington desert, the pieces somehow fit together on this night. “Kill Devil Falls,” “The Moma Dance,” and “Maze” are equal parts peaking rock and bulbous groove. Concluding with the debut of Mike’s bluesy prowl, “Say Something,” the expansive stroll of “Ocelot” – a song that subtly pushed its own limitations all year – and the apropos nod to the passing of JJ Cale with “After Midnight,” few could have denied that something big was one the horizon for Phish in the second set.

Playing their fourth fully-flowing Set II of the year to that point – alongside 07/05, 07/12 and 07/16 – Phish crafted a nonstop tour of their stylistic past and present. Reading: “Down With Disease -> Undermind -> Light -> Sneakin’ Sally Thru The Alley -> 2001> Walls Of The Cave> Fluffhead> Run Like An Antelope,” the set was an unbroken chain of old and new school jamming. Early on it was the open-ended explorations of “DWD” and “Undermind” that drove the set into the unknown. “Light” then bled into “Sally,” delivering a version rooted in equal parts infectious rock-based peaks, and spacious expansionism, before fading into “2001.” To cap things off, the band used two of their most enthralling compositional pieces – “Walls Of The Cave” and “Fluffhead” – and the ole’ reliable closer “Antelope.” A packed set that flowed with precision, this one had a bit of everything to offer.

In the weekend where it all came together for Phish in 2013, the band sculpted one of their defining shows of the year, and a telling snapshot of where things lay midway through 2013.

998106_10151553550971290_796143883_n

Dick’s Sporting Goods Park – Commerce City, CO – 08/30/2013

Set I: Ghost, NICU, Icculus, Heavy Things, Theme From The Bottom> Esther, The Moma Dance> Ocelot, Stash, Lawn Boy, Limb By Limb, Easy To Slip^

Set II: Punch You In The Eye> Sand#> Say Something> Walls Of The Cave> The Oh Kee Pa Ceremony> Harry Hood& -> Silent In The Morning&&> Twist> Slave To The Traffic Light

Encore: Oh! Sweet Nuthin’*, Meatstick

^ “Easy To Slip” (Little Feat) made its Phish debut

# “Sand” contained a “2001” tease from Fish

& “Harry Hood” was unfinished

&& “Silent In The Morning” was unfinished

* First “Oh! Sweet Nuthin'” since 15 August 2010

——–

The first night of Dick’s means one thing: word play. In 2011, the band crafted an entire show using only songs that began with the letter ‘S.’ On 31 August 2012, the band spelled FUCK YOUR FACE, and subsequently played their most important show of 3.0.

In 2013, Phish tweaked the gag’s formula once more, here crafting a message backwards. In the same vein as “Garden Party” and “Harpua the right way” before it, and Wingsuit and the coverless NYERun that would come after, the MOST SHOWS SPELL SOMETHING (Backwards) show was one of those indelible moments of 2013 that further displayed the layers with which Phish approaches their craft. Insinuating that each show played “spells” something different to everyone who hears it – and that based on the setting/position in the tour/year/songs played/jams/song placement/etc, no two shows “spell” the same thing – was a clear shot at fans bringing their own specific expectations with them to the overall experience of listening to Phish. It also provided those of us in the business of analyzing the hidden meanings within Phish shows and jams that much more fuel to burn…

Opening with the left field trio of “Ghost,” “NICU,” “Icculus,” it was clear from note one that this year’s gag would be far more Phish playfulness than 2012’s improvisational onslaught. Wading through 23 songs meant the show didn’t have the same amount of room to breath either. The word “Spell” was chopped off following the Set I closing debut of “Easy To Slip,” further adding to the intrigue surrounding the actual gag. Whereas in 2012 the triple jab of:

1.) the FUCK YOU jammed-out first set,

2.) the jam out of “Farmhouse” that just had to fade into “2001,” but instead dove into “Alaska” of all songs, and,

3.) the realization that they were actually spelling FUCK YOUR FACE, meant the crowd was not only in on a lot of the gag for most of the show, while also mainly consumed by the jamming the structure decreed,

here in 2013, much of the show was consumed by all simply figuring out what in fact the band was spelling. The decision to unveil their message backwards not only added to said level of intrigue for this particular show, but was also a symbolic gesture to the notion that all shows spell something in general.

It was in Set II where Phish hooked up for their most connected string of songs, as “Sand” through “Slave” left everyone on their toes, and, in re-listening, flows with curious ease. While one could argue that the promising jam discovered late in “Sand” was sacrificed for the gimmick, few could deny that the muddy groove of “Say Something,” the blissful segue from “Hood -> Silent,” or the airy peak of “Slave” didn’t make the show more than worth absorbing.

Encoring with the first “Oh! Sweet Nuthin’” since Alpine 2010, and “Meatstick” which offered a tongue-in-cheek admission that, while most shows might spell something, when it comes down to it, we’re just telling dick jokes here, offered a comical conclusion to a third successful gag-show at Dick’s. A show that offered both increased meaning to the band’s MO in 2013, and is a highly-engaging re-listen, one can only hope the band renews their Dick’s contract in 2014 to carry on the tradition.

1383613_10151642180931290_1554369806_n

Hampton Coliseum – Hampton, VA – 10/20/2013

Set I: Julius, Funky Bitch, Back On The Train#, Roses Are Free> Sample In A Jar, Ginseng Sullivan, 46 Days, The Divided Sky, Bold As Love

Set II: Paul & Silas> Tweezer+ -> Golden Age++> Piper -> Takin’ Care Of Business^ -> 2001 -> Sand> Slave To The Traffic Light

Encore: A Day In The Life> Tweezer Reprise

# “Back On The Train” contained a “Jean Pierre” tease from Trey

+ “Tweezer” featured Mike on the Power Drill

++ “Golden Age” featured Fish on the Marimba Lumina

^ “Takin’ Care Of Business” (Bachman Turner Overdrive) made its Phish debut

——–

Nearly five years after returning from their own demise, Phish finally returned to the place that saw them take their initial steps towards rebirth, rebuilding, and renewal.

On the final night of their Three-Night Fall Tour-opening weekend, Phish played one of their defining shows of the year, and, simply put, one of the best shows they’ve ever played at the legendary Hampton Coliseum. This was the kind of show they needed to play. A confident, exploratory, full-band affair that was rooted in both self-referential humor, and musical discovery, the last night at Hampton ’13 is one sure to be spoken of with reverence for years to come.

The first set was a determined run through some of the strongest pieces in their rotation today. “Julius,” “Funky Bitch” and “Back On The Train” allowed the band to settle, connect, and launch some early tension & release fireworks. “Roses Are Free” provided the first insight into the band’s exploratory desires. Later “46 Days” and “The Divided Sky” were equal parts raging rock and blissful contemplation. The kind of set that few would write home about, this was akin to the solid and efficient first stanzas of 1994 and 1995.

Set II was – well, at the risk of sounding overtly hyperbolical – a masterpiece.

Opening with the playful rarity “Paul & Silas” – dedicated to two different groups of fans – the band was relaxed, on point, and ready to throw-down. As the murky riff from “Tweezer” emerged out of “Paul & Silas” you can hear a roar build throughout the crowd as everyone simultaneously realizes the show’s about to go deep. Over the next forty minutes, the band would craft their seminal jam of 2013 in “Tweezer -> Golden Age,” revealing a darkness, a depth, and a desire to explore that will surely drive them once they begin playing again in 2014.

Out of “Golden Age” came “Piper” which raged like all “Piper’s” tend to before settling on a shuffling, arena-rock groove that led to the unexpected debut of BTO’s “Takin’ Care Of Business.” Sometimes Phish debuts a cover at just the right time that it not only raises the bar on its current show, but further works as a larger message for the overall state of the band. In the same regard as “2001,” “Crosseyed & Painless,” “Emotional Rescue” and “Psycho Killer” before it, the 10/20 “Takin’ Care Of Business” was the perfect song at the perfect time. The band latched onto a groove and infused the song with energized playing, and the message rang loud & clear as to the intentions of Phish in Fall 2013.

At a point in the show where they could have faded into “Friday” and few would have complained, the band opted for “2001 -> Sand> Slave” to close things out. Crafting a complete stanza of unified, energized, forward-thinking music, there was only one way left to send their fans out into the night: The Beatles and “Tweezer Reprise.”

Some nights everything just comes together for Phish. On 10/20/2013 the band was able to shake whatever was getting in their way in their first two nights of the tour, and play a fully-formed, era-defining show that will surely sound as fresh and exciting in 15 years as it did in the moment. Seriously, what more can you ask for?

1376517_10151646976646290_730441914_n

Glens Falls Civic Center – Glens Falls, NY – 10/23/2013

Set I: Back In The USSR*, Stealing Time From The Faulty Plan, Water In The Sky, Undermind#, David Bowie, Golgi Apparatus, Gumbo, Yarmouth Road> Camel Walk, Horn> Limb By Limb> I Didn’t Know, Split Open & Melt

Set II: Rock & Roll> Seven Below> Alaska> Twist+, Wading In The Velvet Sea> Harry Hood> Chalk Dust Torture

Encore: While My Guitar Gently Weeps

* First “Back In The USSR” since 06 December 1994

# “Undermind” contained a “Long Tall Glasses” tease from Mike

+ “Twist” featured Mike on the Power Drill

——–

The Glens Falls Civic Center. Just typing those words conjures up idiosyncratic images of Phish lore. Worn-down AHL Arenas. A cross-dressing Mike Gordon. Minkin sheets. A fully-nude, unremarkably-hung Jon Fishman. Wildly absurdist jams. A Trey Anastasio whose fashion sense begins and ends with the word ‘pajamas,’ et al.

For nineteen years The Glens Falls Civic Center resided as a singular moment in Phish history. A moment when Phish captured everything intangibly special about themselves in one unending performance. A moment when Phish pointed the way towards an even bigger and brighter future.

Five shows into their 2013 Fall Tour, Phish took to the stage in the archaic 5,806-person arena and immediately stepped back in time, opening with only the third “Back In The USSR” they’ve ever played. The first set unfolded like a carefully constructed historical artifact: a mid-set “Bowie” followed by “Golgi,” the lone “Horn” of tour, the ever-elusive “Camel Walk,” the classical gag of “I Didn’t Know,” and a demented “Split Open & Melt” to close things out. Much of it felt as though it could have been plucked out of 1993. Interspersed throughout were “Stealing Time From The Faulty Plan,” “Undermind,” and “Yarmouth Road;” three “newer” songs, which formulaically fit the musical lineage of Phish. The set felt retro and relevant at the same time: emotively constructed, yet fluid and modern.

If Set I was indeed all about setting the tone, and establishing atmosphere, Set II was intended as a celebration where Phish’s past and present conjoined.

Opening with “Rock & Roll” was a statement of intent. “Seven Below” offered a glimpse of the road less traveled between 10/31/1994 and 10/23/2013. “Alaska” displayed unyielding joy through a simplistic blues-rock peak. Thirty minutes into the set and it was clear that regardless the fact the band had yet to play anything too transgressive, there was pure joy emanating from the stage. This was the essence of 3.0 Phish captured in a single performance. A symbolic bridge from 1994 to 2013.

And then “Twist” happened. Building upon the subdued, haunting jam from the Hampton tour opener, Phish directed this “Twist” towards ethereal spaces. Led by Trey’s deliberate rhythmic playing, the jam left the confines of “Twist” and entered a melodic space that spoke volumes to the band’s sense of comfort in Glens Falls. A sentiment that would be verbalized by Trey prior to the encore, this was a place of great meaning for everyone involved. This was the homecoming show of the tour. This show meant something more.

Closing out the set with a ballsy, yet emotive “Harry Hood,” the band reached back into the past once again to bridge who they once were with who they now are.

A singular encore: “While My Guitar Gently Weeps.” A song that often closes out the most reflective and nostalgically rich shows, perhaps nowhere else has it ever been placed this properly.

The Glens Falls Civic Center. Wanna know how Fall 2013 became Fall 2013? Just throw this show on and revel in it.

36521_10151459756296290_1492611677_n

DCU Center – Worcester, MA – 10/25/2013

Set I: Funky Bitch, Wolfman’s Brother, Wilson+> The Curtain With, Cities> Rift, Free, My Mind’s Got A Mind Of It’s Own, Vultures, 46 Days

Set II: Waves# -> Carini, Prince Caspian& -> Backwards Down The Number Line> Ghost++ -> Dirt -> Down With Disease&> Sneakin’ Sally Thru The Alley> Cavern> Run Like An Antelope

Encore: Contact> Suzy Greenberg> Rocky Top> Good Times Bad Times

+ During “Wilson” Trey repeated a verse because he was so excited Rog was in attendance

++ “Ghost” contained alternate lyrics

# “Waves” contained a “Fuego” tease

& “Prince Caspian” and “Down With Disease” were unfinished

——–

Two nights after the homecoming show in Glens Falls, Phish returned to yet another venue steeped in immense historical importance, and threw down an equally-nostalgic and celebratory performance.

The Centrum in Worcester, MA. Home to 12/31/1993’s capstone performance, 12/29/1995’s “The Real Gin,” 11/29/1997’s hour-long “Runaway Jim,” 11/27/1998’s maniacal Set II, 02/26/2003’s side project excursion, 12/28/2010’s brilliant “Hood,” and 2012’s Summer opening renaissance, few doubted that a Phish this well-oiled – having just played two of their best shows of the year – would leave anything on the table in Worcester.

Like the Merriweather Post run from July, both night’s in Worcester fit together as a complete snapshot of Phish 2013. Each are complete performances displaying the musical reach, unyielding energy, exploratory drive, infectious humor, and well-earned confidence that defines Phish 30 years in. In the same respects as Merriweather Post, if you only have time for four shows in 2013, these four will give you as clear an understanding as you need of just who Phish was in 2013.

Simply put, the first night in Worcester is an unyielding and relentless assault of pure Phish energy.

Coming out the gates with the quartet of “Funky Bitch,” “Wolfman’s Brother,” “Wilson> The Curtain With” is about all one needs to know about how ecstatic and comfortable the band was midway through their Fall Tour. This show is an unending party.

In many ways it feels like a classic Fall ’95 gig – think 11/11/1995, 11/30/1995, 12/15/1995 – where the band’s goals reside in testing the limits of energy. Tension & release form a repeated pattern throughout. Each song in Set I pops with a freshness, fitting its slot perfectly, and providing a contextual lineage to its proceeding element. A thematic approach that would continue into the second set, much of what makes Worcester’s first night so compelling is the deliberate brilliance in each of its song selections.

Opening Set II with the first expansive dive into “Waves” since 28 June 2012, Trey pushes the song past its melodic origins into a haunting and billowing piece of equal-parts aggressive, direct and expansive atmospheric rock. In “Carini” the band got down. Hooking up around a thick funk strut led by Mr. McConnell’s clav plucks Phish displayed the accessible diversity that’s been attained within “Carini” since its rebirth in the Fall of 2010.

On many nights, the back-to-back placement of “Prince Caspian” and “Backwards Down The Number Line” midway through a second set would signify an off-night. But not here. Night’s like 25 October 2013, it matters little what song(s) the band plays. Whatever they play, they just crush.

“Ghost” combined idiomatic improv with an energized peak before fading into the rare “Dirt” breather. In the same way as Hampton’s second set became a fully-formed entity thanks to “2001 -> Sand> Slave,” here Phish faded into a surprise “Down With Disease” out of “Dirt,” and then closed things out with the relentless trio of “Sally> Cavern> Antelope.”

At this point, one would have expected the band to return for a solo “Character Zero,” or a “Squirming Coil,” or perhaps a fitting “First Tube.” The second set had seemingly been too long for anything more than a one-off encore. But on a night like the first night at Worcester, with Phish high on both their masterful playing, and the vibe of touring through their home turf, a single song simply wouldn’t do. Adding to the relentless approach that had defined the entire show, the band threw-down a four-song encore chock-full of classics. “Contact> Suzy Greenberg> Rocky Top> Good Times Bad Times.” They just wouldn’t fucking stop.

Hands down one of the most fun shows of 2013, 10/25 represents one of those moments where the combination of locale and peak playing results in a performance that just reeks of Phish lore.

561487_10151503227636290_1575591018_n

XL Center – Hartford, CT – 10/27/2013

Set I: Rock & Roll+, Ocelot> Tube, Halfway To The Moon, Fee++ -> Maze, Lawn Boy, Nellie Kane> NICU, A Song I Heard The Ocean Sing> Walls Of The Cave

Set II: Chalk Dust Torture> Tweezer#> Birds Of A Feather> Golden Age -> Halley’s Comet> 2001> Fluffhead> Slave To The Traffic Light

Encore: Loving Cup> Tweezer Reprise

+ “Rock & Roll” was dedicated to Lou Reed who passed away that morning

++ Trey sang the verses of “Fee” through a megaphone

# “Tweezer” contained a “Fuego” tease from Page

——–

On the final night of their peak weekend of Fall 2013, Phish crafted yet another indelible performance for what has to be regarded as their most impressive tour to this point in 3.0. A one-off Sunday show in Hartford, CT, it was clear throughout the first set that the nostalgic-vibe that had permeated throughout since Glens Falls was still ever-present here in Hartford.

The morning prior to the show, the rock world lost one of its beacons of exploration, one of the greatest artistic minds of the past forty years: Lou Reed. In remembrance, the band opened with “Rock & Roll” for only the second time – first since 12/29/1998. A song that feels like one of their own at this point, the jam that built out of it – and the thoughts shared by Trey following it – were a fitting tribute to a man whose work helped pave the way for exploratory artists like Phish, and whose album Loaded instituted a great shift for the band in 1998.

The first set was conglomeration of newish songs – “Halfway To The Moon,” “A Song I Heard The Ocean Sing,” “Walls Of The Cave,” – rotational pieces – “Ocelot,” NICU” – and a classic mini-jam from “Fee” into “Maze,” crafting a diverse and engaging unit. For however subdued it was in comparison to the relentless energy from 10/25, or 10/26’s fluid dance-fest, Set I from 10/27 worked like 07/05, 07/13, 07/27, and 08/04’s in that it displayed multiple angles with which Phish’s setlist crafting can be approached. Perhaps on paper it may appear unremarkable, the musicianship and flow that enlivens it comes through with ease and purpose via re-listening.

Anchoring Set II around two unique excursions in “Tweezer” and “Golden Age,” 10/27’s second frame combined the fluid explorations of the previous night, with the unyielding energy of 10/25. “Tweezer” is one of the jams of the year. A meta statement of minimalism, melodic interplay, and whole-band communication, it rides a melodious groove through 17-minutes of jubilant, “Weekapaug”-infused bliss. In “Golden Age,” the band built upon its breakthrough jam from 10/20, expanding on rhythmic interactions from Fish and Trey before discovering ambient nothingness. A signal that a corner has finally been turned for the bemusing cover, one can only hope the band will continue to expand on it with such determination in 2014.

Closing things out with a nostalgic run through “2001> Fluffhead> Slave To The Traffic Light” capped off an incredible weekend in the NE. Noting before the encore that the venue was the location of his first ever concert, Trey reflected the symbolic nature of the band’s peak period of rediscovery and renewal that the Fall Tour has come to represent.

526478_10151658948511290_134539918_n

The Santander Arena – Reading, PA – 10/29/2013

Set I: Cars Trucks Buses, Stealing Time From The Faulty Plan, Ginseng Sullivan, Wolfman’s Brother, Sparkle> Walk Away, The Divided Sky, Split Open & Melt&> Julius

Set II: Down With Disease&# -> Taste##, Twenty Years Later -> Piper> Backwards Down The Number Line, You Enjoy Myself, Grind

Encore: Bouncing Around The Room> Reba, Good Times Bad Times

& “Split Open & Melt” and “Down With Disease” were unfinished

# “Down With Disease” contained a “Pop! Goes The Weasel” tease from Mike

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

——–

The night before the night. Or, in this show’s case: two night’s before the night.

If you’re ever going to try and hit a guaranteed barn-burner, make sure to be at the show that falls directly before a big, planned event for Phish. Throughout their history the band has built a reputation on playing some of their most memorable shows just prior to a heavily-hyped event. Think: Halloween, Festival, NYE, tour finale, etc. 12/30/1993, 10/29/1994, 10/29/1995, 12/29/1995, 08/14/1996, 08/14/1997, 12/30/1997, 08/12/1998, 12/29/1998, 07/25/1999, 07/29/2003, 12/01/2003, 08/14/2009, 12/30/2009, 10/30/2010, 08/28/2012, 12/30/2012 are all imbedded in the minds of Phish fans as much for the fireworks contained within, as for the fact that each caught their fanbase looking ahead at the schedule, rather than focusing on the moment at hand.

On a Tuesday night in Reading, PA, the band played one such show, crafting a second set that will long be remembered as one of the peak moments of 2013.

Following a first set that worked in much the same way as 10/20’s confident run through staples – “Stealing Time,” “Wolfman’s,” “Divided Sky,” “Julius” – rarities – “Cars Trucks Buses,” “Walk Away” – and a dive into the murky unknown of a completely lost “Split,” the band took to the stage for Set II and delivered a masterpiece.

Perhaps no song rings in a second set with the combination of familiarity and intrigue as “Down With Disease.” A song that has opened 65 second sets throughout its history, “DWD” is by far the band’s most consistent Set II-opener. Flowing into its customary zone of funk-infused, textural jamming, the band moved with persistence following Page’s shift at 13:10 to an uplifting, melodic theme. What results is, hands-down, the best solo Trey has played in all of 3.0. A deliberate, yet subconscious display of HOSE, Trey wove an emotive and uplifting  musical passage that resided in a distinctly Americana frame. Hinting at “Mountain Jam” from Eat A Peach, the passage seemed to suggest that the band was planning to play the seminal record from The Allman Brother’s on Halloween. While the gag was ultimately all-for-naught, the music that was crafted is some of the most memorable and emotive of the entire year, and of 3.0’s entirety for that matter.

Two songs later, the band dove into the unknown once more through the unexpected vehicle, “Twenty Years Later.” A song that has been begging for exploration since its debut on 06/05/2009, this was yet another reward for all those who have patiently followed Phish’s rebuilding and reclamation project in 3.0. Focusing on the rhythmic undercurrents of the song, Trey used his Wha with precision here, building a wall-of-sound that expanded the jam upwards and outwards. It was Page, however, who once again shifted the murky minimalism of this jam into openly blissful terrain. Resulting in a segment that built through Trey’s melodic rhythmic patterns, it briefly felt as thought the band were going to segue into The Dead’s “I Know Your Rider.” A peak into the potential for one of 3.0’s best original’s, look to 2014 as the year in which this and “Golden Age” regularly explode.

“Piper” and “Backwards Down The Number Line,” two songs that always seem to appear in the best 3.0 second sets, led to what has to be regarded as the most accomplished version of the band’s seminal musical statement in 2013: “You Enjoy Myself.”

In the encore, the band graced us with the lone “Reba” of the fall. One of only four versions played all year – and only the fourth time it’s ever been played in the encore – this placement and performance further stamped the Reading gig as one of the best of the year.

The night before the night. Don’t get caught looking ahead, for you never know quite what you’re going to miss.

1441514_10151666196376290_461264875_n

Boardwalk Hall – Atlantic City, NJ – 11/01/2013

Set I: Cavern> Runaway Jim#, Sand, Halfway To The Moon+, Halley’s Comet> Tube> Possum, When The Circus Comes, Sugar Shack, Jesus Just Left Chicago, David Bowie##

Set II: Twist###> Gotta Jibboo> Makisupa Policeman++> Light -> Chalk Dust Torture, Meatstick++ -> Boogie On Reggae Woman++####> The Wedge,  Slave To The Traffic Light

Encore: Sneakin’ Sally Thru The Alley#####

# “Runaway Jim” contained a “Theme From Shaft” tease

## “David Bowie” contained a “Jesus Just Left Chicago” and a “Symphony No. 5 In C Minor” tease

### “Twist” contained “Get Back,” Under Pressure” and “Long Tall Glasses” teases

#### “Boogie On Reggae Woman” contained a “Theme From The Rockford Files” tease

##### “Sneakin’ Sally Thru The Alley” contained a “Theme From Shaft” and a “Call To The Post” tease

+ Prior to “Halfway To The Moon” Trey noted how he hoped it makes Wingsuit

++ “Makisupa Policeman” contained numerous references to “Bush” and “Kush” which were then featured in “Meatstick” and “Boogie On Reggae Woman”

——–

If the night before the night provides the proper amount of amassed tension and hype to coax a defining show out of the band, then the effects of a heavy weight being lifted often cater to similar results for the night after the night. One only has to hear the Fox ’95 shows, 11/02/1996, 11/02/1998, 11/01/2009, 01/01/2011 and 07/03/2011 to understand how the band responds to their most anticipated shows with a loose, anything-goes vibe in their subsequent performance.

This show sounds like the way you feel following a huge exam, or the morning after your wedding, or after taking an enormous shit. It sounds like all the pressure that had been building internally towards Wingsuit is just gone, and the band can go back to just being a band again.

Let’s acknowledge the fact that debuting an entire set’s worth of new material in front of your fans – on a night when expectations are already incredibly high for you to cover a famous record from another famous band, no less – created some serious tension for the members of Phish. For as much as the band clearly wanted to debut their new record in this setting – and for as brilliant a delivery as it was – one has to imagine that there were internal doubts over whether or not this was the right decision in the days and weeks leading up to Halloween. Rumors have circulated since that the band was practicing a fall-back album, just in case. The pressure of delivering  a cover album is a feat in-and-of itself. To trust that an entire set of new material is going to be both nailed and aptly received has to have created an insane amount of artistic stress. Add to it the fact that the surprise debut of said set of new material was a planned ordeal that the band had been existing with for some time, and, well, wow, all that pressure’s gotta be released somewhere…

When Phish took the stage on 01 November 2013 and opened with “Cavern,” a “Shaft”-laced “Runaway Jim,” and “Sand” it was undeniably clear that the band was not only thrilled with the unveiling of, and reception towards, Wingsuit, but was ready to focus all that previously bottled-up energy into one of the best shows of the year, and of all of 3.0 for that matter.

In my opinion there are three shows in the mix for 2013’s top show: 10/20/2013, 11/01/2013, and 12/29/2013. For as many high-level shows as were played throughout the year, the gap between those three and the rest of the year is huge. These three shows were just that good.

Prior to “Halfway To The Moon” – a song that existed on the peripheries of their rotation throughout 2010-2012, but after a strong 2013 is one of their most complete new songs – Trey noted how grateful the band was for the open-mindedness of their fanbase. A moment of humility from artist to fan; a telling sign of just how much Wingsuit had meant to them.

Rounding out set one was an extended “Tube,” a punctual “Sugar Shack,” and a riotous “Jesus Just Left Chicago,” and “David Bowie” set closer. It was a mature stanza filled with fresh interplay, intrigue and tangible energy. The exact kind of set that often serves as a prelude to a classic Set II.

Following the haunting second set opener on 10/18, “Twist” became the centerpiece jam in Glens Falls, as Trey directed the murky and bluesy groove of the song to a heavenly space. Opening up 11/01’s second set with it, everyone could sense we were in for a big jam. Uncovering the riff from “Get Back” Trey led the band into a segment of celebratory rhythmic jamming that complimented the masterful Hartford “Tweezer” from the previous weekend. A blissful peak was reached and the crowd rewarded the band lovingly. Settling on the melody from “Under Pressure,” the band jokingly toyed with the song’s theme before dementing it, and pushing the jam even further into the unknown. A symbolic moment of improvisational magic, the song evoked a larger meaning in the same way “Takin’ Care Of Business” did on 10/20, here, referring to the pressure lifted following Wingsuit.

From there the set was a combination of intuitive jamming and humorous gimmickry, resulting in a fully-flowing set that just reeked of peak-level Phish. “Makisupa Policeman” was a riotous celebration of all-things weed, as keywords “Bush” and “Kush” were distorted and played upon in a scrabbled inside joke between Trey and Fish. “Light” explored sparse pockets of funk and rhythmic minimalism before somehow discovering a rock edge and sliding right into “Chalk Dust.” “Meatstick” and “Boogie On” captured the joy emanating from the stage, and “Slave” closed out the set with a hazy, and beautiful peak, that was equal parts contemplative and riveting.

Dropping into “Sneakin’ Sally” for the encore, the band melted the faces of whoever in the building was left with their individual facial appendages. Revisiting the “Shaft” jam from the second-song “Jim,” the funk jam that spread across 11-minutes was one more reminder of what level Phish was operating on.

The night after the night indeed.

1525390_10151779417991290_221399856_n

Madison Square Garden – New York, NY – 12/29/2013

Set I: The Moma Dance> Rift, Roggae, Sparkle, The Line, Stash, 555, It’s Ice, Gumbo#, Walls Of The Cave

Set II: Down With Disease## -> Carini> Waves+> Twist> Golgi Apparatus, David Bowie+

Encore: Possum

# “Gumbo” contained a “Long Tall Glasses” tease from Trey

## “Down With Disease” contained a “Rhapsody In Blue” tease from Page

+ “Waves” and “David Bowie” feature Mike on the Power Drill

——–

Throughout 2009-2012 Phish evolved in fits and spurts. There’d be shows, or mini-runs where it sounded as though they were totally back. Then they’d offer up a string of subpar shows, full of hesitation, lacking communication, and sounding directionless.

With the Dick’s run of 2012 Phish crossed a demarcation line, evolving so far beyond the expectations anyone could have realistically had for them in early 2009. Since then, their evolutionary process has been less about rebuilding what they once were, and more about discovering who they are going to be. The notion that they’re a nostalgic act has become asinine. At the onset of 2014, Phish, as a creative unit, is just as fresh, and just as innovative as they were at the onset of 1994.

A show like 12/29/2013 is a perfect example of the place that Phish finds itself here in their 31st year. You could put this show up against any benchmark show from any other era of Phish, and it would stand up on its own. This is as complete, as deep, as raw, as innovative, as re-listenable as any single show the band has ever played.

On paper it’s a thing of beauty. Diverse in its offerings from the various periods of Phish. Flowing with thematic precision and aesthetic functionality. Full of surprising intrigue and moments of unexpected brilliance. Capped off by a 35-minute segment of music that just might be the best improvisational excursion of their entire 3.0 era. Just look at this setlist and tell me it doesn’t make your mouth water.

To hear it is something all to its own. “Moma Dance” pops and signals an emphasis on whole-band communication, and thick funk. “Roggae” creeps into your soul and breaks through the haze with a poignant solo. “The Line” and “555” make their first post-Wingsuit appearance, feeling right at home already. “Stash” moves aggressively from demonic leads to melodic hues, all in ten efficient minutes. “It’s Ice” and “Gumbo” display a band willing to take risks at any turn; so locked-in they nail them all.

The second set opens with “Down With Disease” and “Carini.” Two songs that served as the peak of 2012’s NYE Run, once again they provide the improvisational centerpiece of the run, and, perhaps the jam segment of this entire era. Combing the underbelly of its own musical being, “DWD” reconstructs itself some 17-minutes in, building into an ecstatic reprise of its eminent peak. Dropping into “Carini” the band rode a minimalist groove outwards, deconstructed it, demented it, and then redistributed it as an infectious communal beat. As complete an improvisational journey as any in 3.0, these two songs point the way forward for Phish as they enter 2014.

Riding out “Waves” and “Twist,” it was three of their oldest songs: “Golgi,” “Bowie,” and “Possum” that would appropriately close out the strongest show Phish has played in all of 3.0. Not a wasted moment throughout. Full of innovative, assertive, and communicative playing, 12/29/2013 is not only a statement of how far Phish has come since 2009, it’s a statement of how much further they can go if they continue with this whole experiment.

How far Phish will go within the confines of 3.0 is undetermined. But if they can summon the drive, and the ability to match the brilliance of a show like 29 December 2013 again, we’re all the better for it.

——–

Thanks everyone for reading! Can’t wait to see where Phish takes us in 2014!

Photo Cred: 1 – 10/20 Hampton, VA – Dave Vann; 2 – 07/05 Saratoga Springs, NY – Dave Vann; 3 – 07/21 Chicago, IL – Dave Vann; 4 – 10/31 Atlantic City, NJ – Brantley Gutierrez; 5 – 07/14 Columbia, MD – Rene Huemer; 6 – 07/27 George, WA – Dave Vann; 7 – 08/30 Commerce City, CO – Dave Vann; 8 – 10/20 Hampton, VA – Dave Vann; 9 – 10/23 Glens Falls, NY – Dave Vann; 10 – 07/12 Wantagh, NY – Dave Vann; 11 – 08/02 San Francisco, CA – Dave Vann; 12 – 10/29 Reading, PA – Dave Vann; 13 – 11/01 Atlantic City, NJ – Dave Vann; 14 – 12/29 New York City, NY – Rene Huemer

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

Advertisements

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

941258_10151468648201290_1261988077_n

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

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

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

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

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

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

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

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

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

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

I. Bangor – Toronto

II. The Gorge – Dicks

III. Hampton – Atlantic City.

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

The Best Jams Of 2013 – Part I

59432_10151477068431290_720268473_n

07/05

Light -> The Mango Song

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

07/06

Tube

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

tumblr_mr6ys2QAnr1sea8qyo1_r1_1280

Split Open & Melt

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

Carini -> Architect

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

tumblr_mrga02pkOT1sea8qyo1_r1_1280

07/10

Crosseyed & Painless> Harry Hood

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

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

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

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

tumblr_mri50zLBbR1sea8qyo1_1280

07/12

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

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

07/13

Harry Hood

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

Mike’s Song> Simple> Weekapaug Groove

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

07/14

Stash

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

Light -> Boogie On Reggae Woman

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

tumblr_mrnota43DQ1sea8qyo1_1280

07/16

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

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

07/17

Piper -> Fast Enough For You

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

07/21

Energy -> Ghost -> The Lizards

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

1045244_10151456729241290_627350807_n

07/22

Down With Disease -> 2001

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

David Bowie

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

[14] 10/20

[15] 07/05

[16] 07/12, 07/30

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

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

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

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

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

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

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

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

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

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

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

More on this later.

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

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

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

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

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

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

——–

So, How’d We Get Here?

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

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

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

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

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

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

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

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

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

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

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

1887_10151496599156290_1539238575_n

There Are No More “Standard” Songs

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

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

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

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

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

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

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

164599_10151496599501290_1491467990_n

About That “Tweezer”…

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

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

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

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

I sat at a public computer laughing hysterically.

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

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

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

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

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

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

561487_10151503227636290_1575591018_n

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

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

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

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

I feel the feeling I forgot…..

I feel freeeeeee………

Freeeeeeeeeeeeeeeeee!

And then that guitar riff…

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

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

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

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

996540_10151503258621290_734921195_n

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

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

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

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

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

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

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

So, where are we going?

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

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

I cannot see this ending any time soon.

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

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

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

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

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

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

So, where are we going?

Gamehendge, duh…

1002901_10151503258571290_1136259999_n

When Is The Last Time Phish Peaked Like This?

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

It’s time to go a bit further….

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

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

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

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

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

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

533644_10151487728951290_242704636_n

Favorite Shows/Jams Thus Far

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

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

Favorite Shows

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

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

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

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

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

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

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

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

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

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

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

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

Favorite Jams

– 07/06/2013: “Split Open & Melt”

– 07/06/2013: “Carini -> Architect”

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

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

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

– 07/22/2013: “Down With Disease”

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

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

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

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

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

——–

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

Summer Awards: A Road Map To Navigating Phish’s 2013 Tour

994230_10151489069061290_1293990735_nNote: This was a collaborative effort between myself and James Kaminsky (@jameskam17) from One Phish Two Phish

——–

Regardless what happens throughout the rest of 2013, Phish’s recently completed Summer Tour is certain to go down as their best overall tour since Summer 1998. Full of thematic, boundary pushing shows, odes to their historical roots, along with clear paths pointing towards their future, 2013 is the most complete Phish tour in over a decade, and a sure sign of the summit reached in Phish’s 3.0 experiment.

With so many highlights contained throughout the tour this is the first in recent memory that simply cannot be divided into best/worst, or worth your listen/not worth your listen categories. There’s nothing cut-and-dry about 3.0 Phish tours anymore.

EVERYTHING played this summer is worth your time and your attention.

As a result, James and I figured we’d compile something of a road map for fans in search of some guidance of where to begin their Summer 2013 (re)listen. As we’re both well aware of, after all, with so much good music just produced, one can become easily overwhelmed by the prospect of re-listening. While this is an “awards” compilation, yes, it’s also meant to be read as an overall guide to the most noteworthy moments of the tour.

Moreover, we wanted to use this platform as an opportunity to extend our thanks to the band and to the overall Phish community for what has to be regarded as the most positive Phish tour in ages. By all accounts, those of you at the shows had nothing but glowing reviews on a nightly basis. I know for myself, hunkered down in a closet apartment in Osan, South Korea, this tour could not have sounded any better.

I’m absolutely honored that James asked me to be a part of this project, and I can’t wait to work with him in the future!

Hope everyone enjoys the piece! Please feel free to share your thoughts, comments, criticisms, and rants in either the comment section or @sufferingjuke and @jameskam17.

*Note: For each section our favorite show/set/jam/song is in bold

——–

164599_10151496599501290_1491467990_n

Opener Of The Year

Llama: Holmdel, NJ – 07/10/2013

First Tube: Columbia, MD – 07/13/2013

Prince Caspian: Chicago, IL – 07/20/2013

Dinner and a Movie: Chicago, IL – 07/21/2013

Architect: George, WA – 07/27/2013

Honorable Mention: Free, San Francisco, CA – 08/02/2013

In 2012 Phish entered their summer tour with the stated goal of playing 200 unique songs. Impacting their setlists with unexpected diversity on a consistent level like no time previously in their history, the 200-song-challenge affected all aspects of their shows, most notably the opener slot. From 06/07’s Buried Alive, 06/15’s My Sweet One, 07/03’s Skin It Back, 09/01’s Antelope, and 12/31’s Garden Party, the opener became an entity all to its own throughout 2012. Here in 2013 however, the focus moved away from the number of songs the band would play (their rotation was perhaps their tightest since 1997) to, now the quality of play, and the overall craftsmanship of setlists. As a result, the openers were less a separate moment removed from the overall show, and rather an immediate insight into the night’s flow, and the band’s mood.

Each of the above songs we felt best introduced their shows – from the frenetic rage of Llama and First Tube, to the gimmicky charm of Caspian and Dinner & A Movie, to SF’s Free that summed up the entire communities sentiments following the Tahoe Tweezer, while at the same time setting an overall thematic tone for the BGCA run that fits perfectly on re-listen.

And yet, while each of the above songs certainly sent a jolt of energy and adrenaline into their respective shows, no song better captured the setting, mood, nor indescribable bigness of Phish, than Architect did on 07/27/2013.  Ushering in the show under a hushed tone, the song – with lyrics like: “it turned out better/so much better/than we ever did expect,” and “there might be more to this than we all know” – allowed everyone a pause to remember just how special and unique this whole Phish thing is.

Regardless of jam lengths, regardless of song selections, at the end of the day, the fact that Phish has created this living, breathing, evolving, fully healthy, totally redeemed entity, which has a positive impact on literally anyone who touches it, is enough in and of itself, right? Raise a glass to the architect…

Top New Song

Yarmouth Road

Energy

Say Something

Architect

Frost

In the Phish offseason, the most commonly heard request from fans for 2013 was not Gamehendge, but new material. Everyone, including me have been craving for some new Phish jams. Trey said a new album was in the works and when news broke the community went crazy. We heard the band was working collectively on the album. I mention this because this year, we did get some new tunes, but none were written collectively from the band.

After a tour opener in Bangor with no new songs, the band changed gears the next show with a Phish debut in the first set and the second set. We got Yarmouth Road, a real funky reggae song from Mike and Energy, an instant classic Phish cover from The Apples in Stereo. Yarmouth brought some great vibes to the first set and settled in comfortably for the tour. Energy kicked off the second set in thrilling fashion and just improved each and every time, getting more and more exploratory, tighter and unique with each play. Say Something and Frost were each played once, the former another Mike song that I absolutely love from the Gorge and Frost, a Trey tune played in Alpharetta.

While each song was unique and special in its own way, Energy was the clear highlight of all the new songs. It kick started one of the best sets of the tour at SPAC and was just a consistent thrill to hear. Only played four times, Energy started with a ton of potential that SPAC night, shifted to a nice meaty exploratory groove in Alpharetta after Water in the Sky, opened up another classic set in Chicago with Ghost->Lizards, Harpua > Antelope and opened the final set at Bill Graham, a peak and symbol of the true development of Energy. Energy is here to stay and is a perfect Phish song with nice lyrics, good harmonies and rocking chords. There’s room for everything and anything with this song and anything is possible. It’s just the beginning for this tune, and the other classics from the summer.

480437_10151448846721290_259187347_n

Top First Set Jam

Tube: Saratoga, NY – 07/06/2013

Split Open and Melt: Saratoga, NY – 07/06/2013

Stash: Columbia, MD – 07/14/2013

It’s Ice: Columbia, MD – 07/14/2013

Reba: San Francisco, CA – 08/02/2013

Honorable Mention: Cities->David Bowie: Saratoga, NY 07/05/2013

The fact that there’s even a category for first set jams in this collection of thoughts says more about the state of Phish in 2013 than perhaps anything else. Proof that the band felt a comfort with their songs, and a willingness to expand upon them from the onset of the tour, these six jams display the peak period we currently find ourselves in here in Phish’s 30th year.

Centered around two first set’s in particular – 07/06 and 07/14 – throughout the summer, even when the band wasn’t expanding upon their first set selections with exploratory zeal, they were still attacking them with a newfound creativity and energy than we’d seen in over a decade. Just check out the 07/07 Maze, 07/12 Cars Trucks Buses, 07/14 Scent Of A Mule, 07/26 AC/DC Bag, Timber, Funky Bitch, and Tube, 07/27 Ocelot, and the 08/02 Vultures, Sand, and Roggae, for some noteworthy moments.

In the above jams – each of which displayed a willingness to expand with ease within the rather strict confines of the 2013 first set – the band alternated between funk clinics in Tube and It’s Ice, ambient soundscapes in SOAM, Stash and Cities -> Bowie, and the idealized conception of Reba on the first night of the San Francisco run. In the end, the ethereal – and grossly surprising – jam that emerged from Split Open & Melt to close out the first set of 07/06 reigns supreme here in 2013. A moment where the band simply stopped trying to push their oft-tormented classic, and instead, yielded to the larger forces at play, the result was nothing short of sublime.

A representative jam for the year, the 07/06 Split Open & Melt displays the unyielding opportunities available to the band as they continue to explore untapped musical territory in Set I.

Top Sequence

Columbia, MD: 07/14/2013 Light->Boogie On

Saratoga, NY: 07/05/2013 46 Days->Steam

Alpharetta, GA: 07/16/2013 Rock & Roll->Heartbreaker->Makisupa->Chalk Dust Torture

Jones Beach, NY: 07/12/2013 Tweezer->Cities->The Wedge

George, WA: 07/27/2013 Down with Disease->Undermind

Honorable Mention: Chicago, IL: 07/20/2013 Theme from the Bottom->Weekapaug Groove

Unlike any year in recent memory, 2013 was symbolic for many things, one the return of epic and slick segues on a nightly basis! In Saratoga all of set two segued flawlessly between songs, specifically 46 Days-> Steam and Light->The Mango Song and the segues never stopped. Think about Cities->David Bowie from that show in addition to so many more from the run. Merriweather had a fantastic segue from the rocking Light to the funk fest in Boogie On and continued down south with the now famous Heartbreaker set. One of my personal favorite segues all summer happened from Theme from the Bottom to Weekapaug in a classic set two of three sets on Saturday in Chicago. On Saturday night at the Gorge set two was dripping with seamless segues, specifically the gorgeous Down with Disease->Undermind that so many people rave about constantly. But there was one segue that was a personal favorite for it’s tenacity and ultimate rock and roll peak — the Jones Beach Tweezer->Cities->The Wedge.

One of the most brutal shows to endure for any fan, Jones Beach was met with heavy winds and insane rain. The second set started with 20 minute Rock & Roll->2001, another shining highlight of the tour before the band headed right into Tweezer. Around 11:15 into Tweezer Trey starts repeating these light chords, shifting the direction of the jam. Page picks up on this and plays right along with him. Trey changes to a three chord progression that is the stuff of holy gods on top of Page’s now classic melody. Fishman totally locks in on the most intense Wedge groove as Trey continues to rocks these classic chords that EVERYONE should have branded into their brains. Trey keeps it going as he moves the band right into Cities. The jam continues in Cities is the stuff of bass, bliss and bad ass plinko-jazz infused funk. Trey plays these descending chords before fast play of something that sounds like a mind left body jam while Fishman builds faster. Trey then starts playing the Wedge main riff as the band seamlessly segues right into the beat Fish started a song earlier.

This stuff is perfect Phish. This stuff is what we come night after night after night to see. Thank you Phish.

942411_10151477068446290_461141722_n

Resurrection Jam

David Bowie (Note: 07/05, 07/12, 07/20, 07/26)

Scent of a Mule (Note: 07/14, 07/19, 08/05)

Split Open and Melt (Note: 07/06, 07/26)

Harry Hood (Note: 07/03, 07/10, 07/13, 07/26, 08/05)

Tahoe Tweezer

Honorable Mention: Mike’s Song (Note: 07/03, 07/13)

One of the enduring themes of 2013 has been the veritable resurrection of many of Phish’s most time-honored classics. Songs like David Bowie, Harry Hood, Run Like An Antelope, Slave To The Traffic Light, and even Mike’s Song – songs which had grown stale, even predictable in recent years – were suddenly presented with a new-found energy. Think of the melodic and chromatic territory the 07/05 David Bowie and the 07/03 Run Like An Antelope reached in the earliest nights of tour. Listen to the commitment to exploration in the 07/06 Split Open & Melt. Feel the fervent fire being birthed in the 07/03 and 07/13 Mike’s Song. Check out how Scent Of A Mule re-emerged as a beacon of creativity in each of its performances.

Each of the above songs – which for so long, had been played seemingly just because they had to be, simply because they were the band’s classics – here in 2013 have been resurrected as show-stopping, and tour-enforcing highlights.

Perhaps this approach is heard best in two songs: the Tahoe Tweezer, and in each Harry Hood played throughout the tour. Played as the lone encore on Bangor’s opening night, Harry Hood was re-approached with creativity, delicate exploration, and refined passion, peaking in two separate performances on 07/13 – when it sounded plucked right out of the mid-90’s – and on the tour finale in Hollywood, when it engaged on a 22min voyage that still has the community shaken.

The former, a 37min free-form jam – the longest jam since the 08/03/2003 46 Days, and the 8th longest jam of the band’s career – represented a peak in the band’s new-found approach to jamming. Focusing on harmonic freedom, which has defined their best jamming of 3.0 – ultimately peaking at Dick’s last year, and then all throughout this summer – the band wove numerous musical passages, culminating in a full-on band & audience impromptu segment of emotional jamming, surrounding a series of start/stop’s and woo’s.

A clear sign of the peak experience the band has had throughout 2013 thus far, these resurrected performances display a band once again at the top of their game.

Top Encore

Bangor 07/03: Harry Hood

The Gorge 07/26: Harry Hood, Fire

Lake Tahoe 07/30: Weekapaug Groove, Character Zero

San Francisco 08/02: Walls of the Cave

San Francisco 08/02: Sanity, Bold as Love

Honorable Mention: Alpharetta 07/17: Quinn the Eskimo

This year the encore was a little different than in past years. While there wasn’t much of a variety, each encore provided a little something to each show. Bangor’s Harry Hood was a perfect encore for the first show of the tour. A classic Phish song, not to mention that it was played perfectly (and was a foreshadower for it’s dominant summer), Bangor’s Hood was the right way to end night 1 and move us from the jitters of a tour opener into the actual tour.

Lake Tahoe’s Weekapaug and Zero were both great for a few reasons. First, Weekapaug continuing the groove from end of the show to encore is BEYOND BAD ASS. Second, Zero was pretty much the symbol for a stellar show all summer. This encore continued high energy and led us into night two of Tahoe with a lot of momentum and energy. San Francisco’s encore on night one and night three were both great. Night one had Walls of the Cave, a nice 2.0 surprise after the Seven Below highlight in set two. A one song encore allowed for a nice meaty jam and some explosive energy. The Sanity and Bold as Love allowed for two tour debuts in one encore, with Sanity being one of the highlights of the whole run. Boom! Pow! Talk about an encore! An amazing Sanity after one of the finer sets of the entire tour then some Hendrix! Man do I love this band.

The best encore happened on night one at the Gorge. After a stunning Character Zero with the band howling at the moon, the boys came out for another round of Harry Hood, another fantastic version, and Hendrix! This encore was the most fitting especially after the masterpiece set two that the boys played right beforehand. Harry Hood, whether set two or encore, was a monster in 2013, something we’ll touch upon later on.

972019_10151459756071290_1521937070_n

Surprise Gem

It’s Ice

Scent of a Mule

Steam

Split Open and Melt

Walls of the Cave

Honorable Mention: The Mango Song

Along with the resurrected jams that dotted the band’s 2013 Summer Tour are the surprise gems that kept everyone’s ears perked, and made essentially every single show a must hear. From the aforementioned Scent Of A Mule and Split Open & Melt, to the fully-realized Steam jam, the choicely placed – and expansively attacked – Mango Song, and the 2.0 survivalist Walls Of The Cave, each of the above songs helped to shape the summer through their consistent dedication to creativity.

And yet, for as engaging, and even as surprising as each of the above songs performances throughout summer were, nothing could compare to the shock that reverberated throughout the fanbase when Phish dropped into a thick funk-jam right in the middle of Merriweather Post’s It’s Ice. A defining moment in the second week of tour, It’s Ice was one of many songs that helped to shape the early tour peak that stretched from Holmdel, NJ to Columbia, MD.

A group of song’s that felt uncertain of their direction, if not wholly lost altogether, this summer each was featured in a way that far exceeded anything the band had tried to do with them for at least the past ten years.

Top First Set

Saratoga, NY: 07/07/2013

Columbia, MD: 07/14/2013

George, WA: 07/26/2013

George, WA: 07/27/2013

San Francisco, CA: 08/02/2013

Honorable Mention: Saratoga, NY: 07/06/2013

Last year in the quest for 200 songs, first sets were a chance for Phish to play old favorites, one-timers and classic bust outs. Think of Riverbend, Noblesville, and Jones Beach. But in 2013, first sets were different. With a much tighter rotation there was more room to focus on tighter sounding jams and sets crafted with impeccable flow. Sunday night at SPAC just felt like there was a greater force building this beautifully crafted set. Starting with AC/DC Bag, heading into a monster Back on the Train, the lightning Divided Sky then classics in Free, It’s Ice, Mound, Maze and Limb By Limb, ending with a rocking set closing Walls of the Cave. This set just felt right. It flowed perfectly and each song was fantastic. There is nothing better than good music and good flow. And the next Sunday the consistency continued. Never miss a Sunday show.

The second Sunday show of tour went down at the Merriweather Post Pavilion. Opening with an amazing First Tube, right into the funk of the Moma Dance before a fun trio of NICU, Roses are Free and Chalk Dust Torture, Merriweather had high moments from the start and never once had a downer. True highlights in a dark and dangerous Stash proceeded an exploratory Scent of a Mule before my personal favorite, a Phish Destroys America funk fest in It’s Ice! Talk about a first set. Then a nod to the ‘97 funk with Tube before a closing Antelope. Another amazing first set!

Both nights at the Gorge had stunners in the first set, with Friday starting off in classic fashion with AC/DC Bag, the tour debut of Timber and a fantastic Wolfman’s Brother before Funky Bitch, Happy Birthday, the “Russell Wilson” Wilson, Possum and Tube. Secret Smile made a huge return before another tour debut, the elusive McGrupp! Another tour debut Curtis Lowe came for some blues before another set closing Melt! The next night started off in another amazing fashion – Architect, Golgi, Curtain With. The set was upbeat and fun with the Phish debut of Say Something, one of my favorite songs of the summer, and an After Midnight set closer in remembrance of J.J. Cale.

Everyone knows what happened after The Gorge. Tahoe. The Tweezer. 40 minutes of glory. The question on everyone’s mind in line waiting to get in at Bill Graham was how could Phish “top” it? What’s next? There was only one thing Phish could do. They changed the conversation. They played the most fantastic first set of all tour. The Tahoe Tweezer will live forever, and this set proves it. Starting with Free, an ode to the “feeling we all forgot” that exists in the magic of 30+ min jams, before never having a single down moment. The tour debuts of Meat and Oh Kee Pa Ceremony came next before a perfect AC/DC Bag to really get the show on the road. Talk about a four song intro! Next came the tour debut of Vultures which truly resurrected the energy of Tahoe’s Tweezer with the first of MANY batches of woos!! throughout the run.

The tour debut of Roggae was next and it was absolutely magnificent. The fun continued with a funk fest in Sand and a nicely placed When the Circus Comes to Town, a great song symbolizing tour. Another tour debut with Babylon Baby came before Reba!!! A song that has huge jam potential came after a gorgeous Reba, Page’s Halfway to the Moon before a classic Phish set closer – Golgi.

This first set of the San Francisco run was constructed with magic. The set was perfect to move on from the greatness and holiness that is the Tahoe Tweezer. This set was truly so damn good, with perfect debuts, perfect flow and amazing play in each and every song. It’s no exaggeration, and that’s why this set gets the award for top first set of tour.

1016561_10151450446966290_669333064_n

Derek Jeter Award

Back on the Train: Saratoga, NY – 07/07/2013

Timber: George, WA – 07/26/2013

Golgi Apparatus: George, WA – 07/27/2013

Meat: San Francisco, CA – 08/02/2013

Divided Sky: San Francisco, CA – 08/04/2013

Honorable Mention: Wolfman’s Brother: Holmdel, NJ – 07/10/2013

Ahhh, the second song of the show. One of those slots that’s often overlooked in its distinct ability to affect the overall flow, energy, and direction of the show, here in 2013, it constantly seemed as though the band fully understood the power and importance of the Jeter slot.

On 07/07, the band followed up a sharp AC/DC Bag with a dense and intricate take on Back On The Train. Three weeks later they again followed and AC/DC Bag opener at the start of their weekend at The Gorge, though this time with a torrid Timber. In Holmdel, following a cancelled show in Toronto the night before, Phish kicked off one of the best shows of the entire tour with a blistering Llama followed by a loose, funky, yet still raging Wolfman’s Brother. During the tour’s final weekend, the band treated their fans to two classics on 08/02 and 08/04, using the second song of each show – Meat & Divided Sky – to key fans into the overall energy the band was messing with by tour’s end.

And yet, it was on the second night of The Gorge, when, after opening the show with their most contemplative, emotive, and sublime opener of the summer, that the band worked to sculpt one of their best shows of the tour, by infusing their age-old classic Golgi Apparatus into the show’s second slot. A song that has always seemingly fit best as a set closer, the placement reminded many of the NICU>Golgi>Crossroads trifecta that opened the hallowed 12/29/1997 show. Perfectly placed, expertly played, that they followed it up with the lone Curtain With of the summer just showed what kind of magic the band was wielding here in the summer of 2013.

Best Poster

BGCA

Hollywood

Alpharetta

The Gorge

Lake Tahoe

Honorable Mention: Jones Beach

Posters were a hot commodity as always this summer, and the posters were absolutely spectacular at each run. It’s hard to say which one is the best, because in all honesty, each and every one of them is special and unique to the venue while looking incredibly bad ass. I narrowed down my 6 favorites: San Francisco, Alpharetta, The Gorge, Jones Beach, Lake Tahoe and Hollywood. Jones Beach is the poster with an astronaut in the middle, surrounded by eyes blossoming from the slime below. Alpharetta’s dual set is perfect for representing the south. A beautiful landscape of friends swimming in a lake, playing on a rope swing. The silhouette of the children and grass with the bright colors of the sky reflect hot summer days in the south.

Heading out west, Phish had beautiful poster after beautiful poster. The Gorge, like Alpharetta, is a duel set with a wolf and goat looking at the lochness monster, swimming in the sea, another perfect poster for the venue. The posters kept getting better and better, with Tahoe’s an image of Tahoe Tessie rising on a full moon from the Lake and San Francisco’s three posters represent the psychedelia that is San Francisco. Night one is a pelican, night two is a butterfly with guitars and a keyboard and the third is a fox with drums. The colors are magnificent, blue and red and each are uniquely special.

However, Hollywood’s poster is clearly the best. Not only is it huge (20×30), but it’s a split perspective of the same image, one from the sky, one from below the waters. On the left there is a boy and a girl sitting high above the water in a patch of flowers, watching sailboats below and fireworks in the distance. On the right side is the image from below the water, with sharks swimming towards a light, deep below the sailboats, next to scuba divers. It’s really a fantastic poster and I’m thankful to have got a copy. Point is, all the posters are beautiful! Wonderful job from all the artists! Thank you!

59432_10151477068431290_720268473_n

Most Unexpected Part Of Tour

The Rain

Harpua

The Tight Rotation of Songs

The end of mkdevo

3 Set Show at Chicago

Honorable Mention: Hollywood Harry Hood a.k.a. HollyHOOD

Summer 2013 was a unique tour for Phish for a plethora of reasons. There were a lot of unexpected surprises, some good, some bad, but all having an effect on the tour in one way or another. The biggest may be what happened to @mkdevo and all of his videos. For all of 3.0, if there was a song you wanted to check out and watch, everyone knew look no further than mkdevo. If you missed a show, no problem, you could watch it practically through his videos. The videos were arguably Phish’s greatest marketing tool as they were free and they exposed Phish to a generation of fans who never knew of the band before 2009. It’s definitely been a different tour with little to none visual footage as there has been in years past.

Another big surprise was the Harry Hood from Hollywood, otherwise known as HollyHood. The last show of a 4 night stand between San Fran->Los Angeles, Hollywood was characterized by no new songs and lots of great, but typical, Phish excellence. All of the sudden, out of nowhere in the second set though comes this beauty. This magnificent mother of god Harry Hood that is instantly an all-timer. The song that started it all off in Bangor and never let down throughout the tour peaked in full capacity that Monday night, and that was a huge unexpected gift.

It’s been said a bunch already, but 2012 and 2013 were very different. The chase for 200 songs changed the dynamic of the tour in 2012 and therefore 2013 not only had a much tighter rotation, but it truly felt like a tighter rotation. It made for interesting sets. There was plenty of variety among each jam and development and improvement with each play. The juxtaposition between the two summer tours was evident and unexpected.

But by far, the most unexpected part of the tour was the rain. Without the rain you don’t get the Chicago run – Friday’s cancellation, Saturday’s three set speciality, and Sunday’s Harpua. The rain was EASILY the biggest factor throughout the east coast, all the way through Chicago, with everyone jokingly calling it Phish Pours America and Phish Summer Pour 2013. Every night there seemed to be a storm or threats of storms, starting with SPAC having delays and thunderstorms. Jones Beach’s show was caught in the middle of the worst storm of the summer on Long Island, with the wind whipping people in the face and the rain pounding on all of us from above.

The rain didn’t stop though, it just continued, down to Merriweather and Atlanta, before finally “peaking” in Chicago. When the show on Friday was cut short, the band was truly devastated, and rewarded us with three sets on Saturday. But when Sunday came and the first set was cut during Antelope, you could really tell how frustrated and annoyed the band was, especially Trey and Page. The rain was just a constant deterrent, but both the band and the fans NEVER let it get in the way. I’ll always remember this tour for the rain as will many, as the rain truly gave life to each and every show in a different, unique way.

Show Of The Tour

Holmdel, NJ – 07/10/2013

Columbia, MD – 07/14/2013

Chicago, IL – 07/21/2013

George, WA – 07/26/2013

George, WA – 07/27/2013

San Francisco, CA – 08/02/2013

San Francisco, CA – 08/04/2013

Honorable Mention: Saratoga, NY – 07/07/2013

The thing about this 2013 Summer Tour is that there really wasn’t a single bad show played. Seriously, you could throw any of these shows on and find numerous moments of full-band-connectivity. Even on their safest nights – 07/03 and 07/05 – even on the cancelled mess of 07/19, even when they came out with a song-based/energy affair on the second night of BGCA, each of these shows are still worth your time and your ears. Each display a Phish at the top of their game, attacking their shows no matter the style.

And yet, for however strong as the tour is as a complete entity, their peak shows are simply based on an even higher level of musical connectivity, advanced experimentation, and evolutionary progression. From 07/10 and 07/14’s dedication to the band’s classics, representing an early peak for the tour, while displaying Phish’s desire to jam as a unified force, to 07/21’s show that – like the above jam segment – absolutely HAD to happen, to the string of shows at the Gorge on 07/26 and 07/27 that display the most consistent peak for the band in 2013, to the first and third night of SF that combined rarities and segues on 08/02, and a second set for the ages on 08/04, there’s just simply SO MUCH music we have to listen to from Phish moving forward. And, one cannot forget to mention the initial high-point of the tour – a show rightly praised when it happened, yet overshadowed now as the tour has unfolded – 07/07.

We’ve truly been blessed throughout the entirety of this 2013 Summer Tour. The thought of the band continuing to build upon this at Dick’s and in the Fall is simply mind-boggling.

Thankful is simply not enough.

73539_10151503224556290_2106365597_n

Top Run

Saratoga Performing Arts Center, Saratoga Springs, New York: 3 Nights

Merriweather Post Pavilion, Columbia, Maryland: 2 Nights

The Gorge, George, Washington: 2 Nights

Lake Tahoe, Stateline, Nevada: 2 Nights

Bill Graham Civic Auditorium, San Francisco, California: 3 Nights

Top run? How can one even decide…Between the magnificence and glory at Phish’s real life Gamehendge, Saratoga Springs, through the tri state area in New Jersey and Jones Beach, and the weekend run at Merriweather, almost every run was unique and special, loaded with stunning moments and overflowing with highlights.

Lake Tahoe had great shows and the most special moment, Tweezer, and Bill Graham was the RIGHT way to end the tour, in the place where the birth of the counter culture happened. But one run stands above the rest — The Gorge. Like Phish’s last trip to the legendary venue, this weekend stand boasted complete shows filled with sick segues, exploratory jams and fantastic first and second sets. Night one at the Gorge had a AC/DC Bag, Timber, Wolfman’s Opener with a closing trio of McGrupp, Curtis Lowe and Melt. The first set was stunning as was the second set, which had an 18 minute Crosseyed and Painless, followed by Twist, Steam, Waves and a jam that has WAY TOO MUCH POTENTIAL, Twenty Years Later. Mango, Bug and Bowie!!! rounded the end, before a symbolic Rocky Top, signifying the awesome set, and then the moon howling Character Zero.

The next night opened with a gorgeous Architect, the first Golgi of tour and then the first Curtain With of tour! After that came more great songs with Moma, Maze and the new debut, Say Something, a song I love. After Midnight ended the set with a tribute for J.J. Cale and kept the energy at an all-time high. The second set was even better! The famous Down with Disease->Undermind to start things off before another amazing highlight, Light->Sneaking Sally. A spacey and funky 2001 was nicely placed before a perfect ending trio – Walls of the Cave, Fluffhead and Run Like an Antelope. Talk about a two night stand.

There are a few rules of Phish. Never miss a Sunday show. If you have the ability to go to a show, you go. Never miss Dick’s, and of course, Never miss The Gorge.

Top Set

Saratoga Springs: 07/05/13- Set II Energy > Light->The Mango Song > 46 Days->Steam, Drowned > Slave

Jones Beach: 07/12/2013- Set II Rock & Rock -> 2001 > Tweezer->Cities->The Wedge, Wading in the Velvet Sea, Character Zero

Chicago: 07/21/2013- Set II Energy->Ghost->The Lizards, Harpua > Run Like an Antelope

The Gorge: 07/26/2013- Set II Crosseyed & Painless > Twist > Steam > Waves->Twenty Years Later > The Mango Song > Bug > David Bowie, Rocky Top > Character Zero

The Gorge: 07/27/2013- Set II Down with Disease->Undermind > Light->Sneakin Sally Thru the Alley->2001 > Walls of the Cave > Fluffhead > Run Like an Antelope

San Francisco: 08/04/2013- Set II Energy > Runaway Jim > Carini > The Wedge, Light->David Bowie, Silent in the Morning, Meatstick > Quinn the Eskimo, You Enjoy Myself

For much of 2009 – 2012, no matter what musical leaps forward were made, Phish continually struggled with conceiving fully-flowing sets. While yes, there are exceptions – 08/07/2009 II, 06/27/2010 II, 10/16/2010 II, 05/28/2011 II, 07/03/2011 I, 08/15/2011 II, 08/19/2012 II, and 12/30/2012 II immediately come to mind – the start-to-finish thematic flow of a set – particularly a Set II – was one of the missing links that marked any conversation about where exactly Phish was in their climb back up their veritable mountain.

As with much of their music, all this changed in 2013.

On the second show of tour to be exact.

Crafting a fluid, flowing, and thematically unyielding set on the first night of their three-night SPAC run, the band ushered in a tour full of relentless sets that stack up with some of the most complete sets of their entire career. These sets are SO good that the thought of ranking them/choosing a singular one that’s better than the others seems preposterous. Almost like an insult.

07/05 showed us immediately what was possible here in 2013. 07/10 displayed the lengths the band was prepared to go to craft improvisational brilliance, while also letting their hair down and proving that party/rock sets don’t necessarily mean a loss in flow. 07/12 felt plucked right out of 1998. 07/21 HAD to happen right then and there; phearless’d. 07/26 both built upon 07/10’s theme, but used down-tempo rarities, along with a deranged moon-chant in the often-predictable Zero to allow the band an entrance into an alternate dimension. 07/27 is definition of ‘perfection’ in my mind: jams, flow, energy, rock, classics. 08/04 capped off a tour full of highlights with expansive jams, a nod to the bands ever-present gimmickry, and an ode to the theme of Phish 2013: ENERGY.

While we’ve selected 07/27 as the singular set that best defines the peak we’ve all just experienced here in Phish 2013, the reality is any number of those sets could fill that slot. There’s a reason SO many were SO floored after 07/05 after all…

561487_10151503227636290_1575591018_n

Jam Of The Tour

Carini -> Architect: Saratoga, NY – 07/06/2013

Crosseyed & Painless> Harry Hood: Holmdel, NY – 07/10/2013

Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge: Wantagh, NY – 07/12/2013

Light -> Boogie On Reggae Woman: Columbia, MD – 07/14/2013

Energy -> Ghost -> The Lizards: Chicago, IL – 07/21/2013

Down With Disease: Toronto, ON – 07/22/2013

Down With Disease -> Undermind> Light -> Sneakin’ Sally Thru The Alley -> 2001: George, WA – 07/27/2013

Tweezer: Stateline, NV – 07/31/2013

Rock & Roll -> Steam: San Francisco, CA – 08/03/2013

Energy> Runaway Jim: San Francisco, CA – 08/04/2013

Harry Hood: Los Angeles, CA – 08/05/2013

There’s simply no other option in this category than the 07/31/2013 Tweezer from Tahoe. A 37-minute masterpiece that saw Phish craft an unending jam, displaying both a willingness to expand upon the subtlest of musical cues, and a desire to push their music out as far as possible, that the song resulted in one of the most stunning peaks of the band’s career is almost icing on the cake. And yet, the peak itself resulted in an impromptu band/audience moment of connection only possible in the purest forms of live music, representing a unified sense of elation between band and audience alike. Just listen to the way Trey absolutely tears into his riff following the first – and most spontaneous – set of woo’s from the crowd. There simply hasn’t been a jam in all of 3.0 that can compare with the exploratory zeal, communicative transcendence, nor unified band/audience moment quite like the Tahoe Tweezer.

As for the rest on this list? Each would unquestionably be a top jam in any other year in 3.0.

07/06’s Carini that changed on a dime numerous times, as the band tore through gorgeous melodic passages before landing in the debut of Architect.

The first Crosseyed of the year which saw Trey reach an early peak through his experimentations with this rhythmic and melodic jamming.

The Jones Beach Rock & Roll -> 2001> Tweezer -> Cities -> The Wedge segment that felt plucked right out of 1998, and more than made up for the torrential weather in Set I.

At Merriweather Post the band dropped a sharp and rhythmic Light, which tore through various segments of start/stop jamming, fused with heavy and distorted rock, before segueing perfectly into Boogie On Reggae Woman.

Reaching a mid-tour peak with the Energy -> Ghost -> The Lizards segment in Chicago, a jam that absolutely HAD to happen, it touched on literally every jamming style the band has ever experimented with throughout their entire career in one 26min jam before moving into one of their most time honored classics.

A night later Trey led the band down a beautifully sublime path in Down With Disease, displaying the wide-open possibilities for the band as they moved westward.

On the second night of The Gorge, the band spent the first 50 minutes of their second set locked in a constantly evolving jam segment that passed through sections of funk, ambient, and bliss before peaking with a torrid Sneakin’ Sally.

Two shows after the Tahoe Tweezer, the band took Rock & Roll again on another spin, this time focusing more on the groove rather than its melody, moving it seamlessly into perhaps the best Steam of the year, in a year already full of top versions.

On one of the best shows of the summer – 08/04 – Phish opened their second set with a 27 minute segment based around their newest jam vehicle, and one of their oldest.

Finally, they took Harry Hood out far beyond the reaches of your typical Hood, crafting an often seedy, if not painstakingly gorgeous version that rivals any of the 2003 experimentations on it, and proved just how high the band was by tour’s end.

Each of these jams displayed a band simply locked in. No two ways about it. Phish was on throughout all of their summer tour. Evolutionary steps forward, momentous goals achieved, surprises galore; further proof of where things currently stand in the world of Phish.

Song MVP

Harry Hood

Energy

David Bowie

Crosseyed and Painless

Tweezer

Honorable Mention: Rock & Roll

Look up any show from the past tour where any of the above songs were played, and you’re guaranteed to hear an innovative and energized performance that served as both a show and tour highlight.

Each year of 3.0 has provided us with transcendent takes on Rock & Roll: 08/08/2009, 10/22/2010, 08/05/2011, 08/15/2012, and now, 07/12/2013 and 08/03/2012. Each wholly unique versions that displayed both the open-ended quality to the song, and the bombastic grooves that are just bursting at its seams, the song proved its lasting value  in 2013 once again as one of the band’s trustiest jam vehicles.

David Bowie returned from years of seeming irrelevance to reclaim its place among the most enthralling live compositions in Phish’s catalogue. Punctuated by engaging, melodic versions on 07/05, 07/12, 07/20, and 07/26, the song proved that for however predictable and tepid it had been throughout the first three years of 3.0, there was no way the band could contain this gem forever.

Crosseyed & Painless, played only twice, was significantly stretched out on each occasion, further displaying the boundaries pushed in last summer’s transcendent 08/19 version. Offering up one of the jams of summer at PNC, it touched upon the 02/16/2003 Piper theme on its way to fully displaying the rhythmic melodic playing from Trey that was pushing the band to new heights. While it didn’t totally hook-up in the same way sixteen days later at the The Gorge, that version did represent a significant step forward in terms of Trey’s willingness and desire to push their jams deep into the unknown, something which would lead to a landmark jam some five nights later…

The lone cover debut of summer, Energy fit Phish’s rotation with stunning ease, expanding over four transcendent versions to become the new go-to jam for the band. With lyrics that speak directly to Phish’s overall message, a melody that just screams White Album-era Beatles, and an open-ended quality that caters directly to expansion, and it’s no wonder the song has stuck. Just listen to how much the song grew from its 07/05 debut, to its 07/17 performance that allowed it its first opportunity to wander, to its two peak performances thus far on 07/21 and 08/04. Anyone who doesn’t think this is opening one of the second sets at Dick’s is crazy.

Even if the four Tweezers that preceded the 07/31 version had been complete duds, the song was still bound to make this list for the sheer impact its 37 minute incarnation had on the entirety of the music made this summer.

Yet, aside from the 07/06 version, each the 07/12, 07/16, and 07/22 versions are unique, thematic, and are featured in choice segues midway through their respective sets. Still, nothing compares to the masterful jam that kicked off the final set in Tahoe. A musical peak for Phish in any era, it cemented 2013 as yet another Tweezer-strong year, and kept up the trend within 3.0, of a sublime take on their much-loved jam vehicle, joining the likes of 12/29/2009, 12/30/2010, 09/03/2011, and 12/28/2012 before it.

And yet, for everything that’s been played in 2013 – much of which that has simply blown away a large percentage of the music the band has made throughout their already illustrious career – it all comes back to one Harry Hood. The lone encore on the tour opener in Bangor, literally every single version played – 07/10, 07/13, 07/20, 07/26, 08/02, and the monumental 08/05 – is a veritable tour highlight. In much the same way that David Bowie completely revitalized itself here in 2013, so did Mr. Hood, and then some. Peaking in the first half of the tour with old-school takes on 07/03 and 07/13 in particular, out west the song opened itself up to a certain degree on 07/26, before completely rewriting the rulebook on Hood some three songs before the tour’s conclusion. One of the jams of summer, the Hollywood Harry Hood displayed the untapped potential of the song as a jam vehicle, exposing yet another layer in Phish’s continuously unveiling musical amalgamation.

——–

Once again, many thanks to James for asking me to be a part of this piece! So glad to be able to share our thoughts on Phish in such a way! We can’t wait to see what Phish has planned for us at Dick’s!

The Best Of Phish – 2011

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

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

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

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

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

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

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

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

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

The Best Of Phish 2011

Honorable Jams

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

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

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

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

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

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

The Top Ten Jams Of 2011

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

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

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

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

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

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

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

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

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

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

“Light” – Stateline, NV – 08/09/2011

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

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

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

“Tweezer” – Denver, CO – 09/03/2011

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

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

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

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

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

Honorable Shows

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

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

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

Encore: Show Of Life>Tweezer Reprise

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

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

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

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

 

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

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

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

Encore: Suzy Greenberg>Sanity>Tweezer Reprise

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

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

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

 

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

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

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

Encore: Tube>Rocky Top>Tweezer Reprise

* First “Free” opener in history

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

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

& “My Friend, My Friend” was unfinished

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

 

The Top Ten Shows Of 2011

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

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

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

Encore: A Day In The Life

# “Manteca” contained “Golden Age” teases

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

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

& “Down With Disease” was unfinished

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

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

 

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

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

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

Encore: Good Times, Bad Times

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

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

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

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

 

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

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

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

Encore: Slave To The Traffic Light

+ “Tube” referenced Page’s House

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

^ “Steam” made it’s Phish debut

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

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

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

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

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

 

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

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

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

Encore: Wilson>Loving Cup

+ “NICU” referenced Leo’s House

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

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

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

* First “Icculus” sing 08/14/2009

** First “Bike” since 06/18/2009

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

 

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

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

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

Encore: First Tube

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

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

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

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

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

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

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

&& “Down With Disease” was unfinished

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

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

 

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

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

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

Encore: Bug>The Squirming Coil

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

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

& “Chalk Dust Torture” was unfinished

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

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

 

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

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

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

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

^ “Babylon Baby” made it’s Phish debut

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

% “Undermind” featured Page on the Theremin

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

 

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

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

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

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

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

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

& “Down With Disease” was unfinished

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

 

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

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

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

Encore: Sleeping Monkey>Tweezer Reprise####

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

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

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

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

& “Down With Disease” was unfinished

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

 

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

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

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

Encore: Backwards Down The Number Line

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

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

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

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

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

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

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

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

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

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

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

& “Come Together” was unfinished

% “Piper” featured Page on the Theremin

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

——–

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