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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Phish would never be the same.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Best Of Phish – 2013 – Part II

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Click Here For Part I

The Best Of Phish 2013

Honorable Shows

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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

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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.

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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

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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

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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

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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.

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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.

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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.

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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?

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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.

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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.

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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.

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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.

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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.

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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!

The Best Of Phish – 2013 – Part I

1376985_10151642180686290_587081184_nOn 31 December 2012 Phish opened their final show of the year with a cover of Ricky Nelson’s 1972 hit “Garden Party.” A song Nelson had originally written after being booed off that same Madison Square Garden stage during the 1971 Rock ‘n Roll Revival Show, it was a fitting nod to the place Phish found themselves in both musically, artistically, and personally at the onset of their 30th year. Highlighted by the line, “You can’t please everyone, so you’ve got to please yourself,” the song would not only serve as a tongue-in-cheek jab at some of the more impatient members of Phish’s sprawling fan base, but would become something of a rallying cry for the band as they embarked upon their 30th year together as a collective unit.

Throughout 2013, the message of “Garden Party” felt ever-present, as the band sought to craft a six-month-long celebration of everything that had come to define Phish since 1983. In the summer, they emerged from hibernation with an overtly old school, foundational-setting run of shows from 07/03 – 07/21. Beaming with confidence, they went on to poke fun at their more obsessive fans in Chicago’s, ‘Poster Nutbag, the right way’“Harpua,” before crafting one of their seminal pieces of extended improve in the “Tahoe Tweezer” just ten days later. Friday night at Dick’s was once again devoted to gimmickry, this time as the band informed us that Most Shows Spell Something (Backwards). The Fall Tour that followed was a non-stop dance party with a signature throwback feel. And on Halloween the band debuted their new album – tentatively titled Wingsuit – in a move that has had the entire Phish community buzzing with thoughts and analysis ever since. Closing out the year with one more celebratory gag, Phish played an entirely coverless NYE Run, honoring the songs that had brought them so much acclaim throughout the years. Without question, 2013 was defined in large part by Phish’s desire to “please themselves” – without any regrets – in commemoration of everything they’d built (and rebuilt) since their college days.

What’s more though, was how “Garden Party” worked as a premonition for a band seeking to do more than simply garnish their 30th year with a nostalgic hue. Rather, 2013 saw Phish acutely pivot towards the next phase of their career. For, as much as 2013 was indeed about celebrating the essence of Phish – and their legacy – it was in many ways, more so about what’s next for a band that has systematically rebuilt itself from near-death, and now, at the onset of their 31st year, is in the midst of their most substantial peak period since the halcyon days of 1993-1998.

——–

Let’s pause for a moment, and take a step back to July 2010. At that point Phish had been back together for 17 months. Throughout they’d compiled four 10-15 show tours, alongside three, smaller, holiday-based/reunion runs. There’d been nights where they’d felt like Phish again. Nights where everything clicked: where they told jokes, where they pulled oft-forgotten songs out of nowhere, where their setlists flowed with precision, determination, and ease, and where they hooked up for extended pieces of forward-thinking, emotive, and ultimately revealing improv. But for all of the positivity that surrounded the 70 shows that had thus far made up Phish 3.0, there was a prevailing fear throughout much of their fan base that, perhaps, the band simply didn’t have it anymore. Too often they’d follow a breakthrough show with a run of unfocused and disconnected duds. Too many jams either followed a strict formula of assaulting rock -> rhythmic breakdown -> ambient fade, or would be cut off prematurely by Trey’s insistence on keeping the show moving. Too many shows featured a band that, simply put, appeared a shell of its former self. During the month-long break in Summer 2010, many openly wondered what would become of Phish 3.0?

Would they follow the same trajectory of their haunting and ultimately unsustainable 2.0 era; fading unfulfilled, full of regret, bemused with far more questions than answers?

Had Phish become (gasp) a nostalgia act?

Could they reestablish the unspoken communication that had led them to so many musical and artistic heights throughout their heyday?

Would they ever again evolve with the kind of abstract precision and focused experimentation that saw them transform from a psychedelically-infused speed-jazz quartet in 1993 to a spacious, patient, rhythmic juggernaut just five years later?

Could they do it again?

From the vantage point of January 2014 we know what happened. Barring a few setbacks along the way – parts of June 2011 and NYE 2011, most notably – when Phish reemerged for the second leg of their 2010 Summer Tour, they were a fundamentally different band. Since then they’ve been on a consistent upward trajectory, evolving with patient determination, overcoming many of the challenges set in front of them in 2009, and undoubtably blowing away even the headiest expectations any of us could have had for them when they announced their reunion back on 1 October 2008.

Beginning in earnest with the infusion of Trey’s Ocedoc – a move that systematically rounded-out his tone, resulting in him taking a more deliberate approach to building simple melodic lines, while also focusing more on rhythm – Phish has evolved with stunning speed over these past four years. Stylistically morphing – from the melodic jams of late-2010 to August 2011’s dive into the storage shed, to the cubist approach of 2012 – and further deepening their communication, they have consistently driven forward from the moment the Greek “Cities” dropped into its infectious whole-band groove-jam. A reflection of their own musical maturity and craftsmanship – and also the experience they’d gained from 25-years of friendship and collaboration – from August 2010 onwards, each tour has provided crucial reference points to Phish’s current peak. Be it the improvisational boon of August 2010; the self-referential gimmickry and humor of Fall 2010; June 2011’s experimentation & embrace of potential failure over conservatism; “The Storage Jam” and the darkness that engulfed many of their subsequent jams throughout August and September 2011; the 200-song challenge of June 2012; the fully-realized, multi-layered jams of August 2012; or the masterful run of creativity and exploration that was Dick’s and MSG 2012; there’s no denying the fact that following their initial – and necessary – 18-month rebuilding project, the Phish of late-2010-2013 in many ways mirrors the same band that rose from irrelevancy in the early-1990’s to become one of the largest, and most influential, creative forces in the country.

The only difference now: they are clearly wizened by their years. Trials & errors, fights, audits, drugs, failures, fuck-ups, youthful bliss, et al, behind them, the Phish of today is both healthy, happy, and inspired. Whereas in 2009 many wondered if such a “family-friendly” version Phish could muster up the kind of psychedelic expansionism and unadulterated experimentation that had drawn so many to them in the first place, it’s clear now that this version of Phish may not only match the creative ingenuity of their initial peak, but could in fact surpass their former selves in both musical discovery, and artistic sustainability.

——–

All of which brings us to 2013.

Beginning the year with a three-week foundational setting period, Phish toured the East Coast, fairing off torrential rains, all the while focusing on a tight rotation of songs which emphasized the original artistic statements of their career. Determined to perfect the whole-show-craftsmanship that had reemerged in Fall 2010, Phish used their first night at SPAC to send a message that 2013 would be more about patiently crafting complete shows rather than simply expanding upon big jams. Resulting in thematic concert experiences, the tour required noticeably more patience, reflection, and insight from their fans than the overtly jam-heavy August 2011, or bustout-driven June 2012 tours had. From 07/10’s “Maria” set, to 07/12’s “practicing safe music,” to Merriweather Post’s old-school affair, to 07/16’s “Heartbreaker” set to the existential masterpiece of 07/21’s second set, this first leg of the tour saw the band further advance their artistic intentions, while still infusing more than enough highlights to satisfy everyone in their fan base.

Following a five-day break, they reemerged at the Gorge intent on celebrating every aspect of their musical past, while systematically using each previous peak as a building block towards their next era. The rain behind them, comfortable enough to expand upond the strict rotation that had marked their entire East Coast run, rarities returned, jams popped, and the band played with an ease that could only result from the kind of foundational setting they’d initiated. From 07/26’s explosion of howlin’ energy, to 07/27’s album-like fluidity, to 07/30’s dance-party, to the methodical brilliance of the Tahoe “Tweezer,” to 08/02 and 08/04’s schizophrenic mind-fuck, by summer’s end Phish left no doubt in anyone’s mind that they’d not only coursed out their 30th year exactly as they’d intended to, but that they knew the “right way” forward for their creative evolution.

At Dick’s they keyed us in once more to their goals for the year by noting on 08/30 that “Most Shows Spell Something.” That they unveiled the gag backwards only lent itself more to their playful spirit and the multitude of angles with which one could approach understanding their music.

And then, as with 2010, Phish scheduled a two-week Fall Tour through some of the most historic – and smallest – venues within their home base of the Northeast. Needing no time to reacquire their bearings, it was clear from the jubilant jam that emerged from “Carini” on the tour’s opening night, that Phish had, once again, reached yet another level of unspoken communication and refined musicianship. Be it jams – “Carini,” “Ghost,” “Tweezer,” “Golden Age,” “Down With Disease,” “Twenty Years Later,” “Drowned,” “Light,” “Twist,” each built into fully-formed, innovative, and memorable excursions – or shows – 10/20, 10/23, 10/25, 10/26, 10/27, and 11/01 are some of the strongest complete shows the band has played since the 90’s – the band was completely locked-in throughout the Fall, and consistently able to tap into an vast wealth of creativity. At times one wished the band would simply have an off night to give fans re-listening, and avidly discussing, a chance to catch-up and breathe.

On Halloween the band once again repelled against expectations. Whereas traditionally they’d used the holiday to don a musical costume of one of their forbearers, here, in their 30th year, they instead used the moment to debut 12 new originals. Loosely dubbed Wingsuit, the second set of 10/31 represented yet another leap forward for this 3.0 incarnation of Phish. Like the Greek Run in 2010, the Storage Jam, and FUCK YOUR FACE before it, Wingsuit is a clear break between one era and another. Cultivated from various jams over the past two years, and containing some of the most advanced and deeply personal lyrics of the band’s career, the songs – and the symbolic nature behind their unveiling – provide the band with the necessary material and inspiration to enter the next phase of their remarkable career.

Closing out the year, once again, with four shows at Madison Square Garden in New York City the band honored their 30th Anniversary by focusing on the singular element that birthed their existence: their songs. Opting to only play originals, the four shows took on much of the same vibe that had marked the entire year. Nostalgically rich, yet full of forward-thinking jams in “Steam,” “Down With Disease -> Carini,” “Chalk Dust Torture,” and “Light,” the 2013 NYE Run both celebrated everything that has made Phish such a unique force in modern pop culture, and pointed the way towards their next thirty years.

——–

As with 2009 (Part I & Part II), 2010, 2011, & 2012 I’ve assembled a list of ten shows and jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. These are not simply shows/jams 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are assembled chronologically, thus reserving the title “Best Ever” as a subjective accolade. Hope everyone had a wonderful holiday season! Happy New Year! Can’t wait to see what 2014 brings to the world of Phish!

The Best Of Phish 2013

Honorable Jams

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“Down With Disease -> 2001” – Toronto, ON – 07/22/2013

After kicking off the summer with three fairly contained versions of one of their most cherished Set II Openers, Phish finally broke through in Toronto with a jam that built off of their pivotal second set on 07/21,  thus pointing the way westward. Featuring patiently built melodic and rhythmic riffs from Trey throughout, the jam ultimately settled on a remarkably pleasant platitude, which felt entirely composed. A direct prelude to jams like the 10/23 “Twist,” 10/26 “Drowned,” 10/27 “Tweezer,” and 11/01 “Twist,” this “DWD” is not only one of the key, foundational jams of 2013, but it is also 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 year. A section of wholly deliberate, rising melodic playing followed the Trey/Page melodic peak, ultimately giving way to a full-on tease of “Sea Of Love” from The National. Further proof of how much musical insight Trey has gained from his time spent listening to – and playing with – those in the indie rock world. Building towards a truly patient segue into “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. While this jam has become significantly overshadowed in the past four months, its influence on the stylistic evolution of 2013 cannot go unnoticed.

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“Harry Hood” – Hollywood, CA – 08/05/2013

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

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

A creative palette of themes and varying musical passages, this jam harkened back to the band’s most prolific exploration within “Hood” from 07/25/03. A clear statement to the band’s M.O. moving forward in 2013, this “Harry Hood” opened the doors even further to what was possible in the coming Fall, here, coming on the last night of Summer Tour proper.

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“Carini” – Hampton, VA – 10/18/2013

On the opening night of Fall Tour, in the midst of a risky & self-conscious show, in their first performance back in the mothership since their reunion weekend in March 2009, “Carini” emerged mid-way through the second set and ultimately set the course of the entire tour. Rooted in the kind of bluesy, melodic, and celebratory rhythmic jams that had defined the best parts of the summer, what separated this “Carini” from the jams that had preceded it, was how simple and how overtly groove-oriented it was.

A bulbous and infectious dive into a rock-based, dance foray, this was the kind of jamming that would ultimately define Phish’s two-week Fall Tour. A fusion between the sparse, rhythmic jams of their 1997 peak with the rootsy, rock-oriented jamming that emerged in 2009 and 2010, further shaped by the cubist approach of 2012, and finished with the celebratory rhythmic style of the summer, this “Carini” felt like an ode to the nostalgically-rich, yet forward-thinking engine that was Phish 2013. Fading into their 3.0 hymnal, “Backwards Down The Number Line” was an entirely appropriate move for a band that had just shouted from the mountaintop their intentions for the proceeding Fall Tour.

The Top Ten Jams Of 2013

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“Split Open & Melt” – Saratoga Springs, NY – 07/06/2013

Wow. What a statement. What a glorified mess. A conscious experimental push into the unknown as anything 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. If any jam in 2013 could symbolize a much-needed trust-fall for Phish, it’s this. Just, wow.

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“Carini -> Architect” – Saratoga Springs, NY – 07/06/2013

The first of four versions for Señor Lumpy Head on this 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 2012-2013 Phish.

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.

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“Crosseyed & Painless> Harry Hood” – Holmdel, NJ – 07/10/2013

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.

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 their 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.”

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“Tweezer” – Stateline, NV – 07/31/2013

A moment of profound unity between both band and audience, as each rediscovered once again what was truly possible in the medium of a Phish show.

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

A Few Examples:

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

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

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

27:29 — The first WOO!

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

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

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

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

Is it the best jam they’ve ever played? No. But it is the most important piece of music the band has played since the 07/29/1997 “Gumbo” or the 11/17/1997 “Ghost.”

It’s that revolutionary moment where the band is clearly searching for some ambiguous sound, some indefinable goal, and unquestionably uncovers something totally new about themselves in the process. Say what you will about the after-effects of the ‘woo’s,’ what’s clear to everyone involved is that without the “Tahoe Tweezer, “none of the brilliance that emerged with such stunning ease and consistency throughout the Fall would have been possible.

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“Chalk Dust Torture” – Commerce City, Co – 08/31/2013

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

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

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

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“Tweezer -> Golden Age” – Hampton, VA – 10/20/2013

In 2003 and 2004, Phish regularly dove wildly into the deepest and darkest holes of the musical underworld, drumming up some of the most baroque and macabre jams of their entire career. A result of the personal crises faced by Trey and Page at the time, these jams are, in many ways, singular to perhaps the most harrowing era in the band’s history. Rarely has Phish allowed themselves to even glimpse these seedy and hopeless terrains throughout their overtly-joyful period of rebirth since 2009.

On the final night of their Fall Tour-opening Hampton Run, Phish – and especially Trey – granted themselves a dip back into their darkside, resulting in their most inspired, and passionate improvisational excursion of 2013.

Channeling the guitar-wizardry of Yo La Tengo’s Ira Kaplan, Trey incorporates his effects with caustic shreds of his guitar, cultivating a demented soundscape. There’s a stark nakedness to his playing throughout this jam, a peeling back the layers to his soul, a revealing insight into the darkness that still resides within.

This is the Yin to the “Tahoe Tweezer’s” Yang.

Yet, perhaps what makes this jam so rewarding, and ultimately so influential, is the segment of music that emerges at 19:57. Distantly related to the ethos of “Wingsuit” – a song that would debut some eleven days later, this denouement to the preceding jam segment offered a window into exactly what was possible when the band gave a seemingly fading jam one more look. Reminiscent of comments Page made in the IT DVD regarding the type of music that’s only possible after 18…19…32-minutes of jamming, this final segment would help push the band further, to the moments found in the latter parts of the 10/26 “Drowned,” 10/29 “Down With Disease,” 11/01 “Twist,” and 12/29 “Down With Disease -> Carini.”

In “Golden Age” Phish finally capitalized on the most profound excursions they’d thus far embarked on with the song – 07/02/2011, 07/03/2012, 07/03/2013, 07/30/2013 – pushing it further than it’d ever been before. A fully-realized, groove-based conversation between all four members, this version – along with its accompanying 10/27 version – finally unlocked the code on a song that had evolved in fits and spurts for the band.

A forty-minute segment of music that ultimately transcended everything else the band was capable of accomplishing throughout their brilliant 30th year, one can only imagine how much deeper Phish will now be willing to push their music in 2014.

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“Tweezer” – Hartford, CT – 10/27/2013

If the “Tahoe Tweezer” represented a moment of critical mass in Phish’s grand experiment, and the “Hampton Tweezer” was a marked dive back into the netherworld of their musical souls, then the “Hartford Tweezer” was a pronouncement of the celebratory rhythmic/melodic jamming the band had been busily perfecting all year on an extremely meta level.

We’ve long known that the ultimate key to Phish’s improvisational success is simplicity. A concept that’s often far easier said than done – especially when you factor in each member’s exceptional skill level, and the pressures associated with playing live, improvisational music – this version of “Tweezer” immediately gets to the point of itself, and then patiently rides itself out to its proper conclusion. Proof that less is more. Touching distinctly on the theme from “Weekapaug Groove,” this jam feels deeply rooted in the historical lexicon of Phish. It’s the kind of jam that fundamentally fit the conceptual goals of 2013.

Throughout 2013 Phish’s best moment came when they seemed to stop trying. Akin to 1997’s peak based around minimalist funk grooves, the diversity of their stylistic peaks in 2013 are only matched by the effortlessness it took the band to reach them. A moment when each member latched onto a singular idea and ran with it, the “Hartford Tweezer” is equally one of the most pleasurable, and important pieces of music played all year.

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“Down With Disease -> Taste” – Reading, PA – 10/29/2013

If one were to try and summarize the reasons for Phish’s two-week-long peak tour during October 2013, one could hypothesize over the bulbous and rhythmic interplay of Mike and Fish. Perhaps one would reference the archaic and personally historic venues the band toured through within their home turf. One might look to the impending performance of Wingsuit as inspiration. In their fifth year back following a five-year break-up, the overall health and friendship within the band has certainly led to a lot of possibilities as to why now, in their 30th year of existence, Phish has reached one of the highest peaks they’ve ever been on artistically. Yet, to me, one aspect of Phish’s playing sticks out as the most profound reason why this past Fall Tour was one of the greatest Phish has ever had: Trey’s deliberate approach to playing his guitar.

Nowhere is this approach more fruitful, nor more rewarding, than in the stunning jam that flowed out of “Down With Disease” on 10/29.

What was initially a funk-laced stroll through familiar “DWD” jam-terrain changed at 13:10 when Page began infusing melodic themes into the mix. Immediately latching onto his ideas, and toying with them before copying them, Trey built this initial foundation into an Allman-laced jam that harkened back to his heavily-lauded Hose-era-playing. Akin to the 12/30/1995 “Hood,” the “Went Gin,” the “IT Ghost,” and the “Tahoe Tweezer,” the melodic and spiritually uplifting notes that emanated from Trey’s guitar with such ease, passion, and deliberateness felt like a step back into an earlier time.

Beyond it’s musical brilliance, the “Reading DWD” provided one final twist for the thousands of fans trying to decipher any and all clues from the band about their upcoming Halloween performance. Immediately following this show, and continuing until the Playbills were dispersed two night’s later, the entire community was convinced we were getting Eat A Peach on Halloween. A fusion of Phish gimmickry, with musical ingenuity, along with the emotive thrill that’s associated with their best improvisational moments, the “Reading DWD” is one of those rare jams that repeatedly delivers on the hype.

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“Ghost> Carini” – Atlantic City, NJ – 10/31/2013

On 08/15/2004, following the whole-band collapse in “Glide,” and the emotional breakdown in “Wading In The Velvet Sea,” Trey told the crowd that the band needed to just “blow off some fucking steam…” They then proceeded to dive into a 50-minute firestorm of noise-ladened abstract improv within the limitless confines of “Split Open & Melt” and “Ghost.”

Just over nine years later, following a Halloween set where they debuted twelve completely new originals, Phish responded with this 35-minute segment of blissfully exuberant, and wholly-connected music within the limitless confines of “Ghost” and “Carini.” Without notifying their fans, the symbolic gesture was in many ways related to the necessary move to blow off some emotional steam at Coventry. The difference being the fact that in August 2004 they were a band grasping for their last breaths, whereas in October 2013, they were on the verge of rebirth once more.

The 10/31 “Ghost> Carini” is the sound of a massive weight being lifted off of Phish. For much of 2013 – no one knows exactly how long – the band carried around a secret waiting to be unveiled, live, in front of their fan base: Wingsuit. A burden that must have caused an incredible amount of artistic stress on the band, this jam segment was all the band needed to display how grateful they were for the open-mindedness of their fans to allow them such artistic freedom. Throughout the “Ghost” a sultry and sinister groove builds. The kind of deliberate and simple musical concept that had tracked their best improv of the year, this jam is the confident strut than can only follow a nailed risk. This is DiCaprio dropping the mic after one of his megalomaniacal speeches in “Wolf Of Wall Street.” This is Jordan shrugging after his 6th 3-pointer in the first half of Game 1 of the ’92 Finals. This is Trey’s prowling stomp around the stage during the surprise “Tweezer Reprise” encore on 04/03/1998.

It is, however, the “Carini” that gets all the glory in this segment. A 19-minute excursion that touches on literally all the moments of profound communication throughout the past two years, this jam is up there with the best improv the band has offered throughout the entirety of their career. Led by Trey’s celebratory rhythmic playing, this “Carini” reaches a full-band peak that would be further explored in the following night’s “Twist.” Stylistically reminiscent of the 08/31/2012 “Undermind” and “Chalk Dust,” the 09/01/2012 “Light,” 09/02/2012 “Sand,” 12/28/2012 “Tweezer,” 07/06/2013 “Carini,” and 07/31/2013 “Tweezer,” this is one of those Phish jams that moves effortlessly from one musical passage to another without giving the listener time to lament the conclusion of one before rewarding them with a fully-realized segment of music in the next.

Two songs that just scream All Hallow’s Eve in their musical origins and lyrics, “Ghost> Carini” was a fitting centerpiece for the band to blow-off some steam on a night when they confidently catapulted themselves into their next era.

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“Down With Disease -> Carini” – New York City, NY – 12/29/2013

“Thank you, we wrote that…”

By the end of 2013 Phish was on such an artistic peak, and on such a creative roll, that it became second-nature for them to hook-up and explore passages of musical brilliance. Fully-formed ideas seemed to simply emit from their instruments, and questions over if they’d produce another transcendent jam disappeared. Because of this, there are numerous jams from their recent Fall Tour and NYE Run that were painstakingly left off this list: 10/23 “Twist,” 10/25 “Waves -> Carini,” 10/27 “Drowned> Light,” 10/27 “Golden Age,” 10/29 “Twenty Years Later -> Piper,” 11/01 “Twist,” 12/30 “Chalk Dust Torture,” most notably.

When they stepped to the stage on 12/29, following their most fluid first set of the NYE Run, they unveiled yet another masterpiece of improvisation through two of their most reliable vehicles for musical discovery: “Down With Disease” and “Carini.” Two songs that have been featured extensively on this list, for whatever reason, both of these songs consistently allow the band an ideal passage into the unknown. In “DWD” Phish explored the melodic underbelly of the song’s origins – highlighted by Mike & Trey’s interplay as much as the soundscape crafted by Page – before rebuilding itself into a full-on “DWD Reprise.” A moment of euphoric magic for both band and audience alike, the blissful conclusion that rose naturally from the depths of improv was the kind of unexplainable point of connection that has so often marked the best moments of Phish’s 30-year career. Many claim you could feel the walls of the Garden shaking as the band reached a peak of a musical theme that is the composed sound of euphoric joy within the confines of Phishdom.

A yin to the “AC Carini’s” yang, the 16-minute “MSG Carini” was a demonic beast of minimalist groove. Deliberate, haunting, demented, abstract, insane, unified… the “MSG Carini” built from the Yo La Tengo-esque jam in the “Hampton Tweezer” into a hulking beast all its own. A sure sign that the seedy, under-worldly jams, which defined Phish 2.0, are at least back in part here in 3.0, this “Carini” felt like the unification of two eras. The fact that Phish can so willingly dive deep into the darkness again – during an era of such renowned health and personal well-being, no less – is as clear a sign as any of the artistic peak Phish is on right now.

Just as “Down With Disease” and “Carini” provided both the musical peak of the 2012 NYE Run, while simultaneously pointing the way towards the band’s improvisational future, the two songs once again served this symbolic purpose here in 2013. Who knows exactly what direction(s) the band will take their improv in 2014? One thing however, is certain: if they can in anyway build upon, and expand within the musical accomplishments of their 30th year, we’re all in for an absolutely mind-blowing 31st year of Phish.

——–

Part II coming this week!

Photo Cred: 1 – 10/20 Hampton, VA – Dave Vann; 2 – 07/17 Alpharetta, GA – Dave Vann; 3 – 08/05 Hollywood, CA – Brantley Gutierrez; 4 – 10/18 Hampton, VA – Dave Vann; 5 & 6 – 07/06 Saratoga Springs, NY – Dave Vann; 7 – 07/10 Holmdel, NJ – Dave Vann; 8 – 07/31 Stateline, NV – Dave Vann; 9 – 08/30 Commerce City, CO – Dave Vann; 10 – 10/20 Hampton, VA – Dave Vann; 11 & 12 – 10/29 Reading, PA – Dave Vann; 13 – 11/01 Atlantic City, NJ – Brantley Gutierrez; 14 – 12/29 New York City, NY – Rene Huemer

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

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Click Here For Part I

The Best Jams Of 2013 – Part II

07/27

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

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

07/31

Tweezer

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

08/03

Rock & Roll -> Steam

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

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08/04

Energy> Runaway Jim

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

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

08/05

Harry Hood

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

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

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

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08/31

Chalk Dust Torture

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

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

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


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

A Few Examples:

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

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

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

27:29 — The first WOO!

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

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

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

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

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

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

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

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

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

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

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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

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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.

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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.

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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.

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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.

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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.

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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.

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

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

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

Right?

Wrong.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Alpharetta: Combining Gimmickry With Dick’s-esque Jamming

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

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

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

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

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

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What’s The Deal With All The Repeats?

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

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

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

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

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

So clear, it actually makes perfect fucking sense.

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

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

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

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

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

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

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

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

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

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

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What Do We Make Of 07/20/2013?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I have no idea.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Favorite Shows/Jams Thus Far

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

Favorite Shows

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

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

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

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

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

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

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

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

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

Favorite Jams 

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

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

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

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

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

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

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

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

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

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

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

Summer 2003 – Ten Years After

phish100This month marks the tenth anniversary of the 2003 Summer Tour, which saw Phish trek across America – their last to properly span both coasts. A tour that blurred the lines of their overall 2.0 legacy, it also displayed a band – 20 years deep – pushing their music far into the unknown on a nightly basis. A year, and a tour that was unfairly maligned in many ways as it was happening, few tours have aged quite as well as Summer 2003 has. Much of this is due to the band’s relentless exploration throughout its entirety. Much of it is also probably due to the fact that Phish fans tend to come around on every era the band has played. Enough time passes, even 2009 starts to look like the best year of 3.0. Insipid music listening patterns will do that to a lot of people.

After returning from a two-year hiatus with a sub-par reverse-NYE Run in New York City and Hampton, Phish finally rediscovered their form throughout the two-week-long, LA – NC, Winter Tour in February. Hinting at many of the themes that would come to fruition throughout July, they nightly tore down into the rabbit’s hole in search of any light that could guide them through the unknown. That they often found even more darkness only worked to push them even further. Defined in many ways by Trey’s uncompressed, distorted, and gruesomely dirty tone, their jams took on a distinctly bluesy sound, rife with unrefined psychedelia, which bore little resemblance to any music they’d ever made before. For examples and confirmation, direct your ears towards the Chicago “Simple,” Cincinnati “Gin,” Nassau “Tweezer,” and Worcester “Moma Dance” (among, obviously many, many more jams) each of which displayed the untapped musical mine they’d unearthed throughout the tour.

Stylistically, the music they made throughout 2.0 has been called oxyjamming. Whatever that means. While sure, there are stories that Trey was struggling mightily with the on-again/off-again patterns of a hooked narcotics user, by all accounts, the Summer 2003 tour was a totally sober tour. (Whatever that means.) Are these the kinds of jams that would sedate an oxy-addict in withdrawal? Would one recommend steering clear of the pot and LSD and heading right for the pharmies in order to properly understand the musical mess Phish conjured up in 2.0? I have no idea. I guess the name just sounds like these jams in an abused, disoriented, ominous way that certain words just sound like what they’re describing. Oxyjamming has such a sloppy connotation to it, after all.

These were the first jams the band graced me with as a 18-yr-old noob seeing his first shows. To me, they often sound like the literal confusion I was experiencing in the period between high school and college. For the first time, life appeared both full of unknown potential, and increasingly baleful all at once.

At times it sounds like the band is literally fighting to stay afloat. At others, you’d have thought they were on the fringe of a massive breakthrough. It’s all very convoluted and messy.

Some people take issue with the apparent slop that dotted the band’s typically button-tight classical compositions throughout 2003. This is a fair point, to a certain extent. By all accounts the band re-engaged as Phish without participating in a single focused practice session in almost five years. Age and side project obligations played a part as well, as the band had clearly lost the youthful camaraderie – the whole inside-joke part of their performance – that had served them so well in their ascent from outcasted UVM Dead-cover-band, to regularly headlining MSG, and commanding upwards of 100,000 people to make a four-day trek to the upper reaches of Maine. And yet, while you can certainly find moments of slop throughout 2003, it’s not as if you can’t find numerous incidences of slop, and inconsistent dedication to their time-honored approach throughout much of 1997 – 2000 as well. Taken as a whole, 2003 is clearly the tightest they were as a band throughout 2.0. But, then again, I guess that’s not saying much.

The argument people love to make is that in 1995 – the summer tour in particular, which is the closest amorphous musical brethren to Summer 2003 – the band balanced a precision/energy-based approach within their compositions, while regularly spawning maximalist musical adventures into the far reaches of the unknown. To that point, all’s one can say is: true. But, it wasn’t 1995 in 2003, now was it…

The overall point is, that in the isolated Phishdom between October 7, 2000 and March 6, 2009 – a period wherein only 58 shows were played – that the band was able to tap into whatever connective force was driving them, and muster as many memorable shows/sets/jams as they did in 2003, is as true a testament as any to them as a creative engine. That these shows/sets/jams often coincided with the literal breakdown of both the band’s aesthetic, and their own personal lives only further separates the entire era from everything that else Phish has ever done.

People often complained – many times, rightly so – throughout 2009 and early 2010 that we were experiencing an era of Phish Lite. (Some continue to grouse this same point today, but it’s best to just ignore them.) Essentially saying that the music being created by the band was something of a weak imitation of everything they’d been capable of just eleven and twelve years earlier. Granted, in 2009 they had five years separating them from their last tour – ten from their last year of consistent touring – that was all moot in the face of the fact that the jams – THA JAhhhMS brAh (!!!) – were lacking. Yet, for however justifiable the criticism was in 2009, that the band needed essentially no time diving back into the netherworld when they reemerged in 2003 (technically speaking 2002, but…) is, well, the aforementioned testament.

Perhaps the key to all this inspiration can be found in the loose, late-nite-stoned-laziness of The Victor Disc. But, what was the spurt for that? That’s for another post and another time.

This essay is less here to find the historical roots of Summer 2003, as it is to honor and try to understand what happened throughout the tour.

While yes, 2003 initially received a burst in fan support and recognition in mid-2009, once it became clear the jams weren’t immediately coming back in 3.0. In many ways still, 2003 could take the award for ‘most underrated year of Phish’s career.’ Sure, a completely subjective argument – and one probably not really worth anyone’s time trying to quantify – the point is, that for however misunderstood the 2.0 era is in Phish’s overall legacy – I mean, did Parke Puterbaugh dedicate more than two paragraph’s to it in The Phish Bio?? – it’s home to some of the most jaw dropping, innovative, frightening, fall-on-your-face-failure, moody and introspective elations, and simply, unique examples of improvisation the band has ever engaged in throughout their entire career.

As follows is: Summer 2003 – Through The Jams. Ten jams, tracking the entirety of the tour. Each one signifies the various stylistic dimensions the band was willing to toy with, while also displaying the overall unifying elements that gave the tour its signature sound. That each tour has its own distinct sonic quality should come as no great revelation. Perhaps though, aside from Summer 1995, Fall 1995, and Fall 1997, Summer 2003 just sounds like Summer 2003 more so than most other tours in literally every moment of its existence.

Maybe it was a political message about the decade of war, paranoia and instability we were settling into. Maybe it was a response to all the intra-band issues still unresolved. Maybe it was just the right place and the right time. Whatever inspired them throughout the tour, one thing’s for certain: Summer 2003 stood the test of time, and is more than worthy of yours.

Big thanks to the guys over at www.phishtracks.com  for all the links for this piece!

*One quick note about the selected jams — this is neither a “Best Of” nor a “Favorite Jams” piece. These jams were all selected based on my sense of how they display the overall evolution of the 2003 Summer Tour.

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“Bathtub Gin” – 07/09/2003 – Mountain View, CA

Three shows into the tour, Phish dropped their first complete set and show, displaying a musical dexterity only heard in glimpses during the tour’s first two shows. With a five-song first set that opened with a sublime “You Enjoy Myself -> Simple,” and a fluid second set that featured a bizarre and scintillating take on “Piper,” the keystone of the whole night could be found at the end of the first set in “Bathtub Gin.” A song that produced a number of top-notch jams throughout 2003 – see, 02/14/2003, 02/22/2003, 02/28/2003, 07/26/2003, and 12/30/2003 – the version from Shoreline may be the most noteworthy. Less danceable than many of its counterparts. Less obscure that other versions. The 07/09 “Gin” is the sound of Phish 2003, the way one would expect to find them when locked in a studio, or mid-soundcheck.

Emerging from the song’s theme with a rollicking dance-beat from Fish and Mike, Trey intends to keep the jam grounded, employing his over-effect’d tone to explore the spaces between Mike and Fish, rather than command the lead, or try to impact the jam with rhythm. Employing the blues/rock riffs that had become so common throughout the winter, the jam neither meanders, nor stays put, nor necessarily takes off. Sure there’s some climax happening here, and a few moments of tension and release – see, 14ish min – 15:45ish – but it’s clear throughout that the band is far more focused on how far they can push the jam, rather than achieving any defined peak.

To this point, the most compelling aspect of this jam comes from 17:56–on when Trey signals a fade from the lethargic groove. Initiating a stoned, late-night, come-down jam, space opens up, and Page’s ambient washes become the central part of the jam. Hinting at the musical landscape the band would explore with far more earnestness in the IT “Tower Jam” and “Waves,” this is a musical space that’s perilously distorted, and yet soothingly blissful all at once. A unique blend of darkness and light, the Shoreline “Gin” is the first real indication we have in July 2003 of a band eager to dive as deep into their improvisation as possible; in constant search of a musical plane that wouldn’t have been discovered had it not been for the experimental dive that preceded it.

http://www.phishtracks.com/shows/2003-07-09/bathtub-gin

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“Piper” – 07/19/2003 – East Troy, WI

In what’s perhaps the best year for the red, red, worm – though 1997 and 1999 certainly have something to say about it – the version played at Alpine Valley on 07/19 is neither the best, nor even the most interesting. In the summer tour alone, there are two versions that are more coherent, and more dynamic than this particular version – 07/09/2003, 07/31/2003. Yet, what separates the Alpine Valley version from the rest of the tour, and what puts it on this list, is the similarly subdued – read: peakless – jam that shares distinct thematic ideas with the 07/09 “Gin.”

Peaklessness was an overall focal point of 2003, as the band sought – deliberately or not – to direct their jams into more abstract, open soundscapes, rather than groove on a few themes while building towards some all-inclusive “big bang.” Many of the best jams of the year flow with seemingly reckless abandonment. Conflicting stews of alternating musical concepts are tossed together, all leading to an often confusing, if not incoherent, period of wading through the ideas tossed at the proverbial wall, before one is loosely latched onto until the next moment of musical amalgamation. Perhaps the jam that most displays 2003’s union with Summer 1995, the 07/19 “Piper” is more about the journey of the jam, than any sense of destination.

If there is any moment of full-band-connectivity, it comes from 12:01 – 14:05 wherein which Trey brilliant employs his Tremelo effect over a sturdy support system from Mike, a top-of-his game, abstractly holding-a-driving-beat, Jon Fishman, and Page littering the entire section with ascending and descending scales of complying melodic and dissonant passages. Yet once they discover this moment of unified jamming, they dive head-long back into the swamp, surrendering the last 10-odd minutes to soupy, psychedelic-driven-mayhem. Akin to a Fall 1997/Island Tour jam gone mad, there are moments where it feels like if the band just willed it, they could hook-up and discover transcendence – see, 20:55 to the end.

And, yet, that’s not the point of the 2003 Summer Tour. Less was the band in search of the simplified moments of ubiquitous groove that defined their 1999-2000 period, which directly preceded the hiatus. Instead here, the whole goal is the depth of music discovered. Often times, in jams such as the 07/19 “Piper,” this search yielded few tangible rewards. And yet, this was a band undeterred by the potential of falling on their faces. Like so many of the jams that needed large swaths of muddingly tedious experimentation to discover bliss, the tour itself needed a host of jams akin to the 07/19 “Piper” to overcome both their fears of the unknown, and prove that even if the band didn’t always come across brilliance, the rewards of simple exploration were more than worth it.

http://www.phishtracks.com/shows/2003-07-19/piper

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“Harry Hood” – 07/25/2003 – Charlotte, NC

The much-revered Phish classic – capitol C – for it’s historical legacy, consistently transcendent versions from 1993 – 1996, and emotive peak that is often positioned as cap to whatever show it appears in, in 2003, the band regularly took “Harry Hood” where it had rarely even hinted at going before. While yes there were some truly captivating exploratory versions throughout 1997 – 08/14/1997 and 12/30/1997 immediately come to mind – you’d be hard-pressed to find a single traditional version of the song played on the 2003 Summer Tour. (The lone example comes as the second set closer to a 07/13/2003 Gorge show that, quite frankly, needed the warm and comforting familiarity of “Hood” after the psychologically destructive “Seven Below” that preceded it.) Perhaps out of a need to shake things up, maybe out of bordem, maybe out of an innate desire to fuck with their trusty old friend, 2003 – and to a large extent, 2004 – featured a stunning variety of lengthy, Type-II takes on “Hood.”

The jam in question is, in my humble opinion, the most interesting, and most diverse of the Type-II “Hood’s.” Granted, one could make the argument that the 07/18 version, which sticks closer to the “Hood” theme, while still breaking new ground, or the 07/31 version which is an overall tighter take on the sprawling jam are better representations of the extended “Hood,” there’s just something to the uncompromising endless push of this version that just resonates with me.

A sublime post – “Thank you Mr. Hood…” section is highlighted by particularly gorgeous piano work from Page, until, at 10:16 Trey finds his way out of the theme through at jarring chord, before backing off and allowing the band to shift downwards. Yet it’s at 12:10 where things really move in a totally opposite direction as Trey forcibly imparts an aggressive rock structure into the jam. Note Page throughout the jam, as his response to this somewhat abrasive decision is to paint a wall of keys behind Trey’s impatient lead, creating the ideal cushion for the jam’s immediate shift. That they find a unified moment of connection is a miracle; the segment from 15:54 – 16:53 is some of the most hooked-up Phish you’ll find in all of 2003.

Perhaps what’s most remarkable about the jam is – music aside – the simple fact that it’s reminiscent of the messages the band sent to their fans with their sprawling jams in June 1995, and their slimmed-down setlists in 1997. Here, in 2003, they’re indicating a willingness to jam any/all of their songs. That their taking such liberties with one of the emotionally coveted songs in their catalogue is all the more bold. I think, in many ways, this was the overall issue many fans had with the band from 2009 – 2011. That lack of aggressive dominance and willfulness over their catalogue had seemingly disappeared.

Ultimately resolving itself in a less-than-satisfying peak off the rock-based jam they’d been toying with through various themes over the past few minutes, the jam spends its last 3ish minutes in a realm of directionless abstract noise before somehow finding the closing peak of the “Hood” jam. (Seriously, listening back, one has to wonder how the fuck did they actually rediscover “Hood”???) A more confounding piece in many ways than even the 07/19 “Piper,” the 07/25 “Hood” shows what happens when a band cares little about the emotional rewards of paying customers, and instead, treats a mid-tour-jam as if they were locked in a room, tossing potentially meaningless ideas at each other. It’s both brilliantly important, and absurdly infuriating all at once.

http://www.phishtracks.com/shows/2003-07-25/harry-hood

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“Crosseyed & Painless” – 07/29/2003 – Burgettstown, PA

If one were to rank the best jams of 2003, you’d be hard-pressed to find a more enthralling, resolutely satisfying, or unanimously praised jam than the “Crosseyed & Painless” from Star Lake. After littering Set I with nine-straight bustouts, that Phish would open the second set of their one-night stop in Western, PA with a song that had only been played three times in the previous six calendar years was enough to push the show into untapped territory. That the jam that emerged contained nearly 22-minutes of the most connected, unified, and determined improvisation of the year was the kind of thing that only happens in the historically brilliant moments of Phish’s career.

From essentially the moment they leave the structure of “C&P,” the jam is distinctly more focused than literally anything else played throughout the tour. And, yet, for however determined and hooked-up the band was, they sacrifice none of the exploratory zest that had thus far defined the entire summer. Led by the tour’s MVP – Jon Fishman – the jam turns on a dime at 6:20, leaving the Latino/North African sway of “Crosseyed” for something more electronic and post-modern. Like a cross-breed between the infectious grooves of the Funk Era, with the distorted and grungy hangover-rock of 2.0. With a plethora of ideas coming from each member, there’s none of the meandering psychedelia from the majority of the tour to be found. This is vintage, locked-in Phish. In the pocket; unprecedented in 2.0

So, why include a jam that so clearly deviates from the unified sound of the tour?

Because, this jam in many ways displays the total worth of the band’s relentless exploration throughout July. Were it not for all the moments of wandering experimentation, who knows if the band would have discovered such a stream for the kind of unified dive down into the rabbit’s hole they took with this “Crosseyed.” And yet, perhaps the imagery of them diving into the rabbit hole is purportedly incorrect. There’s something heavenly about this jam that’s just not present throughout the entire tour to this point – save for the 07/22/2003 “Gumbo.” It’s as if all the darkness that’s surrounded the preceding jams has led to a spiritual awakening within the band, thus guiding them away from the underworld they’d been so insistent upon residing in. This impact of the melodic, the positive spirituality, the salvation rather than damnation, is perhaps never clearer than in the moment when they band loses momentum and direction from 10:48 – 10:58, and yet, as if they’d planned it all along, discover a completely new, totally untapped, essentially more rewarding musical landscape to play around in.

This, the same band who two days earlier bickered an entire show away.

That this jam features easily the most assured playing from Trey throughout the entire tour is not for nothing. There’s a clear break from the tour that came before, and the remaining five shows, and there’s no coincidence that the brilliance of the Camden and IT shows are directly correlated to the whole-band exploration within the 07/29 “Crosseyed.” Seriously, in some ways this jam sounds like the prelude to everything achieved in the Dick’s “Undermind” and “Chalk Dust.” It’s the kind of jam that makes you wonder what could have been had the bottom not fallen our for Trey.

The peak that begins in earnest at 12:03 and lasts until 14:39 is easily the most celebratory piece of music they’d played thus far in the tour, and a direct building block to the massive “Ghost” five nights later. That they still had twelve minutes of quality exploration left untapped after the peak just goes to show how hungry they were for the unknown in 2003.

16:21, another instantaneous change. From the aggro-groove-rock that defined the previous five minutes, to a more subdued, melody driven jam. There’s simply no time in this jam for the band to become lost. Even when they meander, as they do throughout the jam’s final ten minutes, none of it feels unnecessary, nor forced. It’s one of those jams where they’re simply playing the music they’re supposed to be playing when they’re supposed to be playing it. One idea emerges and the band follows suit, exploring it to all its worth, until another member comes up with another. It’s musical democracy in its highest form. That it happened within the vaccum of 2003 is difficult to understand.

Finally at 22:40 we enter the final segment of the jam, as Trey signals with a appropriately placed “Wilsonesque” downstroke that the jam has reached its organic lifespan. The stylistic brother of the 07/30 “Scents & Subtle Sounds,” the denouement is akin to the smoldering coals on a fire. A fade to darkness after so much natural light.

Perhaps part of the reason the 2003 Tour took so much flak is that it took the band until the fifth-to-last show of the tour to produce such a naturally unified jam as the 07/29 “Crosseyed.” And yet, that’s part of the overall brilliance of the 2003 Summer Tour, something that’s increasingly become apparent in the 3.0 era: the band is neither capable of, nor willing to participate in Phish with the same relentless time/energy as they did in the late-80’s/early-90’s. As a result, their leaps forward are more gradual, and a result of more publicized failure than they were perhaps risking early on.

Regardless, they got to the 07/29 “Crosseyed.” That’s the key. The rest of the tour was a run for the ages. Also, it’s about damn time they brought back “Tunderhead” as a landing point for jams.

http://www.phishtracks.com/shows/2003-07-29/crosseyed-and-painless

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“Scents & Subtle Sounds” – 07/30/2003 – Camden, NJ

A microcosm for the entire 2.0 era, perhaps no show – aside from 02/20/2003 – received more vitriol immediately following it, only to be reborn as a veritable classic in later years. Coming on the heels of the Burgettstown show, which featured numerous bust-outs the fanbase had been clamoring for, a brilliant jam in “Crosseyed & Painless” and the first “Harpua” since 11/02/1998 taboot, it made sense the first night in Camden would underwhelm. Yet, for whatever expectations fans held about the final stand before IT, it’s clear from the moment the band dives into a monstrous third-song jam off “Scents & Subtle Sounds,” that they intend to use the show as an opportunity to push their music even further.

The lone keeper of the new songs unveiled over the course of the tour, “Scents” spent the first half of the tour locked in a 2-show rotation, wherein which the band focused on the melodic bliss of its post-lyrical “Hoodesque” jam. On 07/23 however, they opened the show with it, and, feeling inspired, took it on a 20-minute journey before resolving it in “Theme From The Bottom.” Not seen in seven days, when they initiated the new-agey preach for spiritual enlightenment, the depths of its musical expansion was really all the band could focus on.

A lethargic, yet still beautiful – in the way that only 2003 songs could be – composed segment led to the jam’s initial movement. Though, just watching the YouTube clip of this jam, it’s clear Trey is eager to get the band into the unknown. A signal to both Mike and Page brings an ominous tone of darkness to the jam at 8:15. What’s clear about the jam though, is that, once they fully push beyond the “Scents” theme, they’re as locked in as they were the previous night during “Crosseyed.” The jam ebbs and flows with organic (un)precision, each member offering an idea that fits the puzzle as it constructs itself. Far more seedy than the spiritual awakening of the “Crosseyed,” the “Scents” finds Phish toying with the under-worldly, and brooding concepts that had overtaken their music in 2003, yet doing so without the meandering, soupyness that had so far defined it. This is a band fully focused on their goals, diving deep into the dark matter of their music, and crafting brilliance.

Yet for as focused or democratic as the band is in conducting their jam, up until around 15minutes in, its clear this is not the music you play in a live concert. (Not to mention the music you play three songs into a show.) There’s a late-night sludge to the jam, a stoned-haziness that sounds like a direct-link between The Victor Disc from eight months earlier. It’s as if there’s no one watching, or pressuring the band. The weight has been lifted, and it’s abundantly clear that all the time spent simply pushing their music further and further – for the sheer sake of pushing it – has resulted in a musical clarity, and an organic conversation that couldn’t have come about without said experimentation.

A period of downtempo, contemplative rock highlights the middle part of the jam from 18:23 – 19:59. Then, at 20:01 Trey finally settles on  hazily beautiful tone and theme, building the jam towards a sustained peak that only relents at 24:06.

Dedicating the final five minutes to the same murky, and foreboding music that brought “Crosseyed” to its resting point, the jam dissolves organically; a proper cap on the entire journey. They’d reached a point in the tour where their jams breathed with new life until, there was no more life. That the final five minutes are often as horrifying and jarring as they are, only speaks to the musical outskirts they’d trekked to. Displaying both the full worth of their improvisational exploration, and the command they had over their communication, and their music, the Camden “Scents” is one of those jams that just could only have happened in the Summer of 2003.

http://www.phishtracks.com/shows/2003-07-30/scents-and-subtle-sounds

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“Twist” – 07/30/2009 – Camden, NJ

After achieving such musical brilliance in the first set “Scents & Subtle Sounds,” Phish opened the second set with a muddled, tedious, bewildering, and ultimately transgressive jam off a song that’s seen its fair amount of them: “Twist.” Whereas the “Crosseyed” and “Scents” that came before it produced organically-driven music, where untapped landscapes appeared effortlessly, there’s simply nothing subtle about, when, at 7:00 into “Twist,” the band nosedives straight into Hell.

A maddeningly bleak jam ensues, defined more by a unified swamp of noise, than any forward-progressing music. This is a wall of sound being built, rather than a journey being undertaken.

Returning to the core of abstract psychedelia that had defined much of the tour, the “Twist” at times feels like a statement made in opposition to the successes of the “Crosseyed” and “Scents.” It’s as if the band – acutely aware of their tour nearing its end – is actively trying to become uncomfortable once again. The jam becomes a dizzying swirl of noise, and reaches points of chaotic experimentation that has a direct correlation with June 1995.

All of a sudden, at 12:05, an industrialized pattern begins to emerge. The drumming becomes sparse, the piano and guitars take on a more polyrhythmic feel. It’s like nothing that has been played since perhaps the 07/18 version of “Twist.” They’ve broken through again, and in doing so, have found a key in which to push their music even further in the tour’s waning days.

Back to the swirling descent into Hell, the jam becomes the full-band conversation that had been ever-present in the “Crosseyed” and “Scents,” only here, the focus is less on letting the music carry them, as it is they who are actively pushing the music forward. That they’d found such communicable brilliance in the two aforementioned jams resulted directly from the fact that they, as a band, surrendered to wherever the music would take them. It’s so clear though throughout the “Twist,” that it’s them as a unified group who are doing the controlling.

And yet, for however they try to infringe upon the organic nature of improvisational music, they’re powerless to the plane of musical bliss they reach at 18:07. That they find a light at the end of the tunnel of dizzying madness is a remarkable feat. Proof once again of the total value in their experimentation. A concept we’d see put into practice in two more standout jams from the tour, the Camden “Twist” only furthered the musical renaissance of 07/29 – 08/03/2003. That it did so by going so totally against the grain of the two best jams of the tour thus far would help to lead to the unprecedented musical brilliance found at IT.

http://www.phishtracks.com/shows/2003-07-30/twist

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“Waves” – 08/02/2003 – Limestone, ME

Few songs appear ready to be jammed as did “Waves” when it first debuted on NYE 2002. Perhaps the most Dead-like song the band has ever written, “Waves” both fit the downtempo feel of the post-hiatus era, and was recorded as an open-ended jam to close out Round Room. Thus when eight months later, it had failed to produce a single version that traversed beyond its structure, many wondered if the band was simply unsure of what to do with it.

In the midst of the most fluid set of the IT Festival, the band finally delivered the “Waves” everyone had been waiting for.

For a song that musically just sounds like standing on a beach in the NW as clouds gather and grey waves swirl in front of your eyes, and lyrically referes to a loss of control, and a sense of peace being found under the water, the jam that ensued on 08/02 combined both of these sentiments in one unified and mesmerizing experience.

I know I’ve tossed around the term unprecedented a lot here in this essay, but, seriously, is there any precedence in the 2003 Summer Tour for the IT “Waves”??? So much of the sound of the summer was based off of a muddled drive forward into the unknown, led by Fishman’s expansive rhythms and Trey’s grungy tone. Yet, this “Waves” is the sound of a band just there. It’s like they’re just residing in space. It’s so ambient. It’s so patient. It’s so unified. It’s so much a peak moment of the band’s entire career.

It’s as if all the sounds, all the jams, all the hours spent wading in unknown perdition have led to this moment of absolute clarity, focus, and presence. You can’t even really say they’re focused though, because it all sounds so effortless. They’re just there, playing, because they’re there playing.

It’s also a moment that’s so bittersweet for any Phish fan. It’s such a clear peak moment for the band – really, the entire IT Festival was one enormous peak for 2.0 – and yet, it was all so unsustainable.

As the IT “Waves” and the three jams that follow each show, no matter how sober, how unified, or how focused the band may have been in the Summer of 2003, the jams that were produced were a clear result of demons surfacing from within. In the context of their history, these jams make complete sense when one accounts for the personal trials of each member.

A singular moment of clarity within the 2003 Summer Tour, the 08/02 “Waves” sounds nothing like the band in Phoenix on July 7th, and exactly like how Phish has always meant to sound all at once.

http://www.phishtracks.com/shows/2003-08-02/waves-jam

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“The Tower Jam” – 08/02/2003 – Limestone, ME

When Phish followed their 08/15/1998 Lemonwheel show with a candlelit Ambient Jam in the style of Brian Eno, it was both the culmination of the minimalist style they’d been toying with since Halloween 1996, and a self-conscious decision to focus more on Ambient jamming.

When Phish locked themselves in a USA Storage Unit on the night of 07/02/2011 and went on to shock their fans by playing an entire set of uninterrupted space and noise, it was a revolutionary step forward in the 3.0 era.

“The Tower Jam” from IT is somewhere between those two extremes. In many ways it sounds like the culmination of the muddying, hypnotic, everything-in-the-pot-stew that defined the improv of that summer. At other times, its a statement on how much further, how much deeper, how much more the band could take their music. It’s like an amalgamation of everything the band has accomplished up to this point, and how much further they could go. It feels like a rebirth in places.

Aided by the visual effect of the fiery traffic control tower re-awakened after years of inactivity, and the added psychological mind-fuck of the sheer remoteness of Loring Air Force Base, the fact it was the middle of the night, and the history of UFO activity that has dotted Limestone, ME’s past, the jam takes Phish’s music to places it simply can’t go in a standard rock concert environment.

The entire jam is an unravelling work of art which must be listened to in full, and truly, any written breakdown of it would be an injustice. Just know that this is a moment in Phish’s history that deserves your full, unyielding attention. It’s the sound of a band exploring the inner reaches of their mind and soul, and also discovering, after twenty years, just how much more they can do with their music.

That the band would only play 25 more shows between here and 03/06/2009 is an absolute tragedy.

http://www.phishtracks.com/shows/2003-08-02/tower-jam

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“Ghost” – 08/03/2003 – Limestone, ME

The celebratory roar to the “Tower Jam” and “Waves” deep and expansive masterpieces the IT “Ghost” is home to both the most massive peak throughout the entire 2003 Summer Tour, and the largest glowstick war that’s ever occurred at a Phish show. Seriously, just listen from 8:03 – 13:47 and try to resist dancing.

It’s in many ways the lone gunslinger of the tour. It’s got the arrogance and the balls that the “Crosseyed” did, plus dedicates its final 10 minutes to the kind of murky exploration that defined much of the tour. It’s that unification of styles in such a blatant way that works, even as it doesn’t

You could certainly make the argument for the fact that it’d be far more pleasing if the jam were to only offer its more refined, rock-based, first half. But isn’t there something to be said for just how far, and how out there the band was willing to stretch, and peel back the layers on this jam? Me thinks so, at least.

There’s this point in the jam, 15ish minutes in, where Trey starts looping a swirling riff over a prodding rock base from Mike, Fish and Page. In that instant, the swirl of noise and harmonic dissonance sounds like the love-child of Summer 1995, December 1999 and Summer 2003. It’s these three eras of defined exploration all meeting in one singular jam.

The IT “Ghost” just feels like the kind of jam that could only happen at a festival, hundreds of miles from the rest of America. It’s so big, it’s so bloated, it’s so free. There’d be no way for the walls of an arena, nor the roof of a pavilion to contain it. Just when you think, around 20:05, that it’s finally reached its breaking point, it discovers a whole new landscape to explore for the next 11 minutes.

The final comedown of the jam is neither totally engrossing, nor really captivating. It’s just there. (Don’t get me wrong, for fans of unyielding noise-ladened jams like myself, it’s pure brilliance. But most people tend not to be…) It’s kind of like the hangover to the previous night’s “Tower Jam.” It’s a statement – much like the following jam – for all that was accomplished throughout the summer. Rules – aside from the aforementioned sobriety – were tossed by the wayside. The only goal was exploration, followed by further exploration.

So what if a jam peaked over ten minutes prior? If the band wanted to follow its smoldering leftovers to the edge of the world, so be it. In this context, that the band would proceed to open their final set of summer with a near-40 minute vomit of unabashed noise and sound is quite fitting.

http://www.phishtracks.com/shows/2003-08-03/ghosterem_Miami-NYE-2003-Behind-the-stage-copy

“46 Days” – 08/03/2003 – Limestone, ME

Is there a single jam in Phish’s extended cannon that both accomplishes essentially everything the band intends it to, and is so resoundingly despised by the overall fan community as the IT “46 Days”?

Following five minutes and thirty-three seconds of toying with the song’s theme, the band dives head-first into the rabbit’s hole, not to emerge for well over 30 minutes. The capstone to an entire summer of relentless exploration, the IT “46 Days” goes further, longer, and deeper than ANY other jam throughout the tour, save, obviously, the “Tower Jam.” Akin to the 11/29/1997 “Runaway Jim,” or the 06/14/1995 “Tweezer,” the IT “46 Days” is a constantly moving organism, wherein which ideas naturally emerge, yet rarely lead to any coherent plane of musical significance. There’s some maddening shit throughout this jam. To experience it live would be to wonder if the band was just fucking with you for the sheer sake of it.

And yet, it’s the fitting denouement to a tour full of unparalleled exploration, the likes of which we simply haven’t seen with as much consistency since. (I guess we did in 2004, but so many of those jams were just excuses to fill time. The 2003 jams had purpose; a goal.) From 11:45 – 16:54 the band resides in a hypnotic, tribal trance that sounds nothing like anything they’ve played before, or certainly since.

Following the systematic destruction of literally everything that had been played since they left the song’s theme, the band discovers one of the most sublime musical passages they’ve ever played. Initiated by Fishman at 22:31, the jam becomes a hazy late-night groove that simply wouldn’t have been discovered without the fifteen minutes of unified chaos that preceded it. It’s like the last five minutes of the 10/31/1998 “Wolfman’s Brother.” After residing in such a nightmarish dimension, the band discovers a seedy and slow blues strut that grooves like nothing else.

The ever present theme of the tour: keep pushing further and further ahead/down, and something is bound to emerge out of all the darkness. The said theme carries the band through to the 30-minute mark whereby it discovers barroom rock before returning to the “46 Days” theme. A segment of music that could only have been produced by a band reeling from a month of heady exploration, not to mention six sets of peak performances, it once again proves the worth of all this seemingly senseless exploration throughout the tour.

http://www.phishtracks.com/shows/2003-08-03/46-days

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Closing the curtain on the Summer 2003 tour, the IT “46 Days” was the send-off to one of the most successful, combative, controversial, exploratory, and unabashed tours in the band’s history. That 20 years in Phish was still this willing, able, and dedicated to the kind of exploration, and improvisational brilliance that emerged from the “46 Days,” and the overall tour, is something few bands could ever hang their hat on. The fact this all came immediately following a two-year break, and almost immediately before the band “broke up” is a whole different story.

In the end Summer 2003 is what it is: a moment where the band sought to reestablish the creative control of their career, and in doing so, careened their music off into the unknown, in effort to see what the underworld would offer them. To say it was a successful tour would be an understatement, and, in some ways, a misnomer. The tour confounded many, and elated others. In many ways it simply couldn’t be fully appreciated until it was long gone.