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.

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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.

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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.

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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.

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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

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

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

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

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

More on this later.

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

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

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

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

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

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

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So, How’d We Get Here?

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

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

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

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

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

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

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

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

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

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

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

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There Are No More “Standard” Songs

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

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

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

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

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

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

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

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About That “Tweezer”…

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

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

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

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

I sat at a public computer laughing hysterically.

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

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

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

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

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

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

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

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

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

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

I feel the feeling I forgot…..

I feel freeeeeee………

Freeeeeeeeeeeeeeeeee!

And then that guitar riff…

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

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

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

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

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

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

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

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

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

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

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

So, where are we going?

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

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

I cannot see this ending any time soon.

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

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

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

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

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

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

So, where are we going?

Gamehendge, duh…

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When Is The Last Time Phish Peaked Like This?

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

It’s time to go a bit further….

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

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

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

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

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

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

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Favorite Shows/Jams Thus Far

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

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

Favorite Shows

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

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

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

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

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

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

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

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

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

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

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

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

Favorite Jams

– 07/06/2013: “Split Open & Melt”

– 07/06/2013: “Carini -> Architect”

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

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

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

– 07/22/2013: “Down With Disease”

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

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

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

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

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

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

Summer 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

——–

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.

The Best Of Phish – 2009 – Part II

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– With Summer 2013 Dates just announced, I felt it appropriate to give 2009 it’s proper due. Here follows is a recap of the first year of 3.0, including picks for Best Jams and Best Shows. Part II today is the Show, click here for Part I. Enjoy! –

The Best Of Phish 2009

Honorable Shows

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Susquehanna Bank Center – Camden, NJ – 06/07/2009

Set I: Chalk Dust Torture, Fee+, Wolfman’s Brother, Guyute, My Sweet One> 46 Days, The Lizards, The Wedge, Strange Design, Tube, First Tube

Set II: Sand, Suzy Greenberg, Limb By Limb, The Horse -> Silent In The Morning, Sugar Shack^, Character Zero> Tweezer

Encore: Joy^, Bouncing Around The Room> Run Like An Antelope> Tweezer Reprise

+ Trey forgot the lyrics halfway through “Fee”

^ “Sugar Shack” and “Joy” made their Phish debuts

Eight shows into their 3.0 comeback, Phish returned to one of their favorite venues, and put on a show still revered today, proving they could transcend the initial limitations set upon themselves. On the last night of the NE-Run of Summer’s First Leg, Phish settled in, played a masterful first set, a contemplative second set – bookended by two of the best jams of the year – and an extended encore, all for some of the most devoted fans they have. Personified by the ambient jam that emerged out of “Fee,” the old-school/new-school combo of “My Sweet One> 46 Days,” and the antics that ended the set with “Tube,” and “First Tube,” the first set was a relaxed affair, devoid of the recital approach that had plagued many of the tour’s other first sets. In Set II, the band opened with a monster jam off of “Sand,” before treating the crowd to a string of old school classics, and blissful numbers, with “Suzy” and “Silent In The Morning,” along with the debut of Mike’s bubbly “Sugar Shack.” The best moment though, might have been the powerful “Tweezer” that ended the set. Coming as a surprise out of the expected “Zero” set closer, the jam built into a monstrous storm led entirely by Trey’s endemic licks. Ending the set on a high note, all’s the band had to do was the standard “Bouncing> Tweeprise” and people would have gone home  happy. Though opting to toss in the debut of “Joy,” along with a raging “Run Like An Antelope,” the encore took on the feel of a third set, reminding everyone just how much the band cherished their home turf. The show of the year to many-a-fan, Camden ’09 is significant in many ways. Perhaps most lasting is the fact that it was the first show since their return in March that could be argued as “show of the year.”

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Red Rocks Amphitheater – Morrison, CO – 08/01/2009

Set I: AC/DC Bag, The Curtain With*, Mound**, Gotta Jibboo, Guyute, Punch You In The Eye, Tube, Alaska> Run Like An Antelope+

Set II: Rock & Roll -> Down With Disease#& -> Free, Esther***, Dirt, Harry Hood##

Encore: Sleeping Monkey, First Tube

* First “The Curtain With” since 15 August 2004

** First “Mound” since 31 December 2002

** First “Esther” since 30 September 2000

+ “Run Like An Antelope” contained the lyrics ‘Been you to have any slush’

# “Down With Disease contained “LA Woman” and “Taste” teases

## “Harry Hood” contained “Dirt” and “Free” teases

& “Down With Disease” was unfinished

A night after playing their best show of 3.0 to that point, Phish returned for the third night of their unprecedented four-night run (by 3.0 standards) at Red Rocks, and put of a nostalgic performance, thus complimenting the innovative playing of the previous show. A nailed and emotive “The Curtain With,” played for the first time since Coventry, was really all anyone needed to know how the band felt about their return, some five months in. Following it with the first “Mound” since 31 December 2002, was icing on the cake, as the band nailed the clearly practice Rift-era rarity. The rest of the first set was a classic mix of summery, first set tunes, highlighted by a pungent jam out of “Tube.” In the second set, the band took “Rock & Roll” and “DWD” on extended journeys, a jam segment that made one of the final cuts for the jams of the year list. Continuing the bust-out theme, “Esther” was played for the first time since Vegas ’00, before closing things out with the introspective “Dirt,” and a notable version of “Harry Hood.” Long revered by fans, the six-song second set became something of an oddity following this show, as the band routinely abandoned multiple jams, in favor of bursts of energy throughout Set II’s. A solid show through and through, 08/01 was the perfect follow-up to 07/31’s torrential onslaught, and reassured fans that their best performances in 3.0 weren’t necessarily one-off affairs. More than anything, this show put an indelible stamp on the ’09 Red Rocks Run that won’t be removed until they decide to revisit the Colorado gem.

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Cumberland County Civic Center – Portland, ME – 11/29/2009

Set I: Possum> Down With Disease, Nellie Kane*, Weigh, When The Circus Comes, Kill Devil Falls, Water In The Sky, Stash, Meat+, Undermind, Mike’s Song -> I Am Hydrogen> Weekapaug Groove

Set II: The Moma Dance> Rock & Roll> Light -> Crimes Of The Mind**> Pebbles & Marbles> 2001> Golgi Apparatus> Cavern> Run Like An Antelope

Encore: Free Bird***, Carini> Waste

* First “Nellie Kane” since 01 July 2000

** First “Crimes Of The Mind” since 28 November 2003

*** First “Free Bird” Since 22 June 2000; First a capella version since 28 December 1998

+ Prior to “Meat” Mike was introduced as “The Artist Formerly Known As Cactus, now The Artist Currently Known As Prince”

Closing out their strongest weekend of the Fall 2009 Tour, Phish threw down a two-set affair, highlighted by a fun-loving first set, and a fully-flowing, jam heavy Set II. Coming out the gates with the one-two-punch of “Possum> DWD,” the band held little back on this night in Maine, gracing the first set with a “Nellie Kane” bustout, and notable versions of “Meat” and “Undermind.” But the second set is where the real magic is at, as the band didn’t take a single break throughout, crafting a particularly memorable jam segment in “Rock & Roll> Light -> Crimes Of The Mind.” The latter – the only time to be played without The Dude of Life on vocals – was not only a massive surprise, but built into a powerful jam before fading into “Pebbles & Marbles.” Closing things out with an energized “2001> Golgi> Antelope” closing trio, the set was a complete thought, devoid of miscalculated ballads, or misplaced fillers. In the encore, the band treated their fans to two rarities in “Free Bird” and “Carini,” and an emotive “Waste,” sending everyone out into a chilly post-Thanksgiving week, and onwards to their MSG return. One of the strongest performances of the Fall Tour, Portland came on the heels of the tour’s most memorable stretch, when the band just destroyed Philly and Albany, proving they still had something in the tank after so many memorable shows.

The Top Ten Shows Of 2009

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Alpine Valley Music Theater – East Troy, WI – 06/21/2009

Set I: Brother+, Wolfman’s Brother, Funky Bitch> The Divided Sky, Joy, Back On The Train, Taste> Poor Heart, The Horse -> Silent In The Morning, The Man Who Stepped Into Yesterday* -> Avenu Malkenu*> The Man Who Stepped Into Yesterday*> Time Turns Elastic

Set II: Crosseyed & Painless# -> Down With Disease##&> Bug> Piper### -> Wading In The Velvet Sea, Boogie On Reggae Woman, Slave To The Traffic Light

Encore: Grind, Frankenstein++

+ During “Brother” each of the band members kids’ came on stage and climbed in a giant bathtub

++ “Frankenstein” feature Trey on a five-neck Guitar, Mike on an Inferno Bass, and Page on a Keytar

* First “The Man Who Stepped Into Yesterday -> Avenu Malkenu> TMWSIY” since 07 July 2003

# “Crosseyed & Painless” contained a “Let It Grow” tease

## “Down With Disease” contained a “Taste” tease

### “Piper” contained a “Can’t You Hear Me Knockin'” tease

& “Down With Disease” was unfinished

On the final night of the First Leg of Phish’s 2009 Summer Tour, the band graced their fans with a memorable show highlighted by the first annual – until 2013, that is – Father’s Day gimmick, a lengthy Set I, and a fully-flowing second set, anchored by two excellent jams. When a crew member brought a bathtub out to center stage about five minutes before show time, a roar generated throughout the crowd, in anticipation of whatever the band had up their sleeves. Opening with the first “Brother” since IT, the band invited each of their kids on stage to climb into the tub, ala the song’s lyrics. Initiating a Father’s Day tradition, the gag sent a joyful message as to just how important sharing their family with the Phish experience was to the band members’ throughout this 3.0 run, while at the same time sent a shout-out to their life-long fans who’ve become father’s of their own in the years since Coventry. The revelry spilled over into a thick “Wolfman’s” a “Funky Bitch,” per request, and a poignant “Divided Sky.” Forty minutes in, it was already the show of the tour. Closing the set out with the notable and old-school combo of “The Man Who Stepped Into Yesterday -> Avenu Malkenu> TMWSIY,” followed by their most recent composition, “Time Turns Elastic” was as symbolic a pairing as any, displaying the compositional roots that the band had been built on. That it was also the most memorable, and powerful version of “TTE” to date, says something as well. In Set II the band simply threw down. Busting out “Crosseyed” for the first time since Deer Creek ’04, they built a peaking jam off the theme that, coupled with the thousands of glowsticks battling about on the lawn, nearly tore the lid off the old shed. Bleeding into “DWD” by way of an ambient jam, the set moved forward with an emotive “Bug,” a percussive “Piper,” and a gorgeous “Slave” to close things out. Encoring with the 3.0 barbershop staple “Grind,” and a raunchy “Frankenstein,” wherein which Trey, Mike, and Page donned gimmicky instruments, the show sent everyone off to Summer 2009’s halftime, bellies full, yet ravenously anticipating Leg II.

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Red Rocks Amphitheater – Morrison, CO – 07/31/2009

Set I: Runaway Jim> Chalk Dust Torture, Bathtub Gin, Time Turns Elastic, Lawn Boy, Water In The Sky, Stealing Time From The Faulty Plan, Split Open & Melt

Set II: Drowned -> Crosseyed & Painless -> Joy, Tweezer> Backwards Down The Number Line> Fluffhead#& -> Piper -> A Day In The Life

Encore: Suzy Greenberg##> Tweezer Reprise

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

## “Suzy Greenberg” contained “Drowned,” “Crosseyed & Painless,” and “AC/DC Bag” teases

& “Fluffhead” was unfinished

After spending much of their First Leg awkwardly adjusting to life back on the road, Phish reappeared at Red Rocks – for the first time since 1996, no less – on a mission to reclaim what was theirs. No better is this spirit shown than by the viscerally powerful second set that blew up on the run’s second night. Following a solid first set that included a muddling, yet incendiary “Split Open & Melt,” which battled the torrential downpour, the band reemerged for Set II, and played hands down, their best set of 3.0 – up to that point. Flowing throughout, the set was anchored by a seamless segue from “Drowned -> Crosseyed,” a bubbling and constantly shifting “Tweezer,” a celebratory “Fluffhead,” and a “Piper” that bled right into “A Day In The Life,” by way of Mr. McConnell’s keys. Each jam carried fresh ideas, each song was a welcome surprise, and by the time they reemerged for the encore, they had quieted literally all who were skeptical of their 3.0 abilities – at least for a night. Immediately setting the 3.0 bar a notch higher, 31 July 2009 will forever be remember as the show that inspired the transcendent music created throughout August 2009. Completely themselves again, no show would impact a tour, or the band’s overall sound, quite like it until a year later, on the second night of the equally legendary Greek Run.

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The Gorge Amphitheater – George, WA – 08/07/2009

Set I: Down With Disease, Ocelot, Pebbles & Marbles, Possum, Sleep, Destiny Unbound, Stash, Sneakin’ Sally Thru The Alley -> Cavern

Set II: The Moma Dance> Light -> Taste, Fluffhead, Joy, Bathtub Gin&> Harry Hood

Encore: Slave To The Traffic Light

& “Bathtub Gin” was unfinished

It was the best show of 2009 at the time; and it still is, to this day. Even more, some four years on, it’s still ranks as one of the best overall shows in 3.0 Highlighted by a classic set one, which concluded with one of the jams of the year in “Sneakin’ Sally,” and a top notch set two, that offered two unique jams to this list, it was a monumental show through and through. Kicking things off with a raging, Type-I “DWD,” set I was notable for the 3.0 debut of “Pebbles & Marbles,” and for only the third “Destiny Unbound” since 1991. But it was the “Sneakin’ Sally” jam that concluded the set with a segue into “Cavern” that has hung in the minds of most listeners; to this day it is still one of the most innovative jams of 3.0. Set II is akin to 07/31’s masterpiece in it’s flowing nature, diversity of jams, and re-listenability all these years later. The “Light” and “Gin” jump out as the clear highlights, but the “Fluffhead,” and, the always welcome Gorge version of “Harry Hood,” fill out the set perfectly. Encoring with a patient, Trey-led “Slave” sent everyone out into the Pac-NW night, eagerly anticipating the following night, which would ultimately be a top-to-bottom barn-burner, thus cementing The Gorge as THE run of 2009.

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The Gorge Amphitheater – George, WA – 08/08/2009

Set I: The Mango Song> Chalk Dust Torture, Middle Of The Road^, Tweezer, Driver, Twenty Years Later, Ya Mar, It’s Ice, Wolfman’s Brother> Character Zero> Run Like An Antelope

Set II: Rock & Roll -> Makisupa Policeman+, Alaska, The Wedge, You Enjoy Myself#, Backwards Down The Number Line&> Piper##, Grind

Encore: Good Times Bad Times, Tweezer Reprise

^ “Middle Of The Road” made it’s Phish debut

+ “Makisupa Policeman” featured Mike and Trey switching instruments and contained the keyword: “Did like Bobby Brown. I ate my breakfast, and I laid back down.”

# “You Enjoy Myself” contained a “Hedwig’s Theme” tease

## “Piper” contained “Llama” teases from Fishman

& “Backwards Down The Number Line” was unfinished

After playing their best show of 2009 the night before, Phish wasted no time getting down to business on their second night at the vast and expansive Gorge Amphitheater. Opening with the back-to-back Nectar classics, “The Mango Song> Chalk Dust Torture” set the tone immediately. The First Set was further highlighted midway through by a slowly building “Tweezer,” which picked up many of the Red Rock’s version’s influences, before transferring them into a more rock-based, peaking jam. Closing the set out with the blistering trio of “Wolfman’s Brother> Character Zero> Run Like An Antelope” nearly blew the stage into the Columbia River behind them; you can clearly hear the crowd let out an emphatic, and massive roar of ecstatic approval when “Zero” faded into “Antelope.” A bonus set closer of sorts, it proved to be a thankful nod from the band to their fans for their first three sets of excellent music at The Gorge. In the second set, the band threw down one of their jams of the year in the 23-min, “Rock & Roll.” It built through twenty minutes on improv based almost entirely on the The Velvet Underground theme, before returning to the song proper, and then segueing into a playful “Makisupa.” A punctual “You Enjoy Myself” found itself in the middle of a set for one of the few times in 2009 – quite a rare treat at the time – a sure sign the band was feeling loose. Concluding things with the first hint of experimentation in “Backwards Down The Number Line,” a “Piper” that plowed ahead into the unknown with furious precision before fading away into a “Llama” jam from Fishman, and “Grind,” the set ended in one of the most unique ways of any in 2009. Closing the show and The Run out with “Good Times Bad Times” and “Tweezer Reprise” was really the only way one could, as the two capitalized on the massive energy explosion that’d occurred in the middle of Washington State that weekend. Easily the best weekend of Phish 2009, The Gorge is still talked about with awe by all in attendance, and with envy by all who’ve only heard it on tape.

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The Comcast Theater – Hartford, CT – 08/14/2009

Set I: Punch You In The Eye, AC/DC Bag> NICU, Col. Forbin’s Ascent* -> Fly Famous Mockingbird*, Birds Of A Feather, Lawn Boy, Stash, I Didn’t Know, Middle Of The Road> Character Zero

Set II: Down With Disease%&> Wilson -> Slave To The Traffic Light, Piper## -> Water In The Sky, Ghost -> Psycho Killer** -> Catapult+ -> Icculus***+> You Enjoy Myself%%

Encore: While My Guitar Gently Weeps

* First “Col Forbin’s Ascent” and “Fly Famous Mockingbird” since 30 September 2000

** First “Psycho Killer” since 07 December 1997

*** First “Icculus” since 18 July 1999

% “Down With Disease” contained a jam based on “Reba”

%% “You Enjoy Myself” contained the “Pong” jam from “Catapult”

## “Piper” contained a “Spill The Wine” tease

+ “Catapult” featured a jam inspired by the Atari game, Pong

++ “Icculus” featured narration about technology and kids “reading a fucking book!”

& “Down With Disease” was unfinished

What can you say sometimes? There are those shows where the band’s just feeling it. After making the 30-hr trek from The Gorge to Chicago, where they threw down a lackluster effort, the band played an old-school show in Darien – the last show to be cut from this list, btw – to kick off their four-night run of the NE. The next night, in Hartford, the band waited till well past 8:30 to emerge for a two-set affair, shrouded in darkness, one that would be revered immediately upon conclusion, and long after it was all said and done. Opening with a string of classics, “PYITE, AC/DC Bag> NICU” sent the initial message that the band was feeling it here back on their home turf. But it was the reemergence of “Forbin’s -> Mockingbird,” after almost ten years in hiding, that pushed the show to another level. Without a narration to break the momentum, the band went the old school rout, and let the two Gamehendge rarities speak for themselves. It mattered little what was played the rest of the set, for this bustout was enough to satiate most fans, but it helped for historical purposes – and for those who truly enjoy listening to full shows – that they followed with a scorching “Birds,” a punctual “Stash,” and a raging “Zero” to send everyone into setbreak. In the second set, the band used the first half to craft two indelible jam segments in “DWD> Wilson -> Slave” and “Piper -> Water In The Sky,” the first of which contained a gorgeous “Reba” jam, and the latter which featured the same type of percussive jamming as was seen in the Alpine version, but ended with a fluttering of Page that spilled fluidly into “Water In The Sky.” When they kicked off “Ghost,” one wouldn’t have been too misguided to think we were simply in for another monster jam. But the band had different ideas up their sleeves. Latching onto the gimmickry of Set I’s bustout, they directed “Ghost” into the first “Psycho Killer” in twelve years, before letting it fade into the first “Catapult” of 3.0. Based around a prickly, note-based jam that sounded oddly like the Atari game, Pong, Trey got a bit nostalgic and started strumming a few minored chords. What emerged was the first “Icculus” in ten years, a song based heavily on narration, to which, Trey preached to all the young Phish fans about the pleasures of books, and the evils of iphones and hand-held technology, finally quipping, “When was the last time one of you picked up a fucking book?!?!” Closing out the set with the only appropriate song, the band played an inspired “You Enjoy Myself,” before encoring simply with The Beatles, “While My Guitar Gently Weeps.” One of the best shows of the year. And one of the best shows of 3.0 for that matter. It’d be a long while – until 10/20/2010 to be exact – before the band would play a show steeped in this much humor, gimmickry, and old-fashioned Phish zaniness.

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Empire Polo Club – Indio, CA – 10/31/2009

Set I: Sample In A Jar, The Divided Sky, Lawn Boy, Kill Devil Falls, Bathtub Gin, The Squirming Coil> Runaway Jim> Possum, Run Like An Antelope+

Set II$: Rocks Off*%> Rip This Joint*%, Shake Your Hips*%, Casino Boogie*, Tumbling Dice*%%, Sweet Virginia%%, Torn & Frayed*, Sweet Black Angel*%, Loving Cup%%, Happy*%%, Turd On The Run*%%, Ventilator Blues*%% -> I Just Want To See His Face*%%% -> Let It Loose*%%, All Down The Line*%%, Stop Breaking Down*%%, Shine A Light*%%, Soul Survivor*%%

Set III: Backwards Down The Number Line> Fluffhead, Ghost> When The Circus Comes, You Enjoy Myself

Encore: Suzy Greenberg%%

+ The lyrics in “Run Like An Antelope” were changed to “Been You To Have Any Coil?”

$ The Rolling Stone’s Exile On Main St was the band’s Second Set Musical Costume

* All songs in Set II, with the exception of “Sweet Virginia” and “Loving Cup” made their Phish debut

% Featuring Dave Guy on Trumpet, David Smith on Trombone, and Tony Jarvis on Saxophone

%% Featuring Sharon Jones and Saundra Williams on Backup Vocals; Dave Guy on Trumpet, David Smith on Trombone, and Tony Jarvis on Saxophone

%%% Featuring Sharon Jones and Saundra Williams on Backup Vocals

Their first Halloween show since 1998, and their first festival since the Coventry debacle, Festival 8 peaked on it’s second night with a three-set masterpiece, bookended by classic Phish, and filled out by one of the best cover album’s the band has ever performed. In the first set, the band threw down a string of old-school classics, honoring the magnitude of the event, while matching the near-perfect conditions the California desert provided. Highlighted by a gorgeous “Divided Sky,” a soaring “Bathtub Gin,” a combo right out of the 80’s in “Coil> Jim> Possum,” and a raging “Antelope” to close, it was the kind of set that – “KDF” aside – one could have easily imagined being played in front of about 1000 friends back in Vermont. In Set II they masterfully covered The Rolling Stone’s 1972 classic, Exile On Main Street. Highlights abound, the set, more than anything, sent a clear message about how far the band had come since their low-point in 2004, and how genuinely happy they were to be healthy, playing live music again. At the end of the day, the “Torn & Frayed,” “Ventilator Blues -> I Just Want To See His Face,” “Let It Loose,” “Shine A Light,” and perhaps the greatest “Loving Cup” ever, take the cake as the peak moments of the set. Proving as poignant moment as any in a Phish show, “Shine A Light” felt written for Trey, detailing the struggles of a drug addict overcoming his demons. A song that’s birthed life into 3.0, it’s appearance as an encore always feels like a nod from the heavens for sparing Trey in his darkest days, and giving him a second chance. Set III was akin to the first set, except for it’s emphasis on improv. “Number Line” and “Ghost” both went deep, and “You Enjoy Myself” proved to be the best version of the oft-played song in 2009. Not to mention, one of the top tier versions in all of 3.0. Inviting their back-up band on stage for the “Suzy Greenberg,” they stretched the classic into a 12-min jam that featured funk breakdowns, horn solos, and Sharon Jones’s soulful wails throughout. A celebratory moment for all involved, 10/31/2009 was key to the band’s development throughout 3.0, and a show we can all look back on and simply be thankful was able to occur.

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Wachovia Center – Philadelphia, PA – 11/24/2009

Set I: Chalk Dust Torture, Bathtub Gin, Cities> Camel Walk, The Curtain With, The Wedge, The Moma Dance, Reba, Golgi Apparatus, Stealing Time From The Faulty Plan

Set II: Possum> Down With Disease& -> Twenty Years Later> Harry Hood> The Mango Song> Mike’s Song -> Simple> Slave To The Traffic Light> Weekapaug Groove+

Encore: A Day In The Life

& “Down With Disease” was unfinished

+ Much of the “Weekapaug Groove” jam was played at a slower pace

Easily the best show of the band’s 2009 Fall Tour, the first night of Philly featured a celebratory, holiday-tinged feel, with an old-school setlist and some top notch playing taboot. Akin to 10/31’s First Set, the First Set in Philly reads like something out of the band’s bygone years – sans “Moma” and “Stealing Time.” With a tight, fully loaded jam out of “Gin,” and  blissful and contemplative jams in “The Curtain With” and “Reba,” the set was ripe with highlights, many of the extended variety. Sparked with humor in the Thanksgiving-quoted “Cities,” along with the rare funk of “Camel Walk,” it was as well-rounded as any First Fet during the tour, keeping everyone on their toes in anticipation of set II. Fully flowing throughout, the Second Set was an early masterpiece in the 3.0 era. Featuring a sublime, laid-back jam out of “DWD,” the band got to business early, winding the jam through various passages of musical bliss before landing in “Twenty Years Later.” Bridging the “DWD” and the spectacular “Mike’s Groove” with “Harry Hood> The Mango Song” kept things flowing with ease, and continued the old school feel that had graced the show thus far. In the “Mike’s Groove,” the band combined “Simple” with “Slave” by way of an ambient jam, injecting “Mike’s Groove” with “Slave” for the first time since Alpine ’97. Heading into “Weekapaug” at a torrential pace, the band made humor out of the mistake, referentially shouting throughout, before slowing things down and infusing the jam with some funk grooves. A conceptual set without a moment wasted, it was one of the few totally unified moments throughout the Fall Tour, one that, while surpassed many times over in 3.0, has lived on for the fact that it was just one of those nights in back 2009, where everything felt right again.

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Times Union Center – Albany, NY – 11/27/2009

Set I: AC/DC Bag -> Maze, Driver, My Mind’s Got A Mind Of Its Own, Gumbo, Bouncing Around The Room, It’s Ice, Two Versions Of Me, Timber> Limb By Limb, Cavern -> Light

Set II: My Friend, My Friend* -> Golden Age^> On Your Way Down, Fluffhead> Piper -> Tomorrow’s Song^^, Prince Caspian&> Harry Hood> Suzy Greenberg> The Squirming Coil, I Been Around

Encore: Fire

* First “My Friend, My Friend” Set II Opener since 10 April 1994

^ “Golden Age” (TV On The Radio) made it’s Phish debut

^^ “Tommorow’s Song” made it’s Phish debut

& “Prince Caspian” was unfinished

After throwing down their best show of the tour two nights before Thanksgiving, Phish returned to the road the night after and crafted an all-around excellent show, highlighted by two surprise debuts, and a high-octane set II. Opening with an “AC/DC Bag -> Maze” segment got the show off right, as the two age-old classics fit together with ease, immediately putting the uneventful second night in Philly far in the recesses of every fan’s minds. After dusting a few songs off the shelves for the first time this tour – “Driver,” “My Mind’s Got A Mind of It’s Own,” “Gumbo,” “Timber” – they closed the set with a menacing surprise as “Cavern” faded into the only First Set “Light” they’ve ever played. Pushing the song into the ether, it touched on beat-less ambient themes, dissolving into a noise-based jam that faded as the lights came on for setbreak. Set II brought the first “My Friend” opener since Spring 1994, and the debut of the TV On The Radio hit “Golden Age,” which has gone on to be one of the most revered – and at times frustrating – songs of 3.0. Fading into only the fifth “On Your Way Down” since 1989, the set just kept elevating itself, as the band was clearly feeling it being back in the Northeast corner of the US. After the obligatory “Fluffhead,” they dropped the jam of the night in an explosive “Piper” which turned melodic, before segueing perfectly into the debut of the Undermind-ditty, “Tomorrow’s Song.” Rounding out the set with “Hood> Suzy> Coil,” was a clear message about how much fun the band had on the first night of their quasi-hometown run. Encoring with “Fire” – the third time they’ve played Hendrix on his birthday – was welcomely expected by all fans, as the nod not only honored the guitar-legend, but also bridged the two nights in Albany in ways no other cover could.

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American Airlines Arena – Miami, FL – 12/29/2009

Set I: Golgi Apparatus, Maze, Driver, The Connection, Wolfman’s Brother, Ocelot, Reba, Access Me, The Divided Sky, Cavern

Set II: Kill Devil Falls> Tweezer# -> Prince Caspian> Gotta Jibboo -> Wilson -> Gotta Jibboo -> Heavy Things -> 2001> Slave To The Traffic Light

Encore: Sleeping Monkey> Tweezer Reprise

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

On paper this show looked like complete and utter shite. A first set comprised of a few classics surrounded by a string of fillers, and a second set that looked like another awkward clunker, defined by a “Jibboo -> Wilson -> Jibboo,” that couldn’t have looked worse on paper. Yet listening to this show for the first time back in 2009, it was clear beyond any questionable doubt that the band was feeling it. Probably the best overall show of the Miami NYE Run, it’s a prime example of the kind of show where what songs the band plays matters little, for they’d crush it all regardless. While those kinds of shows have become commonplace here in 2011 and 2012 – 06/04/2011, 06/11/2011, 08/16/2011, 09/03/2011, 06/08/2012, 06/23/2012, 07/03/2012, 08/28/2012 – back in 2009, they had to play to a killer setlist if they were going to play a killer show. 29 December 2009 broke this mold and then some. Highlighted by a torrid “Maze,” a laid back, funk jam in “Wolfman’s,” and the always welcome pair of classics, “Reba” and “Divided Sky,” the show felt much like the last 12/29 show prior to this one, sans the Miami “Piper,” of course. In set II the band focused on intertwined jamming and segues, taking “Tweezer” to some truly spectacular planes of blissful ambient nothingness, somehow making the “Jibboo -> Wilson -> Jibboo” work, and producing perhaps the best “Heavy Things” we’ve ever heard. The latter’s near-four minute ambient jam that bled right into “2001” was the defining point of the night, proving the band would nail anything they played. An all-around remarkable show, the second night in Miami ignored all the misconceptions about 3.0, shut the setlist nazi’s up – at least for one night – and produced perhaps the single greatest review by a certain Phish writer – the one where he had nothing to say.

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American Airlines Arena – Miami, FL – 12/30/2009

Set I: Soul Shakedown Party*, Runaway Jim, Jesus Just Left Chicago**, Dixie Cannonball^, Stealing Time From The Faulty Plan, Corinna***, What’s The Use?****, Tela*****, Gone^^, Rocky Top******, Chalk Dust Torture, David Bowie

Set II: Sand, The Curtain With> Lifeboy, Back On The Train -> Wading In The Velvet Sea, Hold Your Head Up> Love You%> Hold Your Head Up, Free> Boogie On Reggae Woman -> Run Like An Antelope#%%

Encore: Frankenstein+

* First “Soul Shakedown Party” since 17 April 2004

** First “Jesus Just Left Chicago” since 13 July 2003

*** First “Corinna” since 24 February 2003

**** First “What’s The Use?” since 28 November 2003

***** First “Tela” since 24 November 1998

****** First “Rocky Top” since 19 July 2003

^ “Dixie Cannonball” (Hank Williams) made it’s Phish debut

^^ “Gone” made it’s Phish debut

% “Love You” featured audience member, Rich on stage playing the vacuum cleaner

%% “Run Like An Antelope” contained alternate lyrics

# “Run Like An Antelope” contained multiple “Boogie On Reggae Woman” teases

+ “Frankenstein” featured Page on the Keytar

Ahhhhhh, the bustout show. A thing of legend in Phish circles. Rarely does the band drop an entire show/set comprised of bustouts. In the ten years since 07/29/2003, the show is still revered as one of the best of 2.0, in many ways, thanks to the ipod shuffle feel that accompanied the entire first set. On 12/30/2009, the band brought six unique songs out of seeming retirement – while debuting two others – giving credence to the 12/30 legend, while also gifting their fans with a number of oft-requested tunes. Perhaps none of these was more boisterously received than “Tela.” The sweet and longing Gamehendge ballad, it had been requested with near fanaticism throughout the Summer and Fall Tours, finally brought back to life after eleven years. In the Second Set, the band fused jams and gimmickry, crafting one of the most well-rounded sets of the year, with one of the best jams of the year as it’s centerpiece. Kicking off with the first “Sand” since Camden, they remained a bit more confined before initiating a top-notch “The Curtain With.” Producing the jam of the night in “Back On The Train -> Wading,” the band let humor dominate the latter half of the set. Using “HYHU” to throw another hint out about their NYE gag, they invited an audience member – Rich – on stage to celebrate the last vacuum solo of the decade. Closing out the set with what can only be described as “Boogie On Reggae Antelope” the band displayed on-stage communication fused with humor that just wouldn’t have been possible nine months earlier. A staple performance of gimmickry, improv, humor, and that intangible feeling that can only be found at a Phish show, there’s never been any doubt about it’s place in Phish 3.0.

——–

A celebratory year that saw Phish return from the darkness of their past. While they fought through numerous ups and downs, by years end, they’d unquestionably succeeded in all the goals laid out for them. As we await the start of the 2013 Summer Tour, it’s no better time to revisit the first year of 3.0, and see just how far the band has come.

Please send me your thoughts about the list.

Here’s to another four years that are just as good as the last four!

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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 – 2009 – Part I

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– With Summer 2013 Dates just announced, I felt it appropriate to give 2009 it’s proper due. Here follows is a recap of the first year of 3.0, including picks for Best Jams and Best Shows. Part I today is the Jams, look for Part II later this week. Enjoy! –

Walking out of Coventry was a dark and dismal scene. Like the days immediately following a horrendous battle, everyone had the same shell-shocked look on their faces. Nobody had won. Everyone was a casualty in some way. That churning, grinding feeling inside — WTF just happened? Phish was done. That’s all we knew. Trey looked like he was a few hits away from the grave. Page was in tatters after the one-two punch of his marriage and band ending. Mike and Fishman handled it the best, but in the end, looked like ghosts, unable to fully explain to the legions of fans how grateful, yet sorry they truly were.

The mud became the focal point for everyone almost immediately. Somewhat forgotten with the onset of music some 36 hrs earlier, now, following a disastrous “final show” all fans could think about was “how the fuck am I going to dig my car and all my shit out of this mud and get the fuck away from this farm!!!!!” Moving through the aching crowd, I walked with my two best friends to Newport. Six miles away, we hoofed it for a couple hours, figuring it to be the better option than to try and hitch a ride. We’d ridden in with two guys we’d met on PT. Not much for fans, they were going up there based on a one-show experience in 1999, figuring they ought to see what the fuss really was all about. After 24 hrs of traffic, a day spent stewing in the rain, and an unquestionably sloppy 08/14/2004 set III, they packed up and high-tailed out.

As it was, here we were, at 19, walking with everything we had on our backs, through the night, past hordes of strung-out wooks, angry vets, crying fairy’s, screaming babies, custy-ass NEsterners, and cynical PTers vocally chiding over the faux-Gamehenge, the debauched “Glide,” the fucking “Walls Of The Cave” opener (?!?!), the sexy bump, and numerous other faux pas the band had committed over the course of the weekend. We arrived at the Newport bus station around 5am, bought tickets to Albany, and slept.

Not even 20, my favorite band gone. Eight shows – not one on the epic level I’d heard on tapes, one festival – an asterisk, a footnote to the band’s glorious history – it was all I’d ever have to hang my hat on phishdom. Even worse was the way they went out; it was a completely different band from what they’d been ten years earlier. Totally unrecognizable in every regard. They’d allowed themselves to be succumbed by the scene. They’d been the cause of their own demise. They’d given up the dream. It would be up to their fans to pick up the pieces.

——–

On 1 October 2008 Phish announced what everyone had been anticipating for months: they would reunite on 6 March 2009 at the hallowed halls of Hampton Coliseum. In the year prior, much of the aggression towards Phish had cooled. Following Trey’s DWI in December 2006, many had given up hope that the band would ever reunite. And as Trey began a 14-month drug rehabilitation stint, the band became somewhat shrouded in shadows for the first time in nearly 20 years.

Emerging a completely changed man, Trey sought out rebuilding his life. A poem from Tom Marshall on his 43rd birthday – the first in years, and the eventual lyrics to “Backwards Down The Number Line” – spawned his first post-rehab song. From there, Trey got back to the grind of writing songs, now focused, driven, and sober. 2008 brought a reunion of sorts as the band appeared on stage together for the first time since Coventry, while accepting their Lifetime Achievement Award from the Jammy’s – an award show they essentially created a niche for. During the Rothbury festival that summer, Mike invited Fish and Trey on stage to play “She Said, She Said.” And a quote made it’s way around the internet by which Trey claimed willing to forgo one of his testicles for the chance to play “You Enjoy Myself” all day every day. Rumors swirled, and by fall Phish was back, at least in part.

When the finally hit the stage the following spring, they ushered in a new era of Phish by paying homage to the past. Both with the original linear stage set-up, and the “Fluffhead>Divided Sky” opener, they sent a clear message that the 3.0 incarnation would be about reacquainting themselves with their historical greatness. The Hampton weekend took on a feeling of a recital. Nearly 100 songs were played. First sets stretched on far past 90 minutes, and few moments of improv were even attempted. The message was clear: after 5 years apart, Phish would need some time honing their chops in the live atmosphere. Add to this an ethereal joy that emanated from the stage and the crowd, the sound of 3.0 Phish took on a far happier sound than the era that immediately preceded it. Phish was back, and that was all that mattered. For a while at least.

When Summer Tour came around, many were expecting the cobwebs that had accompanied many parts of Hampton to be a thing of the past, and for Phish to get down to the business of jamming again. To many-a-fan’s dismay though, the band was still not fully comfortable with themselves, each other, nor the massive crowds that adorned them, to let loose in ways many had expected. As a result, the June leg of the tour reflected much of the Hampton shows, in both containment and rust. In hindsight, it made complete sense. As this blog has written about at length, it took years of playing together for the band to attain the liner musical communication needed to jam effortlessly, and completely united, as they did in the best parts of 1995 and 1997. Five years apart, with little communication, one member in drug rehab, and another who reportedly sold his drum set, moved to the woods and didn’t think about music for a year, rust, and caution were bound to dominate Phish’s first year back on the stage.

Returning in late-July to Red Rocks for the first time since 1996, the band, for the first time in 3.0, looked like themselves again. Standout shows on 07/31 and 08/01 gave way to the groundbreaking Gorge shows, and the 08/14 Hartford show that still lives in infamy to this day. The summer also gave the band their first chance in years to toy with the minds of their fans. By uploading a map of the US to the Internet, they spent a month eliminating state-by-state in anticipation of a three-day Halloween Festival in Indio, California. Festival 8 combined two storied aspects of the band’s past in one glorious weekend as the band not only continued to push their improv further, but also played their first-ever acoustic set, and covered Exile On Main St taboot. The Fall Tour that followed was, while a step-back in parts musically, nonetheless, one more enthusiastic stamp on the band’s return, as they toured their NE home-turf to raucous crowds, culminating with a three-night return to the world’s most famous arena – Madison Square Garden.

Closing out the year with a four-night run in Miami, the band peaked on the 29th and 30th, displaying both dexterity and a comfort on the stage that had been missing throughout much of the year. Setting their sights on 2010, Phish ended 2009 on a high note. The multitude of inconsistencies of the early part of the year behind them, they were ready to embark on a year in which the music they created would be the sole focus. While 2010 would bring it’s own share of issues, the greatness attained in the latter part of the year would not have been possible without the groundwork laid throughout 2009. Up and down, sure, but 2009 is, more than anything, a unique peak into a band trying to both regain their footing, and crafting raw, untested, and wholly original music all at the same time.

As with the 2010, 2011, and 2012 recaps, I’ve assembled a list of ten shows and ten jams that standout as the best of the year. Along with these selections, there are three honorable mentions to each. These are not simply jams/shows 11-13, but rather foundational jams and shows with which the band grew, yet didn’t crack my top ten. The lists are comprised chronologically like the last few years, thus reserving the title “Best Ever” as subjective accolade. Here’s to the original year of 3.0 Phish!

The Best Of Phish 2009

Honorable Jams

Phish Concert

“Sand” – Camden, NJ – 06/07/2009

The first show and the first jam where everything felt right again. After a week of subpar shows, and questionable jams, Phish opened up the second set of their return to the ghetto of Philly with a proper jam off a song that had gone virtually unplayed since 2000. Wading through the “Sand” theme for the first nine minutes, Trey initiated a shift from the minor the major at 9:20, and off they went. Building the jam into a more rock-oriented space, the band transformed the ever-present groove of the song into a peaking monster. A far cry from the thematically redundant jams that had come to defined it in the latter 1.0 era. Passing through a groove-ladend, rhythmic segment from 13:30 – 16:25 the band – Page and Trey especially – proved they still could specialize in the kind of dance-heavy melodies that had become like musical crack to many fans. Concluding with a near-5-minute peak, the jam was a celebratory revival of all things Phish: diverse, surprising, explosive, and communal, the “Camden Sand” – as it’s come be to known – was all fans needed to know the band was back, and, in time, would fully reclaim their title of “The Best Damn Band In The World.”

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“Bathtub Gin” – George, WA – 08/07/2009

Deep in the heart of the best show of 2009, Phish dropped a rare – for 3.0 at least – second set “Bathtub Gin.” Had we known at the time it’d be – thus far – the last truly extended “Gin” of 3.0 it might have been savored a bit more. Yet, four years on, this jam remains buried as one of the underrated gems of 2009. Flowing lackadaisically from the song proper, the jam takes on the laid-back feel of many-a second set “Gin’s.” As opposed to their set I, type-I ragers, which rely on peaks more than exploration, typically when “Gin” appears in a second set, the possibilities are limitless. Coming on the heels of an ambient-laced “Sneakin’ Sally,” and a calypso-infused “Light,” the “Gin” was the third major jam of the night. Flowing with ease from the aforementioned slinky trot to a minor-keyed groove fest at 10:05, the jam took on a Summer ’98 feel as it emphasized sonic quality, and glossy rhythm, over notes and shred. In stark contrast to much of the Summer 2009 tour, it is Anastasio who shines through, constantly infusing the jam with fresh riffs and ideas, complimenting the prodding bass of Mike, and the swirling clav from Page. A foreshadow of the following evening’s massive “Rock & Roll” is probably its lasting purpose. Yet, when Trey signals yet another downshift at 13:46, calling upon a thick, Mike-heavy rhythm section to close the jam out, it cements itself as one of the loosest, organic and redeeming jams of the year. Deliberate without being forceful, fluid without being lost, the Gorge “Gin” is one of the many signs of 2009 that Phish still had it, even through the ups and downs.

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“Wolfman’s Brother -> Piper -> Joy” – Indio, CA – 10/30/2009

After a first set that was essentially used to clear the cobwebs after two months off, Phish got down to business at Festival 8 with a psychedelic combo of “Wolfman’s Brother” and “Piper,” the latter of which bled effortlessly into the contemplative resolution of “Joy.” Uniting the two jam vehicles for only the second time since 10/31/1998, the jam gave fans their first peak into the band’s evolving jam style – heard in the Festival’s soundcheck – since the monumental August Run. Following a similar funk/rock pattern it’s been pigeonholed into throughout 3.0, “Wolfman’s” took all altogether different course at 7:33 when Trey began building walls of sound, rather than push the dance rhythms further. Evolving into an ambient soundscape, the jam was highlighted by Trey and Page’s conflicting musical ideas; the battle of melody v. noise. While 2009 was chock full of ambient fades from one potential jam to another, the 8 Wolfman’s was one of the only one’s to truly feel like an organic jam, rather than a thoughtless segue. Eventually, Page’s ideas pushed through to fruition as Trey signaled “Piper,” and Page keyed in the “Piper” melody on his synths before moving to the baby grand. Like “Wolfman’s,” “Piper” initially took a more traditional approach in it’s jam, focusing on splintering guitar work from Trey, and heavy, rhythm breaks from Mike and Fish. At 7:39 though, Trey and Page moved the jam into a more lighthearted, melodic realm, bringing back memories of the calypso-infused “Light” from the Gorge. Injecting vocals into the jam, it felt at once as the calm from “Wolfman’s” storm, as it allowed fans their first breath after an absolutely rollicking start to the second set. Flowing into the nuevo-Phish ballad, “Joy,” the jam resolved in organically beautiful fashion, capping off one of the most memorable segments of music from the weekend, and the year overall.

The Top Ten Jams Of 2009

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“Sneakin’ Sally Thru The Alley -> Cavern” – George, WA – 08/07/2009

Dropped for the first time since 08/12/2004, and only the third time since 2000, the mere sight of “Sneakin’ Sally” towards the end of the first set of the 08/07 Gorge show was significant in and of itself. Yet when the band emerged from the song’s vocal jam they embarked on an eleven minute jam that pushed aside the notion that their jams lacked creativity in 3.0, sculpting one of the most memorable jams of the era. Initiating a refined approach, Trey compressed his tone and began playing melodic notes in a scattered fashion. Mike soon followed suit, and they were off on a whirlwind of back-and-forth melodies before Trey signaled a complete thought at 7:01. The jam appeared to be it it’s limit when it began the fade into ambience, but the band was keen to explore at the Gorge, and in their first jam of the weekend, they displayed how far they were willing to go to create a lasting jam. Akin to the “Light” jams of 08/07/2010 and 07/08/2012, once the band found themselves in a melodic beatless territory the jam became an unstoppable force. Perfectly complimenting the setting sun behind the stage, the jam wove through ascending and descending melodic lines, guided wholly by Trey. Switching to the baby grand, Page followed Trey through his winding  and lyrical playing bringing the jam to a resounding peak before fading into the set closing “Cavern.” Far more intuitive and creative than many of their jams in their first six months back, the Gorge “Sally” stands the test of time, and is still generally regarded as one of the best jams produced in 3.0.

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“Light -> Taste” – George, WA – 08/07/2009

After debuting the song out of a segue from a resounding “Tweezer” in Boston, “Light” only made one other appearance on 2009’s Summer Leg I, again as a segue, this time, from “Rock & Roll.” Hinting at the song’s improv potential, it descended into a menacing swirl of noise before fading into “46 Days.” After five shows on leg two it had yet to make an appearance forcing many to think if the song had been shelved for tinkering. When it reemerged in the second slot of 07 August’s set II, it’s course in Phish history was about to be altered forever. Passing through it’s structured post-song jam, the song averted it’s previous noise-induced destiny, and instead, made way for a more melodic take on the song. Initiated by Page and Trey at 8:07, the song wove through a splintered thematic journey, moving with ease through various passages and melodies. Settling on a path at 10:06, the band moved into a jam laced with a Caribbean feel, transforming the mountain surroundings into a idyllic beachside island party. Using the same type of lyrical musicianship that defined the Festival 8 “Piper,” the “Light” became contemplative, while also proving impossible to sit still through. Bleeding right into “Taste” the performance and segue put a stamp on the song as one of the most impressive of the summer and bore new life into the band’s jamming. A song that has grown to be regarded as THE standard-bearer of all 3.0 jams, the Gorge “Light” gave us the initial glimpse of all the potential the song possessed.

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“Rock & Roll -> Makisupa Policeman” – George, WA – 08/08/2009

Up until 2011, one could predict with a fair amount of accuracy what songs would be jammed each night. Throughout most of 2009 and 2010, Phish remained in the box with much of their catalogue, only routinely allowing a fairly strict rotation of “Down With Disease,” “Drowned,” “Tweezer,” “Light,” “Piper,” “Ghost,” “Crosseyed & Painless,” and “Rock & Roll” to be their vehicles for major exploration. Eliminating much of the spontaneity that had been their name-stay throughout the 1993 – 2004 period, moments of pure, unadulterated exploration typically came in expected pieces. Yet when they did truly hook up – regardless of the song used to catapult them into the unknown – the results were typically sublime. Case in point: the 2009 Gorge “Rock & Roll.” A melodic beast, led in large part by Trey and Page, the jam spends much of it’s 23minutes locked into a loosely-based “Rock & Roll” theme. Highlighted by a brilliant section of interplay by Trey and Page from 10:53 – 18:27, in which the two ride an unshakable foundation from Mike and Page, trading licks and ideas in ways that can only result from close to thirty years of partnership. Building into a rising peak, the jam returns to the “Rock & Roll” chorus proper, before seguing into a bubbly “Makisupa,” that featured Trey and Mike trading instruments. Unique from essentially all other ’09 jams in its clear avoidance of the doctored rhythmic breakdowns and ambient fades that plagued one too many jams throughout the year. The Gorge “Rock & Roll” displayed a keen musicianship and communication in it’s ability to build a lengthy jam off the song’s melody, and sustain it for close to 25min.

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“46 Days” – Columbia, MD – 08/15/2009

Perhaps the most underrated piece of music the band has played in all of 3.0? Overshadowed by the dreadful Merriweather Post show it appeared at, “46 Days” emerged in the middle of set II to little-to-no fanfare. A throwaway show just took an awkward turn….Here comes another 5 minute filler….Why play “46 Days” right now????….were all thoughts from fans at the show, listening to the stream, and following the setlist online. Little-to-no attention was paid to it, the show got shat on the next day on PT, and most forgot about the jam by the time Fishman covered Katy Perry the next night at SPAC. Yet going back, it’s clearly one of the top tier jams of the year, and still, one of the lasting moments of 3.0. Wasting no time, Trey initiates a dive into the unknown at 4:38 with an ominous riff, latched onto immediately by his bandmates. Abandoning “46 Days” completely, the jam straddles darkness and light like few jams at the time were capable. Latching onto new ideas with ease, the guys followed each other in a veritable musical dialogue, wasting little time, and not allowing any idea to become stale. A foreshadow of many of the jams that would become commonplace in 2011 and especially 2012, the “46 Days” was one of those rare moments during the early parts of 3.0 where the band showed clear signs of their former selves. Building to a resounding peak from 9:35 – 11:13, Trey directed the jam even further into a beat-driven territory, that peaked again before fading away. A fully realized jam that moved beyond the thematic realm of “46 Days” with little effort, and displayed an innate communication, it was a shining moment in an otherwise forgotten show, and a hidden gem in the 3.0 era.

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“Light -> Slave To The Traffic Light” – Indio, CA – 11/01/2009

Just when it seemed Festival 8 would go down as the first Phish festival since The Clifford Ball without a massive foray into the netherworld, Phish busted out “Light” for the first time since the Gorge, taking the song deep into uncharted territory. Initiate by Page’s switch from the baby grand and organs to his synths at 6:49, the band moved away from the loose melody of the jam, and into more spacious, noise-based territory. Where in many of the jams of the summer Trey would fade immediately upon Page’s cue, thus signaling another song, here he layered above Page with staccotoed notes, while Fishman moved into more beatless territory. By 9:46 they’d all jumped onto the noise jam, culminating in a five minute segment of improvisation based around ambient washes and atypical soundscapes. Like a peek into the Phish of old, the 8 “Light” harkened memories of the IT “Waves” in it’s emphasis on nothingness. Hinting at “What’s The Use?” the jam ultimately bled seamlessly into “Slave To The Traffic Light,” capping off an incredible holiday weekend, and sending everyone off to Fall Tour with high expectations. Though the song wouldn’t be fully realized until nearly a year later in Berkely, CA, the 8 “Light,” like the Gorge version before it, displayed the near-limitless possibilities for the song, and proved the band still knew how to throw down at a fest.

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“Seven Below -> Ghost” – Albany, NY – 11/28/2009

It was the moment everyone had been waiting for. The moment when Phish would cut the shit, quit trying to be a tight rock band, and just fucking jam. Eight shows into a Fall Tour that felt more like a step back than the great leap forward everyone expected it would be, the band stepped on stage for the last set of their Albany Run, and threw down 50 minutes of uninterrupted improv. While the jam segment has been surpassed time and again in the years since, the “Seven Below -> Ghost” is still regarded as one of the most cherished moments of 3.0 for the ubiquitous celebration that emitted from the arena, and on the message boards in the days following it. Sparked by the band’s refusal to follow Trey back into “Seven Below,” Trey finally relented at 8:06, and the band was off. Stumbling a bit out the gates, the band sounds stubbornly determined to actually jam until 12:10 when the ideas start coming with ease. Reminiscent in ways to their ’94-’95 jams, by which they’d throw ideas at a proverbial wall to see which stuck, once they latched onto a strutting rhythm, garnished by a bubbly melody, they jammed without restraint straight through “Ghost.” From the moment Trey initiated a thematic riff at 16:17, the band built to a massive peak, culminating from 20:33 – 21:03 before shifting into a loose and ominous fade into “Ghost.” If “Seven Below” had taken a few minutes to sort itself out before discovering greatness, the band was so loose upon entering “Ghost,” that they went straight for the jugular. Coming out the gates with a thick groove, the jam initially resembled “Cool It Down,” before teasing “Seven Below,” and then moving into a strikingly melodic jam. Beginning an initial ascent, the theme peaked at 9:43, before turning sinister and grungy. After spending a few minutes wandering from various themes, the jam settled in it’s most thrilling segment, a seven-minute jam off the theme of “Maze.” Peaking repeatedly, it became one of the most raucous, hectic, and powerful “Ghost’s” we’ve ever heard. Fading into an ambient section, the jam concluded to a standing ovation, as fans everywhere let the band know how appreciative they were of them throwing everything on the line. Unsurpassed in many ways until August 2010, the Albany “Seven Below -> Ghost” is still regarded by many as one of the top jams of 3.0.

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“Down With Disease -> Piper” – New York City, NY – 12/03/2009

Cueing up the best set of Phish’s 3.0 return to MSG, the band threw down a classic combination of two of their best jam vehicles, resulting in one of the more enamored segments of the year. Riding out a ferocious Type I onslaught off the “DWD” theme, Trey directed the jam into open territory at 9:31. Weaving with fluid motion, and full-band-connectivity, the jam straddled rhythmic grooves and Trey-led builds in ways many jams during the Fall Tour simply couldn’t. Seriously, it is some of the best lead work Trey did all year long. At 14:48 Trey cues a descent from the jam’s surging pace, resulting in five minutes of gorgeous ambient interplay. Highlighted by Page’s choice synth work, and Trey’s blissful interjections, the jam is a shining example of the less-is-more approach, as the band clearly let the jam take hold of their playing, rather than try to force ideas. Flowing with ease into “Piper,” the jam took on a more focused approach, opting for a full-on rhythmic assault, less exploratory in nature, yet still quite compelling. Like a refined version of many of the attempted percussive jams of the tour, the “Piper” concluded near-30 minutes of improv in raging fashion. After a lackluster night one at MSG, the “Down With Disease -> Piper” was the kind of moment many had been expecting Phish’s return to The World’s Most Famous Arena to be full of. Kicking off a monumental set of music, it was yet another transformative moment for the band in 2009.

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“Tweezer -> Prince Caspian” – Miami, FL – 12/29/2009

For as talented as each member of Phish is, their best jams almost always come from a place of innate musical simplicity. Case in point: The Miami “Tweezer.” One of the best jams of 2009, yet another step forward for the band in terms of communication, flow, and patience, and a jam that displays little of the bells and whistles that comes with each member’s abilities. Flowing out of the “Tweezer” theme into a sultry funk groove, vocal harmonics are incorporated, a “Manteca” tease is tossed out, Gordo is given a proper spotlight, and a bit of start/stop jamming is implemented, all in the first 13 minutes. 2009 “Tweezer’s” were good. So good that no less than six were considered for this list. What separates this “Tweezer” from the rest of the pack however, is the near-five minute ambient jam that concludes the piece – hinting at “I Am Hydrogen” – before segueing beautifully into “Prince Caspian.” Devoid of the Trey-ADD moments that cut short so many promising ambient jams in 2009 and 2010, the “Tweezer” is given room to breathe, resulting in a contemplative, and fully realized jam. The “Caspian” that follows is akin to many of the revitalized performances throughout 3.0 of the once-hated buzz-kill. Prominently featuring Trey front-and-center, it’s granted the patience of the “Tweezer” with the distinctly arena rock flair it was written for. Though not as esoteric, nor shape-shifting as many of 2010 “Caspains” would turn out to be, the Miami version proved a proper cap to the year’s iconic “Tweezer,” as the overall segment properly sums up the band’s comfort and pleasure with playing together, as could be heard throughout their Miami Run.

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“Back On The Train -> Wading In The Velvet Sea” – Miami, FL – 12/30/2009

Props to the most random union ever to be found on one of these lists. The transcendent 17-minute “Back On The Train” would not have been possible were it not for a mistake by Trey at 6:18. Upon returning to the song after the solo, he riffed the “BOTT” rhythm, but with minored chords. Forging ahead the band diverted their return and directed the jam into uncharted waters. While “Back On The Train” had been extended twice prior – 06/14/2000 and 02/28/2003 – never had it left it’s structure with such ease, yet determination. Moving into an ambient terrain, the jam initially felt like more of an extended outro, until Trey latched onto Fishman’s rising drums at 10:49. Building into a rock-based climb, the band embraced the unknown with open arms, recalling the 1997-esque Hendrix-style guitar attacks that once defined their jams. Flowing through a number of segments of sonic interplay the jam eventually came to rest before segueing into “Wading In The Velvet Sea.” Though not as rewarding in it’s peak as it could have been, the jam is notable for both the absolute rarity of a near-20 minute jam off “BOTT,” and for it’s clear display of the comfort and zealousness the band was enriched with throughout the Miami Run. A run that proved to band and fans alike just how far they’d come, jams like the 12/30 “BOTT” were essential is displaying how successful they could be when they unleashed into the unknown. It’s no surprise either, that, following this performance, nearly every “Back On The Train” in 2010 is a must hear.

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“Ghost -> N02” – Miami, FL – 12/31/2009

My pick for The Jam of 2009, the Miami “Ghost” is fully connected piece of Phish that completely displayed how far the band had come in just nine months, and gave everyone reason to look towards 2010 with high expectations. From the moment the song ends, Gordo flipped on his envelope filter, crafting a bubbly counter-melody to “Ghost’s” groove, pushing the song into a dance-based territory. Sustaining the trance-yness of Gordeaux’s bass lines, Trey stuck to the background, refraining from injecting too much, rather allowing the jam to build organically. It was a telling sign of his improvement throughout the year, in that Phish’s best jams in 2009 typically came from moments when he installed a less-is-more philosophy. Since their return, not coincidentally, nearly every failed jam has resulted from Trey trying to do too much. At 6:09 Trey cues a switch to a more rock-based jam, yet Mike stays within the realm of the bouncy, dance melody he’d constructed. Resulting in a strangely organic segment where in which Trey and Page were clearly building towards a traditional peak, while Mike was bouncing from thought to though, and Fishman – much improved from his mid-2009  low point – was sustaining both the rock build-up, along with the dance beats. Pushing into a more melodic segment at 8:20, the band continues the tension & release build, while directing the jam into it’s most rewarding part. Trey takes the lead with some really stunning and gorgeous riffs, all the while layering his thoughts under his immediate licks. While it sounds at 10:56 like they’re going to break down and fade the jam out without any true peak, Trey uses the strutting groove to his advantage, continuing his masterful and melodic onslaught. Some of his most creative playing of 2009 ensues, as he directs the jam into a dream-like territory before teasing “Auld Lang Syne.” Driving the theme into a demented realm, Trey signals the sirens and the band cues up “N02” for the first time since 07/13/1999. A perfect counter to a “Ghost” that had everything, featured each member with equal clarity, and displayed an innate communication that had been gaining steam throughout their return. While certain jams were longer, some raged harder, and a few went deeper into the unknown, the Miami “Ghost” reigns as the jam of 2009 for it’s simple display of the four members abilities and the linear musical communication required for them to reach that place. A jam that still holds up some four years later, it’s a testament to how far they’d come in such a short time.

Click Here For Part II – The Best Shows of 2009

The Best Of Phish – 2011

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

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

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

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

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

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

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

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

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

The Best Of Phish 2011

Honorable Jams

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

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

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

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

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

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

The Top Ten Jams Of 2011

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

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

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

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

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

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

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

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

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

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

“Light” – Stateline, NV – 08/09/2011

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

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

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

“Tweezer” – Denver, CO – 09/03/2011

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

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

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

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

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

Honorable Shows

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

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

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

Encore: Show Of Life>Tweezer Reprise

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

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

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

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

 

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

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

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

Encore: Suzy Greenberg>Sanity>Tweezer Reprise

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

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

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

 

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

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

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

Encore: Tube>Rocky Top>Tweezer Reprise

* First “Free” opener in history

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

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

& “My Friend, My Friend” was unfinished

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

 

The Top Ten Shows Of 2011

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

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

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

Encore: A Day In The Life

# “Manteca” contained “Golden Age” teases

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

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

& “Down With Disease” was unfinished

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

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

 

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

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

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

Encore: Good Times, Bad Times

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

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

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

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

 

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

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

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

Encore: Slave To The Traffic Light

+ “Tube” referenced Page’s House

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

^ “Steam” made it’s Phish debut

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

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

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

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

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

 

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

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

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

Encore: Wilson>Loving Cup

+ “NICU” referenced Leo’s House

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

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

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

* First “Icculus” sing 08/14/2009

** First “Bike” since 06/18/2009

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

 

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

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

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

Encore: First Tube

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

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

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

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

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

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

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

&& “Down With Disease” was unfinished

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

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

 

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

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

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

Encore: Bug>The Squirming Coil

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

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

& “Chalk Dust Torture” was unfinished

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

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

 

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

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

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

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

^ “Babylon Baby” made it’s Phish debut

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

% “Undermind” featured Page on the Theremin

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

 

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

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

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

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

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

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

& “Down With Disease” was unfinished

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

 

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

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

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

Encore: Sleeping Monkey>Tweezer Reprise####

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

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

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

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

& “Down With Disease” was unfinished

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

 

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

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

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

Encore: Backwards Down The Number Line

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

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

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

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

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

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

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

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

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

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

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

& “Come Together” was unfinished

% “Piper” featured Page on the Theremin

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

——–

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