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!!!

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

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

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

Right?

Wrong.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Alpharetta: Combining Gimmickry With Dick’s-esque Jamming

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

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

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

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

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

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What’s The Deal With All The Repeats?

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

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

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

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

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

So clear, it actually makes perfect fucking sense.

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

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

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

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

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

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

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

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

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

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

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What Do We Make Of 07/20/2013?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I have no idea.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Favorite Shows/Jams Thus Far

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

Favorite Shows

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

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

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

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

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

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

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

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

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

Favorite Jams 

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

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

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

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

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

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

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

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

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

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

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